The Play of Shadows in Japanese Cinema
The medieval Japanese Buddhist-inspired aesthetic concept of yūgen emphasizes the absence of light, movement, and form in order to create a sense of deep but non-discursive meaning. This pre-modern concept can be applied to the film Rashomon to appreciate how the movie uses light and shadow to point...
| Κύριος συγγραφέας: | |
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| Τύπος μέσου: | Ηλεκτρονική πηγή Άρθρο |
| Γλώσσα: | Αγγλικά |
| Έλεγχος διαθεσιμότητας: | HBZ Gateway |
| Journals Online & Print: | Φόρτωση...
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| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| Έκδοση: |
[2015]
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| Στο/Στη: |
Material religion
Έτος: 2015, Τόμος: 11, Τεύχος: 4, Σελίδες: 507-525 |
| Άλλες λέξεις-κλειδιά: | B
Shadows
B yūgen B Hirokazu Kore'eda B Akira Kurosawa B Light B Emptiness B non-diegetic B yin |
| Διαθέσιμο Online: |
Volltext (Publisher) |
| Σύνοψη: | The medieval Japanese Buddhist-inspired aesthetic concept of yūgen emphasizes the absence of light, movement, and form in order to create a sense of deep but non-discursive meaning. This pre-modern concept can be applied to the film Rashomon to appreciate how the movie uses light and shadow to point to the necessity of abandoning intellectual knowledge in order to move towards moral action. The yūgen concept is also instantiated in the way the film Maborosi uses shadows to create stunning images that form an alternative perception of the world beyond conventional human concerns. |
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| Φυσική περιγραφή: | Illustrationen |
| ISSN: | 1751-8342 |
| Περιλαμβάνει: | Enthalten in: Material religion
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| Persistent identifiers: | DOI: 10.1080/17432200.2015.1103480 |