Abstract

ABSTRACT Spring, Summer, Fall, Winter … and Spring charts the struggles of a Buddhist disciple with passions that appear to be mastered only through the film's symbolic artifice. Recurrences in events and identities displace unresolved sexual tensions between and within characters, while vicissitudes of suffering and death are attributed to female outsiders whose transient presence cannot disrupt the natural harmonies of the idyllic monastery setting and the narrative's seasonal rhythm.

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