Crouching Tiger, Hidden Dragon

Lee, Ang; Schamus, James

doi:10.5040/9780571344161-div-00000007

Cited by 14 publications

(11 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…39-46), thus in addition to music, proficiency in calligraphy is often used to suggest martial prowess. In Crouching Tiger, Hidden Dragon (Lee, 2000), Michelle Yeoh's character Shu Lien is subtly interrogating the female protagonist Jen, played by Zhang Ziyi, who has been suspected of stealing the Green Destiny Sword. Shu Lien visits Jen as she is in her father's house practicing calligraphy, and she comments:…”

Section: Hard Work Over Time To Accomplish Skillmentioning

confidence: 99%

Untitled

2016

IAFOR J Asian Stud

View full text Add to dashboard Cite

teaches cinema studies at Queen's University's Bader International Study Centre, UK. He has published on Chinese and Japanese cinemas in the journals Asian Cinema, the Journal of East Asian Popular Culture, and the IAFOR Journal of Asian Studies. His writing has also appeared in the anthology Horror to the Extreme, Changing Boundaries in Asian Cinema and he has presented papers in conferences throughout Asia.

show abstract

Section: Hard Work Over Time To Accomplish Skillmentioning

confidence: 99%

Untitled

2016

IAFOR J Asian Stud

View full text Add to dashboard Cite

show abstract

“…The values of social interaction and inherited culture are highlighted as important elements in the curriculum of Chinese music education. 17 Traditional Chinese and Western music, American pop and jazz, musicals composed by Andrew Lloyd Webber, modern dances, and film music such as that for Crouching Tiger, Hidden Dragon (Lee 2000) 18 are all in the current arts curriculum for senior high schools. Some popular music is regarded as 'classical', and there is a trend for classical musicians to learn this new topic, as can be seen in the Shanghai Music Conservatory's introduction of popular music into its curriculum (Shanghai Evening Post 2002).…”

Section: Introduction Of World Music Cultures and Music Technology Inmentioning

confidence: 99%

Globalization, values education, and school music education in China

Law¹,

Ho²

2009

Journal of Curriculum Studies

View full text Add to dashboard Cite

“…284, 269). In the film that Wong cites as his example of this synthesis, Ang Lee's (2000) Crouching Tiger, Hidden Dragon, he sees an exemplary instance of 'a new aesthetics of body in motion choreography seamlessly merged with the virtual interface of a digitalized technological apparatus' (Wong 2005, p. 276). Crouching Tiger, he writes, exemplifies 'what digital composite can do visually to realise such a concept in the Chinese aesthetics of bodily movement' (Wong 2005, p. 277).…”

mentioning

confidence: 99%

What Is Body, What Is Space? Performance and the Cinematic Body in a Non-Anthropocentric Cinema

Rutherford

2017

Arts

View full text Add to dashboard Cite

Abstract:The assumption of a clear demarcation and hierarchy between figure and ground has long informed key approaches in film studies to bodies and space. However, many filmmakers working in both animation and live cinema have confounded this hierarchy, working with an integration of figure and ground on equal terms to explore the full performative potential of the cinematic body. In the animation work of Einar Baldvin, this strategy is an Expressionist one, blurring the boundaries between figure and ground in order to project affective and psychic states onto the space around the body. In Wong Kar-wai's The Grandmaster, this blurring of boundaries between figure and ground eschews an Expressionist mode, working instead to render, in aesthetic form, a biophilosophy that emphasizes the continuity between bodies and environment to explore the possibilities of non-anthropocentric cinematic modes. An experimental writing style here serves to trace the energetic unfolding of these strategies across both films in order to frame the question, 'what is body here, what is space', and to ask how we as viewers engage with this embodied mode.

show abstract

Crouching Tiger, Hidden Dragon

Cited by 14 publications

References 0 publications

Untitled

Untitled

Globalization, values education, and school music education in China

What Is Body, What Is Space? Performance and the Cinematic Body in a Non-Anthropocentric Cinema

Contact Info

Product

Resources

About