Cinema of Asia
From The Art and Popular Culture Encyclopedia
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| - | * [http://www.paracinema.net Paracinema Magazine] Quarterly film magazine dedicated to [[b-movies]], [[cult film]]s, [[independent film]]s, [[horror film]]s, [[science fiction film]]s, [[exploitation film]]s, [[underground film]]s and [[Asian film]]s from past and present. | ||
| - | <hr> | ||
| - | [[Walter Benjamin]]'s "[[Short History of Photography]]" | ||
| - | <hr> | ||
| - | French Reproductive Engraving and the Metaphor of Translation | ||
| - | [[Stephen Bann]] | ||
| - | Warburg-Haus 31 January 2002 | + | Sometimes [[West Asia]]ns are thought of as Middle Eastern, and thus are not classified as Asian cinema, although [[Iran]] and [[Afghanistan]] are often included. [[North Asia]] is dominated by Siberian [[Russia]], and is thus considered European cinema. Central Asia is usually grouped with the Middle East. East Asian cinema is typified by the cinema of [[Japan]], [[China]], [[Hong Kong]], [[Taiwan]] and [[Korea]], including the Japanese [[anime]] industry and [[martial arts]] [[Hong Kong action cinema|action films of Hong Kong]]. South East Asian cinema is typified by the cinema of [[Thailand]] and other South East Asian countries. Central Asian and Southern [[Caucasus]] Cinema is typified by [[Iranian cinema|Iran]] and [[Tajikistan]]. West Asian cinema is typified by [[Turkish cinema]] and [[Cinema of Israel]]. [[Bollywood]], the film industry of India, is the biggest in the world in terms of tickets sold and films made. It makes action films, adventure films, romantic films, comedies, horror films and many other types. Mainly 'Masala' films are made here. |
| - | "My lecture is concerned with the practice of visual reproduction, particularly through | + | ==See also== |
| - | the medium of engraving, and picks up the themes that I have begun to develop in my | + | * [[World cinema]] |
| - | recent study, ''Parallel Lines''. Usually, when one has completed a long book, it is a | + | * [[Sandeep Marwah]] producer of 1000 short films |
| - | good time to tum to something completely different. The reason that I find constant | + | * [[Central Asian and Southern Caucasus Film Festivals Confederation]] |
| - | new interest is this area is that we appear now to be entering a new historical phase in | + | * [[The Network for the Promotion of Asian Cinema]] |
| - | the culture and practice of reproduction, which impels us to think differently about | + | |
| - | topics until recently consigned to oblivion. Every schoolboy now knows the | + | |
| - | difference between analogue and digital reproduction. And as a result of that | + | |
| - | knowledge, we have left the Garden of Eden which the human race temporarily | + | |
| - | inhabited for a century and a half alter the invention of photography. The particular | + | |
| - | kind of illusion generated by the light responsiveness of the photographic plate is | + | |
| - | being equalled and indeed surpassed by a new binary code, which enables, for | + | |
| - | example, the combination of photographic colour and black and white within the | + | |
| - | same homogeneous visual field. Everything seems possible, in reproduction, at the | + | |
| - | price of the loss of a certain innocence." | + | |
| - | <hr> | + | '''Notable Asian film directors:''' |
| - | I've read ten pages of [[William M. Ivins, Jr.]]'s ''[[Prints and Visual Communication]]'' and this work is incredible and incredibly neglected. In its first ten pages it presents a full [[revisionist]] history of [[Classical Antiquity]] vs. [[The Dark Ages]] (what the Greeks and Romans ''didn't have''). (see "[[Technology and Invention in the Middle Ages]]", [[Lynn White]], published in ''[[Speculum (journal)|Speculum]]''#15, April 1940) | + | |
| - | From the blurb: | + | *[[Abbas Kiarostami]] (Iran) |
| + | *[[Akira Kurosawa]] (Japan) | ||
| + | *[[Mohsen Makhmalbaf]] (Iran) | ||
| + | *[[Samira Makhmalbaf]] (Iran) | ||
| + | *[[Satyajit Ray]] (India) | ||
| + | *[[Bahman Ghobadi]] (Iran) | ||
| + | *[[Nuri Bilge Ceylan]] (Turkey) | ||
| + | *[[Ephraim Kishon]] (Israel) | ||
| + | *[[Sergei Bodrov]] (Russia) | ||
| - | :"The sophistication of the photographic process has had two dramatic results--freeing the artist from the confines of journalistic reproductions and freeing the scientist from the unavoidable imprecision of the artist's prints. So released, both have prospered and produced their impressive nineteenth- and twentieth-century outputs." | ||
| - | |||
| - | With all Ivins's talk about "freeing the artist from the confines of journalistic reproductions" with regards to the invention of the [[photography|photographic process]], I find it very surprising to find no mention of [[Walter Benjamin]]'s ''[[The Work of Art in the Age of Mechanical Reproduction]]'' in this book. Benjamin wrote in 1935/1936: | ||
| - | |||
| - | :"For the first time in the process of pictorial reproduction, photography freed the hand of the most important artistic functions which henceforth devolved only upon the eye looking into a lens." | ||
| - | |||
| - | <hr> | ||
| - | "the shared principle of all paraphilic love-maps (fantasy) is to turn [[childhood tragedy]] into (sexual triumph)..." --[[John Money]], 1966 | ||
| - | <hr> | ||
| - | [[Thomas Cook]] @200 | ||
| - | |||
| - | "Where are you going?" | ||
| - | |||
| - | "To the [[Great Exhibition|Great Exhibition]] in [[London]]. I took your copy of ''[[The Stones of Venice ]]'', I hope that's alright?" | ||
| - | |||
| - | "I booked a ticket with Cook*" | ||
| - | |||
| - | "Where are you going?" | ||
| - | |||
| - | "Where are you going?" | ||
| - | |||
| - | "To the [[Exposition Universelle (1855) |Paris Exposition Universelle of 1855]]. I took your copy of [[Walt Whitman]]'s ''[[I Sing the Body Electric (Whitman)|I Sing the Body Electric]]'', I hope that's alright?" | ||
| - | |||
| - | |||
| - | <small> | ||
| - | *[[Thomas Cook]] was a British travel agent, born exactly 200 years ago today. He [[commodified]] the [[Grand Tour]] and invented [[tourism]] as we know it today. He gave you a ''[[A Room with a View]]'' in Tuscany. His [[guide book]]s contributed to the concept of the [[armchair traveler]]. | ||
| - | </small> | ||
| {{GFDL}} | {{GFDL}} | ||
Revision as of 14:12, 22 November 2008
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Sometimes West Asians are thought of as Middle Eastern, and thus are not classified as Asian cinema, although Iran and Afghanistan are often included. North Asia is dominated by Siberian Russia, and is thus considered European cinema. Central Asia is usually grouped with the Middle East. East Asian cinema is typified by the cinema of Japan, China, Hong Kong, Taiwan and Korea, including the Japanese anime industry and martial arts action films of Hong Kong. South East Asian cinema is typified by the cinema of Thailand and other South East Asian countries. Central Asian and Southern Caucasus Cinema is typified by Iran and Tajikistan. West Asian cinema is typified by Turkish cinema and Cinema of Israel. Bollywood, the film industry of India, is the biggest in the world in terms of tickets sold and films made. It makes action films, adventure films, romantic films, comedies, horror films and many other types. Mainly 'Masala' films are made here.
See also
- World cinema
- Sandeep Marwah producer of 1000 short films
- Central Asian and Southern Caucasus Film Festivals Confederation
- The Network for the Promotion of Asian Cinema
Notable Asian film directors:
- Abbas Kiarostami (Iran)
- Akira Kurosawa (Japan)
- Mohsen Makhmalbaf (Iran)
- Samira Makhmalbaf (Iran)
- Satyajit Ray (India)
- Bahman Ghobadi (Iran)
- Nuri Bilge Ceylan (Turkey)
- Ephraim Kishon (Israel)
- Sergei Bodrov (Russia)
Unless indicated otherwise, the text in this article is either based on Wikipedia article "Cinema of Asia" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.
