An Analysis of the Aesthetics of Temporal Space in Jia Zhangke's Films in the Perspective of Deleuze's Film- Philosophy
DOI:
https://doi.org/10.55121/card.v1i1.15Keywords:
Jia Zhangke, Deleuze, Time-image, Crystal-image, Time-spaceAbstract
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.
References
[1] Wu, J.X., 2012. A study of the documentary aesthetic style of Jia Zhangke’s films. Masters dissertation, Nanjing Normal University. pp. 13.
[2] Lou. Y., 2013. Moments of Boredom and Contemplation: Traces of Time and the Gaze in “Slow Aesthetic” Films. Journal of Film Art - Art Observation. 05, 93-99.
[3] Jiang, M., 2019. Film and Philosophy - A Study of Gilderetz’s Film Thought. Doctora Dissertation, Central Academy of Fine Arts. pp. 42.
[4] Jia, Zh.K., 2020. The film, which I barely know. Kanlixiang.Developer is Beijing Vistopia Culture Media Co., Ltd.Available at: https://www.youtube.com/playlist?list=PL0Q4oZHgiaq0jJWt8gQg7T1ROOazVDYwM.
[5] Frodon, J.M., 2021. The World of Jia Zhangke. Translated by Kong Qian, Guangxi Normal University Press. pp. 108.
[6] Jia, Zh.K., 2008. Jia Xiang I: 1996-2008, Jia Zhangke’s film handbook. Beijing University Press. pp. 103.
[7] Frodon, J.M., 2021. The World of Jia Zhangke. Translated by Kong Qian, Guangxi Normal University Press. pp. 216.
[8] Frodon, J.M., 2021. The World of Jia Zhangke.Translated by Kong Qian, Guangxi Normal University Press. pp. 101.
[9] Frodon, J.M., 2021. The World of Jia Zhangke. Translated by Kong Qian, Guangxi Normal University Press. pp. 135.
[10] Deleuze, G., 2004. The Time-Image, trans. H. Tomlinson and R. Galeta. London: Continuum. pp. 20.
[11] Wang, W.B., 2016. Flow of “Still Life” and Reflection on “Being”: The Phenomenological Aesthetics of Jia’s Film. Journal of Wuhan University of Technology (Social Science Edition). 06, 1041.
[12] Walter Salles, 2014. Jia Zhang-ke: A Guy from Fenyang MK2 Productions https://www.bilibili.com/video/av14547390/.
[13] Qu, Ch.J., 2003. The Documentary Value and Artistic Taste of Cinema. Journal of Shanghai University (Social Science Edition). 02, 42.
[14] Jia, Zh.K., 2008. Jia Xiang I: 1996-2008, Jia Zhangke’s film handbook. Beijing University Press.
[15] Jia, Zh.K., 2009. Interviews with Chinese Workers - Stories about Collective Memory.
[16] Jia, Zh.K., 2019. Jia Xiang II: 2008-2016, Jia Zhangke’s film handbook. Beijing University Press.
[17] Charles Tesson, 1999. Temps d’aimer, le temps de sourire. Cahiers du Cinéma 531, No.0008-011X. pp. 24-29.
[18] Jia, Zh.K., 2008. Jia Xiang I: 1996-2008, Jia Zhangke’s film handbook. Beijing University Press. pp. 191.
[19] Walter Salles, 2014. Jia Zhang-ke: A Guy from Fenyang MK2 Productions https://www.bilibili.com/video/av14547390/
[20] Frodon, J.M., 2021. The World of Jia Zhangke. Translated by Kong Qian, Guangxi Normal University Press.
[21] Jia, Zh.K., 1995. Xiaoshan going home.
[22] Jia, Zh.K., 2001. In Public.
[23] Jia, Zh.K., 1997. Xiao Wu. HuTong Production.https://www.youtube.com/watch?v=BDP99GuCI0E.
[24] Jia, Zh.K., 2000. The Platform. HuTong Production,
[25] T-MARK, ART-CAM. https://www.youtube.com/watch?v=YsezqJxj4Lg.
[26] Jia, Zh.K., 2002. Unknown pleasures. HuTong Production. https://www.youtube.com/watch?v=aEvoOr-2jDL0.
[27] Jia, Zh.K., 2004. The World. Shanghai Film Studio.
[28] https://www.youtube.com/watch?v=pQNoXtr1i50
[29] Li, M., 2008. Narrative Research and Theoretical Analysis on Jia Zhangke’s Movie. Postgraduate dissertation of Tsinghua University.
[30] Zhang, L., 2011. Image Expression of Social Con-science----Jia Zhangke’s Films Study. Doctoral dissertation, Soochow University. pp. 5.
[31] Ge, F., 2005. World—Notes. Journal of Reading. 06, 345.
[32] Wang, H., 2007. Still Life Symposium. Journal of Reading. 02, 22.
[33] Zhong, J., 2006. The World Picture and Personal Memory in the Age of Globalization - An Interview with the Director and Actors of the Film the World. Journal of Shanghai University (Social Science Edition). 06, 33.
[34] Li, N., 2008. Individual Narration, Documentary Style, and Grassroots Space Presentation: Research on Film Director Jia Zhangke. Postgraduate dissertation, Peking University. pp. 84.
[35] Moments of Boredom and Contemplation: Traces of
[36] Time and the Gaze in “Slow Aesthetic” Films. Journal of Film Art - Art Observation. 05, 95.
[37] Hu, Y., 2015. The Birth of the Time Image: An Exploration of Jiang Wen’s Film Aesthetics in the Perspective of Gilderetz’s Image Theory. Masters Dissertation, Southwest Jiaotong University. pp. 4.
[38] Liu, Z.Y., 2020. Frame, the Important Element of Gilles Deleuze’s Philosophy and Aesthetic. Journal of Contemporary Cinema—Filmtheory. 07, 122.
[39] Jia, Zh.K., 2008. Jia Xiang I: 1996-2008, Jia Zhangke’s film handbook. Beijing University Press. pp. 15.
[40] Steintrager, J.A., 2014. The thirdness of King Hu: Wuxia, Deleuze, and the cinema of paradox. Journal of Chinese Cinemas. 08, 110 - 99.
[41] Matthew A. Holtmeier., 2014. The wanderings of Jia zhangke Pre-Hodological space and aimless youths in Xiaowu and Unkonwn Pleasures. Journal of Chinese Cinemas. 02, 149.
[42] Chen, Y.H. 1995. Deleuze and Hou Hsiao-hsien’s “mosaic” in Good Men Good Women.
[43] Frodon, J.M., 2021. The World of Jia Zhangke.
[44] Translated by Kong Qian, Guangxi Normal University Press. pp. 16.
[45] Shi, M.M., 2015. Non-Visual Studies in Film - A Review of Deleuze’s View of Cinema. Journal of Movie Review. 16, 61.
[46] Li, K., 2015. Two Film Narrative Models in the Aesthetic Perspective of Deleuze. Literary Criticism. 04, 47.
[47] Shi, M.M., 2015. Non-Visual Studies in Film - A Review of Deleuze’s View of Cinema. Journal of Movie Review. 16, 61.
[48] Li, P., 2020. Change of audience position and interpretation of Deleuze’s image theory. Postgraduate dissertation, Shanghai Normal University. pp. 23.
[49] Li, P., 2020. Change of audience position and interpretation of Deleuze’s image theory. Postgraduate dissertation, Shanghai Normal University. pp. 12.
[50] Lou, Y., 2013. Moments of Boredom and Contemplation: Traces of Time and the Gaze in “Slow Aesthetic” Films. Journal of Film Art - Art Observation. 05, 94.
[51] Zhao, X.Sh., 2007. What cinema might be - A preliminary exploration of Deleuze’s philosophical thought on cinema. Journal of Foreign Theoretical Trends. 10, 75.
[52] Jia, Zh.K., 2008. Jia Xiang I: 1996-2008, Jia Zhangke’s film handbook. Beijing University. pp. 218.
[53] Deleuze, G., 1989. Cinema 2: The Time-Image, trans.
[54] H. Tomlinson and R. Galeta. London: Continuum. pp. 68.
[55] Deleuze, G., 1986. Cinema 1: The Movement Image, trans. H. Tomlinson and B. Habberjam. London: Continuum. pp. 22.
[56] Pu, B., Hua, X.H., 2020. Rethinking about the Poetics of Yasujiro Ozu’s Family Ethics Films from the Perspective of Time and Space. Journal of Future Communication. 06, 55.
[57] Li, K., 2015. From Organic Narrative to Nonorganic Narrative:A New Interpretation on Artistic Narrative from the Horizon of Gilles Deleuze’s Aesthetics. Journal of Humanities & Social Sciences Journal of Hainan University. 3, 46.
[58] Deleuze, G., 2003. Cinema II: Time - Image. Translated by Qiang Xie, Ruoming Cai and Yue Ma, Hunan Fine Arts Press. pp. 421.
[59] Xu, H., 2012. The “film-philosophy” of Gilles
[60] Deleuze. Journal of Literary Studies. 06, 114.
[61] Li, K., 2015. From Organic Narrative to Nonorganic Narrative:A New Interpretation on Artistic Narrative from the Horizon of Gilles Deleuze’s Aesthetics. pp. 46.
[62] Zhao, X.Sh., 2007. What cinema might be - A preliminary exploration of Deleuze’s philosophical thought on cinema. Journal of Foreign Theoretical Trends. 10, 74.
[63] Xu, H., 2012. The “film-philosophy” of Gilles Deleuze. Journal of Literary Studies. 06, 116.
[64] Deleuze, G., 1982/1985. Cinema 1: The Movement-Image. (H. Tomlinson and B. Habberjam, Trans.) Minneapolis: University of Minnesota Press. pp. 127.
[65] Xu, H., 2012. The “film-philosophy” of Gilles Deleuze. Journal of Literary Studies. 06, 110.
[66] Deleuze, G., 2003. Cinema II: Time - Image. Translated by Qiang Xie, Ruoming Cai and Yue Ma, Hunan Fine Arts Press. pp. 374.
[67] Wang, W.B., 2019. Flow of “Still Life” and Reflection on “Being”: The Phenomenological Aesthetics of Jia’s Film. Journal of Wuhan University of Technology (Social Science Edition). 06, 1038-1042.
[68] Walter Salles, 2014. Jia Zhang-ke: A Guy from Fenyang MK2 Productions https://www.bilibili.com/video/av14547390/
[69] Deleuze, G., 1989. Cinema 2: The Time-Image, trans.
[70] H. Tomlinson and R. Galeta. London: Continuum. pp. 3.
[71] Jia, Zh.K., 2008. Jia Xiang I: 1996-2008, Jia
[72] Zhangke’s film handbook. Beijing University Press. pp. 48.
[73] Deleuze, G., 2004. The Time-Image, trans. H. Tomlinson and R. Galeta. London: Continuum. pp. 26.
[74] Jia, Zh.K., 2008. Jia Xiang I: 1996-2008, Jia
[75] Zhangke’s film handbook. Beijing University Press. pp. 177.
[76] Zhang, Ch., 2016. Body-Space-Time-Deleuze’s Art
[77] Theory study. Doctoral dissertation, Central Academy of Fine Arts.
[78] Li, K., 2015. Two Film Narrative Models in the Aesthetic Perspective of Deleuze. Literary Criticism. pp. 45.
[79] Xu, H., 2014. Gilles Deleuze on Cinema Image. Peking University Press. pp. 285.
[80] Kozin, A., 2009. The appearing memory: Gilles Deleuze and Andrey Tarkovsky on n `crystal- image’. Memory Studies. 2(1), 109.
[81] Rok Benčin, 2019. On “The Philosophical Moment”, the Aesthetics of Liberation and “Other Modernity” in Jia Zhangke’s Films. Translated by Li Jun. Journal of Guizhou Social Sciences. 02, 56-59.
[82] Frodon, J.M., 2021. The World of Jia Zhangke.
[83] Translated by Kong Qian, Guangxi Normal University Press. pp. 249.
[84] Rok Benčin, 2019. On “The Philosophical Moment”, the Aesthetics of Liberation and “Other Modernity” in Jia Zhangke’s Films. Translated by Li Jun. Journal of Guizhou Social Sciences. 02, 58.
[85] Li, M., 2008. Narrative Research and Theoretical
[86] Analysis on Jia Zhangke’s Movie. Postgraduate dissertation of Tsinghua University. pp. 64.
[87] Frodon, J.M., 2021. The World of Jia Zhangke.
[88] Translated by Kong Qian, Guangxi Normal University Press. pp. 240.
[89] Jia, Zh.K., 2008. Jia Xiang I: 1996-2008, Jia
[90] Zhangke’s film handbook. Beijing University Press.pp. 62.
[91] Li, K., 2015. Two Film Narrative Models in the Aesthetic Perspective of Deleuze. Literary Criticism. 04, 126.
[92] André Bazin, 2019. What is Cinema? Translated by Li Junpan. Huazhong University of Science and Technology Press. pp. 227.
[93] Jia, Zh.K., 2008. Jia Xiang I: 1996-2008, Jia Zhangke’s film handbook. Beijing University Press. pp. 58.
[94] Li, K., 2011. Cultural Implications and Synecdoche
[95] in Jia Zhangke’s Films. Journal of Film Literature. 04, 47.
[96] Frodon, J.M., 2021. The World of Jia Zhangke.
[97] Translated by Kong Qian, Guangxi Normal University Press. pp. 126.
[98] Zhang, L., 2011. Image Expression of Social Conscience--Jia Zhangke’s Films Study. Doctoral dissertation, Soochow University.
[99] André Bazin, 1952/1971. ‘Umberto D: A Great Work’, in What is Cinema?, vol 2, trans. by Hugh Gray. Berkeley/Los Angeles/London: University of California Press. pp. 82.
[100] Jia, Zh.K., 2008. Jia Xiang I: 1996-2008, Jia Zhangke’s film handbook. Beijing University Press. pp. 105.
[101] Jia, Zh.K., 2008. Jia Xiang I: 1996-2008, Jia Zhangke’s film handbook. Beijing University Press. pp. 196.
[102] Jia, Zh.K., 2008. Jia Xiang I: 1996-2008, Jia Zhangke’s film handbook. Beijing University Press. pp. 187.
[103] Deleuze, G., 2004. The Time-Image, trans. H. Tomlinson and R. Galeta. London: Continuum. pp. 139.
[104] Jia, Zh.K., 2008. Jia Xiang I: 1996-2008, Jia Zhangke’s film handbook. Beijing University Press. pp. 50.
[105] Li, P., 2020. Change of audience position and interpretation of Deleuze’s image theory. Postgraduate dissertation, Shanghai Normal University.
[106] Frodon, J.M., 2021. The World of Jia Zhangke. Translated by Kong Qian, Guangxi Normal University Press. pp. 98.
[107] Deleuze, G., 1986. Cinema 1: The Movement Image, trans. H. Tomlinson and B. Habberjam. London: Continuum. pp. 127.
[108] André Bazin, 2019. What is Cinema? Translated by Li Junpan. Huazhong University of Science and Technology Press. pp. 209.
[109] Jia, Zh.K., 2008. Jia Xiang I: 1996-2008, Jia Zhangke’s film handbook. Beijing University Press.pp. 227.
[110] Eddy Troy, 2017. Deleuze and Kieślowski: On the Cinema of Exhaustion, Film-Philosophy 21. 01, 39.
[111] Pu, B., Hua, X.H., 2020. Rethinking the poetics of the Ozu family ethics film from the dimension of time and space. Journal of Future Communication. Issue: 06.
[112] Li, K., 2015. From Organic Narrative to Nonorganic Narrative:A New Interpretation on Artistic Narrative from the Horizon of Gilles Deleuze’s Aesthetics. Journal of Humanities & Social Sciences Journal of Hainan University. 03, 47.
[113] Jia, Zh.K., 2008. Jia Xiang I: 1996-2008, Jia Zhangke’s filmhandbook. Beijing University Press. pp. 107.
[114] Frodon, J.M., 2021. The World of Jia Zhangke.
[115] Translated by Kong Qian, Guangxi Normal University Press. pp. 22.
Downloads
How to Cite
Issue
Section
License
Copyright (c) 2022 Shuge Xing
This work is licensed under a Creative Commons Attribution 4.0 International License.
Make a Submission