By Kate E. Taylor, Kate E. Taylor-Jones
East Asian cinema has develop into a world phenonemon, and administrators akin to Park Chan-wook, Wong Kar Wai, and Takashi Miike became loved ones names. Dekalog four: On East Asian Filmmakers solicits students from Japan, Hong Kong, Switzerland, North the US, and the U.K. to provide designated readings of chosen East Asian administrators and their works. administrators tested comprise Zhang Yimou, Apichatpong Weerasethakul, Rithy Panh, Kinji Fukasaku, and Jia Zhangke, and the amount comprises one of many first surveys of eastern and chinese language woman filmmakers, offering singular perception into East Asian movie and the filmmakers that experience introduced it worldwide recognition.
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Additional resources for Dekalog 4: On East Asian Filmmakers
The literal advantage of large numbers is that it makes ‘waves or trends’ possible in certain historical periods – as revealed by the two women’s film waves taking place in the late 1980s and early 2000s. Proportion-wise however, mainland Chinese women made fewer works revealing feminine consciousness (thus few engaged in serious debates about women and the status of women); and, soon after the reform of the state-owned film industry in 1993, most of them stopped directing films for studios as they failed to make a commercial profit.
20 30 40 (2004) intertwines the stories of four women: two girls in their twenties dreaming to be singers, a stewardess in her thirties caught between two lovers, and a florist in her forties who discovers that her husband has a second family in the same city. An earthquake that further ‘shakes up’ everyone’s already ‘shaky’ world comes in the middle of the film and results in the comic connection of the three subplots. Sylvia Chang’s latest direction is the comedy-drama Run Papa Run (2008) and focuses on a Triad crime boss who attempts to hide his criminal background from his young daughter.
Column writer and television drama director Wu Xiaoyun made Rainbow Clouds (1982), a film about three boys and three girls, which attracted some attention at the time. After collaborating with two female directors in a three-part film entitled Oil (1979), Angel Mak (unknown-) continued to make horror thriller The Siamese Twins (1984) and Parking Service (1986) for the Shaw’s Company. Another female director Angie Chen studied cinema in the US and returned 27 ON EAST ASIAN FILMMAKERS to Hong Kong in the early 1980s.
Dekalog 4: On East Asian Filmmakers by Kate E. Taylor, Kate E. Taylor-Jones