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...
| Главный автор: | |
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| Формат: | Электронный ресурс Статья |
| Язык: | Английский |
| Проверить наличие: | HBZ Gateway |
| Journals Online & Print: | Загрузка...
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| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| Опубликовано: |
[2015]
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| В: |
Material religion
Год: 2015, Том: 11, Выпуск: 4, Страницы: 507-525 |
| Другие ключевые слова: | B
Shadows
B yūgen B Hirokazu Kore'eda B Akira Kurosawa B Light B Emptiness B non-diegetic B yin |
| Online-ссылка: |
Volltext (Publisher) |
| Итог: | 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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| Объем: | Illustrationen |
| ISSN: | 1751-8342 |
| Второстепенные работы: | Enthalten in: Material religion
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| Persistent identifiers: | DOI: 10.1080/17432200.2015.1103480 |