Paperback. This book examines color aesthetics and the symbolic uses of reds in 1980's era Chinese cinema. Adopting a semiotic approach, the research combines the aesthetic and content analysis with a broader investigation using social-historical perspectives. It first explores cinematographic color aesthetics by considering the transplantation of styles from painting to cinema, then analyzes various symbolic uses of reds in cinematic signifying practices. Three parallel, intersecting, thematic fields in Chinese modernization are used as departure points: 1. rural-urban relationship; and, 2. Individualization; and, 3. gender identities. It investigates the following questions: How color contributes to meaning construction and signifies cultural identities and social ideologies? How are underlying ideologies translated into the mise-en-sc 'ne? Finally, it discusses the role of cinema in constituting a trans-cultural phenomenon which uses red as a predominant color to represent China and the 'Chinese-ness'. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

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Bibliographic Details

Title: Red and Identities (Paperback)
Publisher: Logos Verlag Berlin GmbH, Berlin
Publication Date: 2015
Language: English
ISBN 10: 3832539131
ISBN 13: 9783832539139
Binding: Paperback
Condition: new

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This book examines color aesthetics and the symbolic uses of reds in 1980's era Chinese cinema. Adopting a semiotic approach, the research combines the aesthetic and content analysis with a broader investigation using social-historical perspectives. It first explores cinematographic color aesthetics by considering the transplantation of styles from painting to cinema, then analyzes various symbolic uses of reds in cinematic signifying practices. Three parallel, intersecting, thematic fields in Chinese modernization are used as departure points: 1. rural-urban relationship; and, 2. Individualization; and, 3. gender identities. It investigates the following questions: How color contributes to meaning construction and signifies cultural identities and social ideologies? How are underlying ideologies translated into the mise-en-sc�ne? Finally, it discusses the role of cinema in constituting a trans-cultural phenomenon which uses red as a predominant color to represent China and the 'Chinese-ness'.

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