Useless jia zhangke torrents

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useless jia zhangke torrents

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The play of the proscenium against the filmmaker's taste for unmediated reality is fascinating. The penultimate image, held long enough for the full weight of quotidian despair to infect the audience, epitomizes the odyssey from kindergarten collectivity to failed privatization. Cui Minliang Zhao Tao Yin Ruijuan Liang Jingdong Zhang Jun Yang Tianyi Zhong Ping Wang Bo Whether a film receives the blessing of the authorities or not, this objective remains the same.

Even if truths themselves change, the desire to show them does not. Such myopic views serve only to continue the myth that realism is incompatible with romanticism. Song of Youth. At this point it is useful to recall the definition of socialist realism at the time of its inception in order to examine its ideals. At its height, socialist realism demanded that public-ness was king, and that the decadence of private individualism was to be scorned.

Would this rigorous ideal be what the Chinese youth actually desired? Is xianchang then, not offering an identical relationship between ideologically charged realism —one of a postsocialist variety— and its similarly truth hungry audience?

Aestheticians have already proved that they were au fait with cinematic reflection and only needed to continue to do so, rather than needing to understand the need to reflect. In this respect, realism is romanticism. Jia has made explicit his thoughts on xianchang realism as romanticism, or idealization. His outline of the cinematic depth of field or deep focus draws out some unexpected implications:. We are not saying that depth of field has the exclusive rights to the time-image…Our point is that depth of field creates a certain type of direct time-image that can be defined by memory, virtual regions of past, the aspects of each region.

Deleuze first points out that time is liberated from movement in deep focus compositions, in order for the viewer to explore in the image that which can only be crystallised in this liberation. Second, that this liberation of time offers a unique understanding of cinematic reality.

This remains the case if the image is registered in the immediate past, as a result of a short take or shallower focus; or by contrast, in deep focus and longer takes that require greater acts of recollection. We can read the aesthetic of Jia then as a Deleuzian one, since Jia often promotes this type of relation between deep focus shots and an uninterrupted empathy with time, and that he insists on pushing images of reality into the register of memory.

With a close reading of Platform it is possible to find several more invitations to recollect. However, we can also understand this as a reflexive moment, beyond the benefit of the narrative and as a historical testimony for audiences of the future. Perhaps this is why Unknown Pleasures does not offer the same sense of authority that Platform does. Like Platform , Unknown Pleasures makes extensive use of recollection and time-image, but in differing proportions, and with a distinct dramatic effect.

Platform is laden with dramatic irony. As an audience we are familiar with the historical events that unfold for the characters, but Unknown Pleasures plays on the contemporary unfamiliar of both the characters and audience. Also, the distance between a reduced recollection and lengthened time-image is accentuated.

This action is repeated as the camera steadfastly focuses on the banality of this task. After nearly three minutes of screen time, on the eighth attempt he finally succeeds; in hindsight the scene and task is completed devoid of incentive or recourse. Underlying the austere realism of the two films are formal elements that reveal the method of its construction. There is a structural parallel in two sequences, one from each film, that upon comparison reveals, beyond coincidence, the replicability of xianchang realism.

Both sequences depict the ending of a romantic association and a contemplative emphasis on alienation, where one party is abandoned in a seemingly inescapable environment, while the other breaks free. Xiaoping Lin has discussed the first example from Platform in terms of Confucian filial obligations, where in spurning the opportunity to tour with the troupe Yin Ruijuan Zhao Tao parts with Mingliang to tend to her ill father. Listening intently to an offscreen transport announcement Ruijuan, framed in an even deeper focus shot, is visually and metaphorically diminished in stature.

Unknown Pleasures mirrors this sequence with the same pattern of signifiers, only it is a minute longer and features even less dialogue. Mirroring the pattern established in Platform , Bin Bin is sitting at a booth looking on as Yuan Yuan lingers in the hall; Yuan eventually cycles through the doors and out of shot. The familiar transport announcement pronounces her freedom as Bin Bin is consigned to her past, completing the pattern in an elegant naturalistic manner.

As I have shown, realism in these two films are the result of meticulously prepared and executed construction. The form of its aesthetic construction was determined by the socio-economic conditions of contemporary China, precipitating its ideology. I have not shown this in order to criticize their naturalistic intentions, or to dismiss the achievement of a xianchang feeling; such a conclusion would be a misunderstanding.

On the reverse side of this analysis is my argument that there is real value in the method and necessity of the construction. This was achieved by drawing out essential relations between aesthetics and their determinants, but it is precisely these relations that is of value. Appreciating the relations allows for an understanding of how the process of constructing realism is of value.

Which is also the reason why the theories selected to identify these relations are important. If the goal of realism is show how the real looks and sounds, then ironically, at its logical extreme, realism undermines itself. These were often two dimensional images which looked as true to life as the tactile three dimensional subjects themselves, but the irony is, that these images relied on illusions, false perspectives and other trickeries for them to function. In identifying the medium as the effect, not the effect itself, Comolli inadvertently offered a solid reasoning for appreciating ideology and its aesthetic.

Available at: Artificial Eye. Durham: Duke University Press. Peter Matthews. Available at: [accessed December ], Within this breakdown the superstructure is dependent on and shaped by the base. Autumn, , Durham: Duke University Press, , p. Edited by Sheldon Lu and Emilie Yeh. Honolulu: University of Hawaii Press, , p. The World in edition, , p. Columbia: Columbia University Press, , p. Also, Augusta Lee Palmer has used the pinyin version of xianchang extensively. Stephen Teo. Augusta Lee Palmer.

Chinese National Cinema. New York, London, Routledge. Senses of Cinema Inc. Cinema 2: The Time Image. London: Continuum. Edwin Mak is a London based writer and editor. Where Film Matters. More by Edwin Email Edwin. Follow Offscreen2. On Oldboy Hwanhee Lee.

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