KnE Social Sciences

ISSN: 2518-668X

The latest conference proceedings on humanities, arts and social sciences.

Overseas Communication and Acceptance of Hou Hsiao-Hsien’s Films-Centering on Franch Cahiers Du Cinéma

Published date: Nov 12 2018

Journal Title: KnE Social Sciences

Issue title: The 2018 International Conference of Organizational Innovation (ICOI-2018)

Pages:

DOI: 10.18502/kss.v3i10.3492

Authors:

T Xiaohan - tanxh633@163.com

Abstract:

The criticism on Hou Hsiao-Hsien’s films of the French magazine Cahiers du Cinéma is an important landscape for oversea propagation of Chinese cinemas. The attention to Hou Hsiao-Hsien lies mainly in his naturalism lens style and realistic poetic characteristics. The present article tries to restore the Cahiers du Cinéma’s critical standpoint, scale and reason on Hou Hsiao-Hsien film, and also answer the three questions: In what ways do the French critics pay attention to the Chinese films? What is their focus? And, why do they keep such a watchful eye on Chinese cinema? The logic and angle as well as the ways of criticism behind their attention can provide many inspirations for Chinese-language cinemas studies.

 

 

Keywords: Hou Hsiao-Hsien, Cahiers du Cinéma, overseas communication

References:

[1] Olivier Assayas, Notre reporter en République de Chine, in: Cahiers du Cinéma, 1984.12,n∘ 366:57-59.


[2] Charles Tesson, Cinéma en lac Majeur, in: Cahiers du Cinéma, 1985.10,n∘ 376:IV.


[3] Jean-François Pigoullié. La Voie de la sagesse. in: Cahiers du Cinéma, 1991.4,n∘ 442:72-73.


[4] Antoine de Baecque. Mister Hou et l’expérience du regard. in: Cahiers du Cinéma, 1997.4,n∘ 512:32.


[5] U.S. J.Dudley Andrew.Classical Film Theory[M]. translated by Li Weifeng, Beijing :Beijing World Publishing Corporation, 2013:67.


[6] Olivier Assayas, HHH,portrait de Hou Hsiao-hsien, in: Cahiers du Cinéma, 1997.4,n∘ 512:27-28.


[7] Jean-François Rauger. Naissance d’une nation. in: Cahiers du Cinéma, 1993.6,n∘ 469:18


[8] Jean-François Pigoullié. La Voie de la sagesse. in: Cahiers du Cinéma, 1991.4,n∘ 442: 7

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