Dekalog 4: On East Asian Filmmakers by Kate E. Taylor, Kate E. Taylor-Jones

By Kate E. Taylor, Kate E. Taylor-Jones

East Asian cinema has turn into a world phenonemon, and administrators similar to Park Chan-wook, Wong Kar Wai, and Takashi Miike became family names. Dekalog four: On East Asian Filmmakers solicits students from Japan, Hong Kong, Switzerland, North the United States, and the U.K. to provide precise readings of chosen East Asian administrators and their works. administrators tested contain Zhang Yimou, Apichatpong Weerasethakul, Rithy Panh, Kinji Fukasaku, and Jia Zhangke, and the amount contains one of many first surveys of jap and chinese language lady filmmakers, supplying singular perception into East Asian movie and the filmmakers that experience introduced it worldwide recognition.

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The main aspects of this documentary are therefore the place where he is working, Liu’s ideas and conceptions about his work, and his connections with people. Why was the title Dong chosen for this documentary? The Three Gorges Region lies in the Southwest of China, and Thailand is Southwest of China, so, at first glance, both regions do not have anything to do with ‘the East’. There are two aspects the title hints at: one is Liu Xiaodong’s given name, the other is the European perception of both China and Thailand as part of the East.

Xu Jinlei’s swing between smaller-budget projects and bigger-budget dramas is obvious in her four directed films to date. She takes advantage of her stardom and status as one of most popular bloggers and makes use of the Internet as a good platform for her on-line magazine and other projects she takes on, thus continuing to raise her profile. After 2000 four women born in the 1960s and 1970s have established themselves as important independent filmmakers in Hong Kong. Renowned scriptwriter Aubrey Lam has now three feature films to her director’s credit.

Kaplan, E. 2: 40–50. pdf, last retried August 15, 2011. Kumagai, Hiroko (2004) Documentary Film Women Make Films: The Tokyo International Women’s Film Festival. Produced by the Tokyo International Women’s Film Festival, Tokyo, Japan. ) At Full Speed: Hong Kong Cinema in a Borderless World. Minneapolis: University of Minnesota Press, 31–52. Law, Kar and Frank Bren (2004) Hong Kong Cinema: A Cross-Cultural View. Lanham: Scarecrow Press. Lei, Qun (1938) ‘Female Director Wu Jinxia’, in Singtao Daily, 15 December.

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