POSSIBLY no other schoolreunion has aroused moreattention or had such apalpable ethos of com-merce than that of the BeijingFilm Institute class of 1978.
Filmmakers describe mental illnesses in different ways and show morbid mental phenomena using different film vocabularies. This process is almost as long as the film's course. After all, film is about ideology. Me...Filmmakers describe mental illnesses in different ways and show morbid mental phenomena using different film vocabularies. This process is almost as long as the film's course. After all, film is about ideology. Metaphysically, there cannot be a lack of emotion and spirit, and the emotion towards morbidity and spiritual expression cannot be missing. It is the same as all the relationships between narrators and the ones being narrated, the one who was narrated in the narrator's mouth reflects the one being narrated himself and also brands the narrator's own shadow. This is like the relationship of a mirror and the person who looks into the mirror. The image in the mirror reflects the person who looks into the mirror and shows many characteristics of the mirror such as diopter and focalization. However, the mirror does not know about it; the narrator might not know about it as well. Since the objects described are themselves as well as their own way of thinking and the expression of their emotional state, seeing the psychotic patient described by a filmmaker one can catch a glimpse of the filmmaker himself and the cultural systems and ideologies that are embedded in them. This point will always be the source that is most interesting and most worthwhile to ruminate over when considering this topic.展开更多
Russian writer Nicholas Tempered （1934） provided generations Ostrovski＇s novel How the Steel Was of Chinese youth with a widely admired role model： a young devoted communist soldier, Pawel Korchagin, whose image o...Russian writer Nicholas Tempered （1934） provided generations Ostrovski＇s novel How the Steel Was of Chinese youth with a widely admired role model： a young devoted communist soldier, Pawel Korchagin, whose image occupied a prominent place in the orthodoxy revolutionary education and literary imagination during Mao＇s era. Over the past decade, Pawel Korchagin has regained his popularity in Chinese media, his name and image have been appropriated by numerous artists and filmmakers to help in portrayals of the new generation＇s self-fashioning. The various （unorthodox） interpretations recently attached to Pawel＇s heroic story reveal a huge gap between Maoist ideology and the post-Mao ideas. This paper looks into the intricate relationships between Pawel Korchagin＇s revolutionary past and his varied contemporary representations. By doing so, I hope to gain a better understanding of the cultural politics of appropriating Mao＇s legacy to create new meanings for a changing Chinese society One example on which this paper focuses is the sixth-generation director Lu Xuechang＇s film Becoming a Man （1997）, which rewrites the revolutionary Bildungsroman of Pawel in a startling different context.展开更多
文摘POSSIBLY no other schoolreunion has aroused moreattention or had such apalpable ethos of com-merce than that of the BeijingFilm Institute class of 1978.
文摘Filmmakers describe mental illnesses in different ways and show morbid mental phenomena using different film vocabularies. This process is almost as long as the film's course. After all, film is about ideology. Metaphysically, there cannot be a lack of emotion and spirit, and the emotion towards morbidity and spiritual expression cannot be missing. It is the same as all the relationships between narrators and the ones being narrated, the one who was narrated in the narrator's mouth reflects the one being narrated himself and also brands the narrator's own shadow. This is like the relationship of a mirror and the person who looks into the mirror. The image in the mirror reflects the person who looks into the mirror and shows many characteristics of the mirror such as diopter and focalization. However, the mirror does not know about it; the narrator might not know about it as well. Since the objects described are themselves as well as their own way of thinking and the expression of their emotional state, seeing the psychotic patient described by a filmmaker one can catch a glimpse of the filmmaker himself and the cultural systems and ideologies that are embedded in them. This point will always be the source that is most interesting and most worthwhile to ruminate over when considering this topic.
文摘Russian writer Nicholas Tempered （1934） provided generations Ostrovski＇s novel How the Steel Was of Chinese youth with a widely admired role model： a young devoted communist soldier, Pawel Korchagin, whose image occupied a prominent place in the orthodoxy revolutionary education and literary imagination during Mao＇s era. Over the past decade, Pawel Korchagin has regained his popularity in Chinese media, his name and image have been appropriated by numerous artists and filmmakers to help in portrayals of the new generation＇s self-fashioning. The various （unorthodox） interpretations recently attached to Pawel＇s heroic story reveal a huge gap between Maoist ideology and the post-Mao ideas. This paper looks into the intricate relationships between Pawel Korchagin＇s revolutionary past and his varied contemporary representations. By doing so, I hope to gain a better understanding of the cultural politics of appropriating Mao＇s legacy to create new meanings for a changing Chinese society One example on which this paper focuses is the sixth-generation director Lu Xuechang＇s film Becoming a Man （1997）, which rewrites the revolutionary Bildungsroman of Pawel in a startling different context.
