JIA ZHANGKE SENSES OF CINEMA

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Xiao Wu was my first picture. They say a few words and take their leave. I was already in my teens. In the course of filming the feature, did he feel that, to expand his project into a commercial feature, it was necessary to load it with topical reference points and sharp social criticisms? I would say it is lost. The idea for the story line had been in my head for four years. Jia accounts for the difference in his own words:.

I came up with the idea for the story in , about four years ago. This is what I remember from my childhood. This is the archive of articles selected from the print version of Cinema Scope magazine. Segment in the anthology film Stories on Human Rights. For example, the first person Cui Mingliang meets is his own cousin who is in an even more dire situation. In another scene, Xiao Wu asks a peddler of pirated video discs if he has Xiao Wu or Platform , to which the peddler shakes his head and hands him a copy of Pulp Fiction. If I have managed to go beyond the local factor in my movies, I think the most basic reason is that I have tried my best to create real human beings who possess universality or universal human emotions. The songs fit so well that one has to wonder on what terms Jia is consciously utilizing them, if indeed he is conscious of their presence.

Cannes 2013 | A Touch of Sin (Jia Zhangke, China)

I would say it is lost. One of the most respected publications on film, uniting experienced critics with new writers.

This inevitably centres on his finest film, Spring in a Small Town Then I used him in my first short film, before I made Xiao Wu. But I have never seen any film shot in China or possibly any country that so unobtrusively evokes the awareness that the world we live in is saturated with cultural influences. But if somebody were to give you a big amount of money right now to make Xiao Wuwould you do it differently?

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It cops a gaze at the crowd, some of whom turn away, while others stand transfixed by what is looking back at them. And I was revising the screenplay non-stop. Jia depicts the fundamentally harsh conditions of the backwater that is Fenyang as the wheels of the market economy turn, driving the residents of Fenyang into the modern age and leaving many by the wayside. The motives emerge later, but Jia is sending out an early signal that his film is directed from and for a cathartic response, and as we observe his four characters across four segments—roughly traversing a geographic line across the Mainland from north to south and through the seasons—they operate out of gut instinct and momentary impulse.

Like Xiao Wu in confronting all his emotions, firstly, through his friendships; secondly, in his love life; and thirdly, his relationships with family members. Claire Denis on High Life Encore: He may be a more non-conformist character but his spirit is traditional and his sense of values is a throwback to the past. Retrieved 16 April Such homesickness engenders a feeling of insecurity and anxiety.

An Interview with Jia Zhangke • Senses of Cinema

I use a lot of long shots or panoramic shots, very few close-ups or middle shots. Du Du short film Xiao Wu Undistributed. Because, originally, all of us so-called independent directors, or underground directors, were that way because the censorship apparatus was to a large degree restricting our freedom of choice. Popular culture is allowed to exist, and the masses are being given back their privacy.

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In jua projects Wikimedia Commons.

The dormitory would usually be at the back of the factory and when the workers hear the sounds of the zjangke, they would file jix. For example in Platformwe see a township set up with electricity. When is Jia going to tell us what he really thinks?

I am more concerned with the people who have fallen into the margins. An auxiliary theme is the conflict between city and countryside, backwardness and development, tradition and modernity. Archived from the original on I want to stand by life. Also known as Pickpocket.

For example, I could support other young directors. It was shot for the Chongju Film Festival in Korea.

We bury these in our hearts. Your conception of sound is also very special. His work is very much engaged with the modern realities of China and the failures and dropouts who exist on the fringes of this world.

Xiao Wu was my first picture. They are enraptured—if not ensnared—in a life of perpetual diversion, whether through playing video games or cknema karaoke.

Jia Zhangke

What is the primeval appeal of the image? One of the most respected publications on film, uniting experienced zhanbke with new writers. Why did you devise your movie like that? They say a few words and take their leave. Not so much Xiao Wu. For example, the first person Cui Mingliang meets is his own cousin who is in an even more dire situation.