Relevant bibliographies by topics / Zhang Yimou

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Zhang Yimou'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 April 2022

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Journal articles on the topic "Zhang Yimou"

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김주희. "Dance in Chinese films - Focusing on Zhang Yimou -." Korean Journal of Dance Studies 64, no. 2 (June 2017): 25–37. http://dx.doi.org/10.16877/kjds.64.2.201706.25.

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Jia-Xuan, Zhang. ": Red Sorghum . Zhang Yimou, Xian Film Studio, Wu Tianming." Film Quarterly 42, no. 3 (April 1989): 41–43. http://dx.doi.org/10.1525/fq.1989.42.3.04a00080.

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Sheppard, W. Anthony. "Tan Dun and Zhang Yimou between Film and Opera." Journal of Musicological Research 29, no. 1 (January 29, 2010): 1–33. http://dx.doi.org/10.1080/01411890903475957.

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Jia-Xuan, Zhang. "Review: Red Sorghum by Zhang Yimou, Xian Film StudioWu Tianming." Film Quarterly 42, no. 3 (1989): 41–43. http://dx.doi.org/10.2307/1212602.

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Huot, Marie Claire. "Deux pôles yang du nouveau cinéma chinois : Chen Kaige et Zhang Yimou." Cinémas 3, no. 2-3 (March 15, 2011): 103–25. http://dx.doi.org/10.7202/1001194ar.

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Seul deux cinéastes chinois sont connus aussi bien en Chine qu’à l’étranger. Il s’agit de Chen Kaige et de Zhang Yimou. L’article tente de démontrer la polarisation de leur cinéma respectif à partir de leurs positions qui sont diamétralement opposées. Celle de Chen est dite hanxu, allusive qui incite à l’auto-réflexion alors que celle de Zhang est du ressort yanggang, soit en faveur de l’émotion vive et directe. L’article rend compte de ces deux pôles dans leurs différences, mais aussi dans ce qui les unit, leur « impensé » qui touche à la différence sexuelle et à l’écriture chinoise.
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Qian, Kun. "Zhang Yimou: Globalization and the Subject of Culture by Wendy Larson." China Review International 24, no. 4 (2017): 317–21. http://dx.doi.org/10.1353/cri.2017.0078.

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Bachora, Łukasz, and Masa Gustin. "Zhang Yimou – twórca niezależny, twórca koniunkturalny? Metamorfozy artysty w państwie komunistycznym." Gdańskie Studia Azji Wschodniej, no. 16 (2019): 110–27. http://dx.doi.org/10.4467/23538724gs.19.019.11864.

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Gouvêa, Lívia Gegenheimer. "O Erotismo dos fantasmas: sadismo, imundície e automutilação no cinema chinês contemporâneo." Anagrama 8, no. 1 (December 13, 2013): 1–15. http://dx.doi.org/10.11606/issn.1982-1689.anagrama.2014.78978.

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Este artigo tem como objetivo expor as diferentes formas de erotismo dos filmes Lanternas vermelhas de Zhang Yimou, Amor á flor da pele de Wong Kar Wai e O buraco de Tsai Ming Liang. Busca-se compreender a representação da identidade dos três locais abordados, China Continental, Hong Kong e Taiwan na instancia erótica. Para tanto a analise comparativa procura evidenciar os rastros históricos nas metáforas eróticas dos filmes, seguindo o conceito de Georges Bataille
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Ye, Tan, and Zhang Yimou. "From the Fifth to the Sixth Generation: An Interview with Zhang Yimou." Film Quarterly 53, no. 2 (December 1999): 2–13. http://dx.doi.org/10.2307/1213716.

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Ye, Tan, and Zhang Yimou. "From the Fifth to the Sixth Generation: An Interview with Zhang Yimou." Film Quarterly 53, no. 2 (December 1999): 2–13. http://dx.doi.org/10.1525/fq.1999.53.2.04a00020.

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Dissertations / Theses on the topic "Zhang Yimou"

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Sun, Wei. "Les tabous et l'autocensure : la sexualité, la violence et le politiquement correct dans les films de Zhang Yimou." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30003.

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Les tabous et l’autocensure : la sexualité, la violence et le politiquement correct dans les films de Zhang YimouDans un film, la sexualité, la violence et le politiquement correct sont toujours les tabous qu’il faut traiter avec précaution. Malgré la mise en place de la classification cinématographique au monde occidental, le législateur s’empare quand même du contrôle des films au nom de la protection de la jeunesse, pas davantage en République populaire de Chine, le pouvoir communiste qui reste encore au XXIe siècle un régime autoritaire, a le pouvoir absolu des autocrates sur la création artistique. Par là, les tabous, en particulier le politiquement correct, sont interdits de toucher, et la censure omniprésente s’accompagne toujours du processus de la production du film, dont la conception du plan, la genèse du scénario, la réalisation, et la diffusion, provoque le réalisateur à faire l’autocensure lors de la création cinématographique.En tant que leader des cinéastes chinois à notre époque, Zhang Yimou est plutôt un signe légendaire qui témoigne du développement du film chinois, et ses œuvres abondantes, tant en quantité qu’en diversité, servent d’un objet parfait à l’analyse. La plupart de ses œuvres se réalisent à l’aide de l’adaptation cinématographique du texte. Par là, un contraste entre les deux modes d’expression, celui du récit et celui d’audiovisuel, met en relief l’altérité qui nous permet d’avancer notre étude sur la mise en scène de la sexualité, de la violence et du politiquement correct sur l’écran et l’autocensure de notre réalisateur lors de la création cinématographique.Notre étude se propose d’analyser le traitement des tabous par Zhang Yimou au cours de la création cinématographique dans le but de contourner la censure des autorités. Trois axes principaux de recherche ont été privilégiés dans ce travail : l’analyse de la censure cinématographique, son histoire, ses lois et règlements en droit du film, l’analyse de l’interview de Zhang Yimou à la télévision, et à la description de ses coopérateurs, et l’analyse en détail des œuvres filmiques de Zhang Yimou
Taboos and self-censorship : Sexuality, violence and political correctness in Zhang Yimou’s filmsIn a movie, sex, violence, and political correctness are often taboos. These taboos need to be handled with caution. Although the film grading system in Western countries has been established, those legislators still use cessation as an excuse to control the film in order to protect the minors. Moreover, as far as the People’s Republic of China is concerned, as one of the few remaining authoritarian regimes in the 21st century, the Communist regime has absolute arbitrary control over artistic creation. Therefore, these taboos, especially political correctness, are not allowed to touch. The ubiquitous review is often accompanied by the entire process of film production, which involves conception, script-writing, filming, and distribution, prompting the director to constantly self-censorize the film and television creationg process.As the leader of the contemporary Chinese film, Zhang Yimou is almost a legendary symbol, he witnessed the development of Chinese film. And his rich works, both in quantity and diversity, are undoubtedly the perfect research subject. Most of his works are derived from the adaptation of literature to film. The two different expression modes of literature and film, one is the textual expression, and the other is the audiovisual presentation, which forms a sharp contrast. The contrast helps us to study how to present sexuality, violence, and political correctness on the screen, as well as the director’s self-censorship during film-making.Our research focuses on analyzing that how Zhang Yimou is handling of thses taboos in the film-making process, thus avoiding the review of those in power. This paper mainly cuts into three latitudes: Firstly, for the study of film censorship, the study of its history, legal rules and articles. Secondly, the analysis of Zhang Yimou’s TV interviews and the descriptions of his collaborators, and finally a detailed and indepth analysis of Zhang Yimou’s works
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Liu, Xiaodong. "Collaborative orientalism : from Hollywood's "yellow perils" to Zhang Yimou's "red trilogy"." Bowling Green, Ohio : Bowling Green State University, 2010. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1269018727.

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Yen, Betsy. "Formal linguistics in modern Chinese cinema a translation project on Zhang Yimou's The story of Qiu Ju /." Diss., Connect to the thesis, 2007. http://hdl.handle.net/10066/1590.

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Ngan, Ka-hing. "Gender representation in Zhang Yimou's films /." View the Table of Contents & Abstract, 2005. http://sunzi.lib.hku.hk/hkuto/record/B34614424.

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Ma, Mingzhu. "L' origine de la couleur dans les films de Zhang Yimou : analyse esthétique et symbolique." Paris 7, 2014. http://www.theses.fr/2014PA070043.

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Du point de vue culturel, les films et les couleurs d'un réalisateur sont produits par ses racines culturelles. La couleur est une partie du langage cinématographique. Nous utilisons les couleurs pour exprimer les sentiments différents. Cela ressemble le contraste entre la lumière et l'ombre qui représentent le conflit entre la vie et la mort. Chaque couleur possède sa propre signification et les gens de différentes origines culturelles possèdent leurs propres interprétations. Parfois les spectateurs ne voient pas la variété des significations de couleur, mais ils peuvent les sentir. Comme Zhang Yimou est chinois, ses couleurs doivent être liées à sa culture patrimoniale de cinq mille ans. Cet sujet permis d'ouvrir la porte de la culture chinoise et de mieux connaître ce réalisateur. Cette recherche est sous des angels suivants : a. Où se trouvent-t-elles les racines culturelles de la couleur de Zhang Yimou ? b. Dans l'histoire du cinéma chinois, la couleur de Zhang Yimou représente-t-elle un héritier ou une innovation ? c. Est-ce que les facteurs économiques, sociaux et politiques exercent une influence sur l'esthétique de la couleur de Zhang Yimou ? d. La personnalité de Zhang Yimou exerce-t-elle une influence sur le choix et la tendance esthétique de la couleur de ses films ? e. Est-ce-que la théorie et les oeuvres picturales traditionnelles représentent une référence pour Zhang Yimou ? f. Est-ce possible d'utiliser les théories occidentales pour analyser l'esthétique de la couleur de Zhang Yimou ?
From a cultural point of view, the films and the colors of a director are produced by his cultural roots. Color is a part of film language. We use colors to express different feelings. It likes the contrast between light and shadow that represents the conflict between life and death. Each color has its own meaning and people from different cultural backgrounds have their own interpretations. Sometimes the audience does not see the variety of meanings of color, but they can feel it. As Zhang Yimou is Chinese, his colors should relate to the heritage culture of five thousand years of China. This topic helps to open the door of the Chinese culture and to learn more about this director. This research is under the following angels: a. What are the roots of the color of Zhang Yimou? b. In the Chinese cinema history, the color of Zhang Yimou is an heir or an innovation? c. Do the economic, social and political factors influence the aesthetics of the color of Zhang Yimou? d. Does the personality of Zhang Yimou influence the choice and aesthetic trend of the color of his movies? e. Do the theory and the traditional pictorial works represent a reference for Zhang Yimou? f. Is it possible to use Western theories to analyze the aesthetics of the color in Zhang Yimou's films?
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Tu, Haijing. "A Chinese director and his transition from critical banned filmmaker to box office success." Auburn, Ala., 2005. http://repo.lib.auburn.edu/2005%20Summer/master's/TU_HAIJING_25.pdf.

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Sung, Ying-Wei Tiffany. "Turandot's Homecoming: Seeking the Authentic Princess of China in a New Contest of Riddles." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1273466517.

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Zha, Yu 1970. "The mythology of Hero : a study of Chinese national cinema." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79987.

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As the twentieth century ended with globalization and commercialization, popular culture begins to challenge the dominance of national culture. The Chinese intellectual community tries to defend national culture against the incoming global culture and local cultures. The conflicts between localism and nationalism, and also between globalism and nationalism, are clearly demonstrated in the Hero phenomenon, which basically concerns the unanimous disparagement on director Zhang Yimou's debut martial arts film Hero within the Chinese critics' circle. Through a discursive analysis of the phenomenon, we can see how the conflicts between modernism and postmodernism, between elitism and commercialism shape the landscape of contemporary Chinese culture. In this article, I first seek to understand how modernism evolved into nationalism in China during the last century and what role the intelligentsia played in the process of such evolvement. I further seek to understand why the intellectual community has distaste for popular culture and commercialism. Other research on this topic has linked nationalism to national culture, and localism and globalism to popular culture.
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Qin, Liyan. "Trans-media strategies of appropriation, narrativization, and visualization adaptations of literature in a century of Chinese cinema /." Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2007. http://wwwlib.umi.com/cr/ucsd/fullcit?p3258676.

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Thesis (Ph. D.)--University of California, San Diego, 2007.
Title from first page of PDF file (viewed Jun 4, 2007). Available via ProQuest Digital Dissertations. Vita. Filmography : p. 264-270. Includes bibliographical references (p. 271-284).
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Huang, Wei-Yi, and 黃崴奕. "The Dramatic World of Yimou Zhang''s Movie." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/01738413057689495926.

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碩士
中國文化大學
戲劇研究所
91
The Dramatic Word of YiMou Zhang’s Movies Student：Wei-Yi Huang Advisor：Dr. Chuan-Hai Niou Chinese Culture University The Graduate Institute of Arts Abstract The fame and reputation of Yimou Zhang has been cemented way earlier before he filming 《Hero》. What do the audiences see when 《Hero》suffered from a setback in Oscar , and the overall criticisms by the movie commentary ? Is it the splendid but vacuous themes in the movie ? Or the commercial attempt piled up by the big celebrities ? Or even the crash of the mythical status of director Yimou Zhang? Has Zhang’s passion and determination when filming the 《Red Sorghum》 been replaced by the commercial promotions and the market situation ? This essay aims to use the drama’s perspective as a starting point , to analyze Yimou Zhang’s work of the seven films starting from the 《Red Sorghum》to《The Road Home》, in trying to identify the rule and the expressing intention of Yimou Zhang’s work , by looking at the text , theory structure , personalities of each character , to the style the movies. The research results shows that , director Yimou Zhang is an very international-oriented director who sees clearly over the generation trends and the world pulsation . By this sensitive way of creating his work , he has become one of the directors well equipped with a world outlook in China . Keywords：Movie, 5th Generation, Theatre Theory, Director, Mainland China Film
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Books on the topic "Zhang Yimou"

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Yimou, Zhang, ed. Zhang Yimou shuo. Shenyang: Chun femg wen yi chu ban she, 1998.

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Huo zhe, Zhang Yimou. Beijing Shi: Ren min wen xue chu ban she, 2011.

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Shi jue ying xiong Zhang Yimou: The films by Zhang Yimou. Beijing Shi: Zhongguo guang bo dian shi chu ban she, 2005.

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Zhi mian Zhang Yimou: Zhang Yimou de dian ying shi jie. Beijing Shi: Jing ji ri bao chu ban she, 2002.

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Colamartino, Fabrizio. Il cinema di Zhang Yimou. Genova: Le mani, 2003.

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Zhang Yimou zhe ge ren. Xianggang: Kai di ya wen hua chu ban gong si, 1996.

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Zhang Yimou de zuo ye. Beijing: Beijing da xue chu ban she, 2012.

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Zhang Yimou de dian ying shi jie: Qing chun de hu han = Zhang Yimou. Taibei Shi: Feng yun shi dai chu ban gu fen you xian gong si, 2006.

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Wen hua shi yu zhong de "Zhang Yimou". Beijing: Zhongguo she hui ke xue chu ban she, 2011.

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Yin xiang Zhongguo: Zhang Yimou zhuan. Beijing: Huaxia chu ban she, 2008.

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Book chapters on the topic "Zhang Yimou"

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Kinane, Ian. "The Wuxia Films of Zhang Yimou: A Genre in Transit." In Rethinking Genre in Contemporary Global Cinema, 107–20. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90134-3_8.

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"The Zhang Yimou Model." In Confronting Modernity in the Cinemas of Taiwan and Mainland China, 157–72. Cambridge University Press, 2001. http://dx.doi.org/10.1017/cbo9780511549663.006.

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Deppman, Hsiu-Chuang. "Su Tong and Zhang Yimou." In Adapted for the Screen, 34–60. University of Hawai'i Press, 2010. http://dx.doi.org/10.21313/hawaii/9780824833732.003.0002.

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"The Close-up of Mo Yan and Zhang Yimou:." In Close-ups and Long Shots in Modern Chinese Cinemas, 8–35. University of Hawaii Press, 2020. http://dx.doi.org/10.2307/j.ctvz0h8nv.5.

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McGrath, Jason. "Heroic Human Pixels: Mass Ornaments and Digital Multitudes in Zhang Yimou’s Spectacles." In Sino-Enchantment, 27–48. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474460842.003.0002.

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This chapter considers how Zhang Yimou has reimagined traditional Chinese culture and history through the use of CGI in his blockbuster film Hero (Yingxiong, 2002) and his choreography in the opening and closing ceremonies for the 2008 Beijing Olympics. It examines but refutes the accusation that he has pursued a totalitarian or fascist aesthetic by looking closely at how the ‘digital multitude’ is represented in the film and the ‘mass ornament’ is manifested in the Olympics ceremonies. Ultimately, the mass spectacles organised by Zhang tell us more about the ‘harmony’ of contemporary China with globalised capitalism than about either totalitarian aesthetics or nationalist propaganda, and they demonstrate the logic of digital labour in a globalised economy.
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"CHAPTER ONE The Close-up of Mo Yan and Zhang Yimou." In Close-ups and Long Shots in Modern Chinese Cinemas, 8–35. University of Hawaii Press, 2020. http://dx.doi.org/10.1515/9780824885670-003.

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Chan, Kenneth. "The Chinese Cinematic Remake as Transnational Appeal: Zhang Yimou’s A Woman, a Gun and a Noodle Shop." In Transnational Film Remakes. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474407236.003.0006.

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The past two decades have witnessed the resurgence of Chinese cinemas on the global stage. As Chinese directors confront the notion of remaking American films, they do so with the assurance that there is a potential global market for their product, which in turn might foster a more creative reimagining of a Chinese version that can stand on its own artistic merits as transnational Chinese cinema. This chapter undertakes a close analysis of A Woman, a Gun and a Noodle Shop (Zhang Yimou 2009) as a transnational film remake to demonstrate how the film confidently reinvents the Coen Brothers’ original film, Blood Simple (1984) as an original in its own right. The analysis demonstrates the way in which the remake is infused with Zhang Yimou’s brand of cinematic pragmatism and the way in which the cooption of a transgressive politics of gender and postcoloniality becomes a route toward transnational appeal.
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Costanzo, William V. "Film Comedy in East Asia." In When the World Laughs, 299–332. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190924997.003.0014.

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Informed by centuries of Daoist, Buddhist, Shinto, and Confucian thought as well as the particularities of Eastern languages and customs, film comedy in China, Korea, and Japan offers fascinating new viewpoints for Westerners. In contrast to the Greek distinction between comedy and tragedy, laughter in East Asia tends to be allied with equilibrium, an integral part of a balanced state and state of mind. This chapter highlights major figures and trends associated with humor in Japan (Yasujiro Ozu, Juzo Itami, Toshiro Mifune), Korea (Jee-won Kim, Sang-jin Kim), Hong Kong (Jackie Chan, Stephen Chow), Taiwan (Chun Han Wang, Ang Lee), and the People’s Republic of China (Zhang Yimou, Xiaogang Feng).
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"4. National Cinema, Cultural Critique, Transnational Capital The Films of Zhang Yimou." In Transnational Chinese Cinemas, 105–36. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824865290-007.

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"2. Su Tong and Zhang Yimou: Women’s Places in Raise the Red Lantern." In Adapted for the Screen, 34–60. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824860653-004.

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Conference papers on the topic "Zhang Yimou"

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Tang, Feng. "Chinese Aesthetics in Film and Television: A Case Study of Zhang Yimou and Jia Zhangke's Movies." In Proceedings of the 2018 International Workshop on Education Reform and Social Sciences (ERSS 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/erss-18.2019.58.

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