Abstract
This paper examines Jia Zhangke's aesthetics of time and space based on Deleuze's cinema philosophy as a theoretical foundation. The paper's central thesis is that Jia Zhangke creates an aesthetic of space and time in film through the presentation of temporal images. Through an analysis of Jia Zhangke's The Good Man of Three Gorges, The World, and Xiao Wu, it is argued that Jia not only provides a practical example of Deleuze's philosophical theory of cinema but also portrays a complex and realistic social spectacle in the context and culture of China.
Highlights
1.1 Research PurposeThe subject of this thesis is a theoretical investigation of the representation of time and space through the work of Chinese director, Jia Zhangke, utilizing three case study films: Xiao Wu (1997), The World (2004) and Still Life (2006).I have elected to focus on examples drawn from Jia’s work as they represent a progressive illustration of the latest generation of Chinese filmmakers
Chapter Five concentrates on the views that emerged from the two interviews I conducted. It explores the dialectical view of Jia’s presentation of socially sensitive topics; whether there is a connection between the image of characters doing nothing in purely audiovisual situations and Chinese national identity mentioned by Deleuze; and the pros and cons of Jia’s presentation of China’s complex society in a time-image manner
Eager to leave his hometown, will have a look at Zhao Xiaotao and Cheng Taisheng in The World, who are working in Beijing but can’t integrate into local life
Summary
The subject of this thesis is a theoretical investigation of the representation of time and space through the work of Chinese director, Jia Zhangke, utilizing three case study films: Xiao Wu (1997), The World (2004) and Still Life (2006). Jia is a director who incorporates aspects of film theory he studied before becoming a writer/director. Jia has gone beyond the realistic record of reallife issues and has begun to integrate conceptual aspects into his films, using cinema to communicate philosophical ideas and treating the relationship between narrative and human reflection in a more sophisticated manner [1]. Jia’s pursuit of truth and the visualization of time has given his films a unique aesthetic. It is possible to find in Jia’s films the shades of crystal-images and pure audio-visual contexts mentioned by Deleuze and analyze the representation of temporal space in Jia’s films from a philosophical, aesthetic point of view
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