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简 介:本书采用比较历史分析与文本分析的手法,化繁为简,分析社会历史背景与电影文本改编之间的关联。书中以五部改编自北朝民歌《木兰诗》的《花木兰》电影入手,着眼其各自的社会历史背景与其由形到神的电影改编之间的互动,以此为契机揭示过往百年来不同时期社会焦点的变迁,点明历史故事片反映并推动时代、推动传统的不断创新发展,揭示不同时期的改编所反映的各异时代特征,再前勾后联,电影与文化间的种种亦跃然纸上。
¥ 38.4 试读
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简 介:本书采用比较历史分析与文本分析的手法,化繁为简,分析社会历史背景与电影文本改编之间的关联。书中以五部改编自北朝民歌《木兰诗》的《花木兰》电影入手,着眼其各自的社会历史背景与其由形到神的电影改编之间的互动,以此为契机揭示过往百年来不同时期社会焦点的变迁,点明历史故事片反映并推动时代、推动传统的不断创新发展,揭示不同时期的改编所反映的各异时代特征,再前勾后联,电影与文化间的种种亦跃然纸上。
¥ 38.4 试读
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Conclusion 收藏
关键词:
简 介:Throughout this study,the interplay between film and culture is discussed,that is,film reflects the influences of the context in which it is produced,and reacts to the cultural development of concurrent society. In order to prove so and answer these questions asked in the introduction chapter,historical fictional film is chosen as the research target as it generates the conflicts between fiction versus fact and past versus present. To analyse such a film genre,a traditional research methodology in the social science field,comparative historical study,is explored innovatively in the research of film studies and talk about the relations between social context and film text,together with textual analysis as supplement. In detail,this research compares among five filmic adaptations of the same ancient Chinese story,The Ballad of Mulan,that is,Mulan Joins the Army (1939),Hua Mulan (1956),Lady General Hua Mulan (1964),Mulan (1998) and Mulan:Rise of a Warrior (2009). Given these differences in theme,plotline,characteristics and film style,together with the introduction of the social and cultural background of each film,it’s clear that each Mulan movies shows the development of nationalism,feminism together with the loss and survival of Chinese tradition of its own times and place,and in turn attempts to influence the public with its opinion on the status quo,which makes the choices of films irreplaceable by other cultural products on the representativeness.
¥ 10.19 试读
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The Style and Narration of Key Scenes 收藏
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简 介:According to David Bordwell and Kristin Thompson,“to understand form in any art,we must be familiar with the medium that art utilizes. Consequently,our understanding of a film must also include features of the film medium”. Therefore this chapter is to look at a same scene from the afore-discussed five films from a comparative aspect with the aim to demonstrate the influence of culture on filmic styles. In fact,the use of cinematic techniques in a cinema,shown clearly by the details of a specific collection of shots,emphasizes the theme in many ways,of which the two most important ones are “through creating atmosphere and by creating motifs”. The mood and the motifs of the film is mainly produced by the proper use of mise-en-scene,cinematography and editing,such as the depiction of certain props. This chapter will focus on the scene that shows Mulan leaving home for the front and compare the differences in their styles,such as the setting,lighting,costume,and the use of film shooting techniques. All these points matter much because in the film “people’s identification of which they are can no longer be regarded as a mere ontological or phenomenological event. Such identification is now profoundly enmeshed with technological intervention”. Based on all this,this chapter intends to discuss that the technological intervention in the film texts,which plays an important role in the film spectacle,is to serve its theme,while the latter further more reflects the requirements of the social contexts in which the film is made,instead of in which it is set.
¥ 13.63 试读
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关键词:
简 介:Mulan:Rise of a Warrior was shot in 2009,the year marking the 60 anniversary of the establishment of PRC. As the latest cinematic representation of this national heroine’s legend in the mainland of China and the only tragedy in all target films,it carries lots of up-to-date elements of local social evolutions under the influence of these political and economic developments of late years with leaps and bounds. In this process,the shared notions of the public and the family formation are all changed. An obvious example is the replacement of the anti-tradition theme leading previous Mulan films,like the 1939 and 1956 version,with the survival wisdom in the workplace,a must-have in modern society. This is a vivid example of the loss of tradition as a result of social changes. In the meantime,the praise of female personal abilities under the guidance of feminism and individualism emphasized in the 1998 version is inherited with certain adaptations which were made to fit better in local social environment,such as the combination of personal development and the expression of filial piety,the traditional virtue which survives until nowadays. All this makes this filmic version an epitome of local and Western cultural hybridity out of international social economic exchanges—a more peaceful way to modernization instead of military intrusion which was a much commoner practice in the past. In fact,this slow permeation of global culture is more thorough and easier for local people to accept or even to pursuit on their own.
¥ 19.09 试读
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An Expression of Individualism and Feminism:Mulan (1998) 收藏
关键词:
简 介:Mulan,made by Disney in 1998,is the first foreign animated film based on the Chinese story. In this edition,Mulan is a naughty girl who cannot meet the requirements of the matchmaker,accordingly unable to bring honour to her family with successful marriage. Seeing that her elder father,who is conscripted for military service,is too weak to fight for the country,she steals his military memo and the family sword,going to the front in disguise. There she accepts strict military exercise together with other men and makes a great success in the war. That is,she sweeps over the antagonist Shan-Yu’s army with a rocket which led to an avalanche,and saves Captain Li Xiang in danger. However,her female identity is revealed when the military doctor checks her for the wounds that she gets in the battle. As a result,Mulan is deserted by the army. After that,she realizes the real reason for her to be a soldier,that is,to prove herself to be useful. Based on this new knowledge,she begins her second fight and finally saves the whole nation by freeing the emperor from being abducted by Shan-Yu. During this process,she reverses Captain Li’s bias towards women and wins his love.
¥ 17.75 试读
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Praises of Household Happiness:Lady General Hua Mulan (1964) 收藏
关键词:
简 介:Lady General Hua Mulan is a Huangmei Opera film produced in Hong Kong in 1964. In this edition,Mulan is a filial girl who has great martial skills. Seeing that her old father,who suffers from asthma,struggling to go to the frontline,she tries in vain to persuade him to allow her to replace him. In order to let him change his mind,she puts on the male attire and wins her father in a martial competition without letting him know her real identity. Such a victory earns her the permission to join the army. At the beginning of her military years,she is too ambitious to be satisfied with the position as guidance of the military warehouse. But with the persuasion of General Li,she realizes that every position is important for the army to function properly and begins to work harder. Later with her caution and brevity,she finds out the enemy’s secret movements and makes a great contribution to her army’s success in the decisive battle. Marking twelve years excellent job in the front,Mulan chooses to go back and to take care of her ailing parents,after refusing the commander’s promise of further promotion and his marriage proposal on behalf of his daughter. Before returning home,she uses metaphors to promise General Li that if possible she will marry him. However,it is a pity that the latter cannot understand her. Only when the General visits Mulan later does he realize her real gender and accept her love.
¥ 16.78 试读