The fact is that the Eastern poet would have thought the description of feelings usual for his Western colleagues would be meaningless. Instead of the epithets that apply to a particular emotional state, the Chinese poet depicted the circumstances causing this feeling. The Chinese poem is written not by sounds (hieroglyphs can be read in different languages) and not by words, but by the circumstances of the place and time, emotional “still lifes” composed of what you can hear and see. Make a visit to https://new-gomovies.online/ and get the best choices now.
The Chinese Films
Therefore, Chinese poetry expressed not by words, but by landscapes, is fundamentally close to the cinema. Cinema, after all, works with a preverbal, non-language-mediated reality. The frame is not built from “universal atoms”, such as the letters of our language, but from ready-made, moreover, not created by our objects. Cinema is the recycling of recyclables: it deals with material already in use – with things, landscapes, people. This means that the cinema does not so much transform nature as organizes it in order to construct this or that experience in the mind of the viewer. The director does not describe feelings but causes them.
What You Should Know
The bottom line is that all this can be said about all oriental art, where every work of art is emotional ikebana, a sensual hieroglyph, an impressionistic cryptogram. This is an encrypted instruction for experiencing that non-verbal experience that allows the viewer or reader to overcome distance, time and cultural barriers to make instant contact. The inescapable “objectivity” of cinema is an innate property of the entire Far Eastern culture, which is abstract from any abstract.
This was interestingly said recently in a lengthy interview with the New York Times by the author of Angry Lee Crouching Tiger, the movie himself:
- “In a Chinese film, the camera always shows first the landscape, then the hero, and finally what he is looking at, say to the moon. Only in this way can the author talk about the inner experiences of his characters. This is a kind of Chinese psychoanalysis. We never talk directly about anything – just metaphors. The essence of Chinese art and the Chinese soul is to hide the feeling and say nothing about it. This is the “invisible dragon” of our culture. “
- Before shooting his “Oscar-winning” Tiger, Eng Lee, starting in ’92, released six films. In each subsequent Chinese there was less than in the previous one. However, in “Tiger” he returned to China, though armed with all the power of American cinema technology. Considering this film to be his central opus, Ang Lee wanted to make a Chinese film, and when he was asked to remove the tape in English, the director categorically refused to do it.
- The strange tale of the Tiger and the Dragon, which made so much noise in the cinematic world, perfectly reveals the exotic features of Chinese poetics.
At first glance, “Tiger” easily fits into the genre of “melee” films, which the Far East supplies in abundance to the West. Ang Lee really seemed to embroider his silk picture on the canvas of Hong Kong films about oriental martial arts. However, the Tiger owes its take-off to a skillful complication of the plot.
Ardently supporting the picture, Salman Rushdie, in his article already mentioned in our program, wittily called the film “an intimate epos.” This is a very true definition. Ang Lee did not take off China, but a dream about China. A light surreal haze covers the inner conflict of the picture. It consists of painful – and tragically failed – attempts to combine the two opposites – yang and yin. In other words, Ang Lee made a film about love, which the name hints at: the tiger in Chinese symbolism is masculine, the dragon is feminine.