From stage to screen: the legacy of traditional Chinese theatre in Chinese martial arts cinema soundtracks
"Chinese martial arts cinema is held to be a synthesis drawing on artistic conventions of traditional Chinese theatre. Film sound and music perform as the legitimate heirs of some of the aesthetic ideas and norms of traditional Chinese theatre. This book critically examines the history of this...
Saved in:
| Main Author: | |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
Singapore
Springer
[2023]
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| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Summary: | "Chinese martial arts cinema is held to be a synthesis drawing on artistic conventions of traditional Chinese theatre. Film sound and music perform as the legitimate heirs of some of the aesthetic ideas and norms of traditional Chinese theatre. This book critically examines the history of this under-explored field of inquiry from a theoretically comparative perspective, demonstrating that the musical codes drawn from traditional theatre are a constantly changing component integral to Chinese martial arts cinema. It explores the interaction between traditional Chinese theatre and Chinese martial arts cinema in how the musical codes of the former have shaped the aesthetics of the latter uniquely. This departs from conventional existing studies that focus on "adaptation." The book’s historical and theoretical approach connects film, theatre and music, and re-defines the status of distinctive domains of filmic expression, grounding theatre as the pivot – or "hinge" – of film aesthetics. The book proffers this unique angle of research to rethink and re-imagine film sound and audiovisual synchronisation. Primarily intended for scholars in Chinese cinema, film music, Chinese theatre and visual culture, this monograph also presents introductory and comprehensive material for undergraduate and graduate-level courses in film and media studies, film music, Chinese cinema, and Chinese theatre." |
| Physical Description: | viii, 161 Seiten Illustrationen 24 cm |
| ISBN: | 9789811970368 |
Staff View
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Record in the Search Index
| _version_ | 1804185879037607936 |
|---|---|
| adam_text | Contents 1 Introduction................................................................................................... Where Sounds Fail, Opera Starts................................................................... Interdisciplinary Approaches in Chinese Cinema Studies.......................... Chapter Divisions............................................................................................. Conclusion........................................................................................................ References........................................................................................................ 1 2 10 17 19 20 2 Musicking the Chinese Martial Arts Cinema........................................ The Establishment of “Silent Screen Opera”............................................... Peking Opera and Its Hybridization with Hong Kong’s Martial Arts Cinema...................................................................................................... The “New Wuxia Century” Movement and the Influence of Peking Opera............................................................................................... References........................................................................................................ 23 23 3 Operatic Film Songs and Cross-Media Composing in Cantonese Martial Arts Cinema..................................................................................... Pre-existing Music in Early Cantonese Martial Arts Films........................ Poon Cheuk and his OriginalOperatic Film
Songs..................................... References........................................................................................................ 4 Hearing the Theatre Through Four Moods (***» (1970).......... An Examination of the Anger Episode........................................................ Transformation and Interaction: Storytelling, Literature and Theatre. ... Storytelling by Mimicry and Synchronization: The Legacy of Kouji............................................................................................................. San Cha Kou: From Theatre to Cinema..................................................... Luo Gu Dian Zi in Synchronization—On Screen and On Stage.............. References......................................................................................................... 30 32 38 41 43 45 51 53 55 56 59 60 63 76 vii
viii Contents 5 Buddhism Manifested in Operatic Percussion in King Hu’s Raining in the Mountain (Й ill ® NJ) (1979)....................................... 79 Introduction...................................................................................................... King Hu as the “Auteur”................................................................................. The Blurred Distinction—Narrative Versus Additive................................. Musicking the Buddhist Philosophy.............................................................. Journeying as Redemption, Body as Allegory ........................................... The Thieves’ Journey to the Dead End....................................................... Qiu Ming: The Incarnation of Xia................................................................ Buddhist Salvation andMusically Glorified Body.......................................... Conclusion........................................................................................................... References............................................................................... 6 79 80 84 86 90 92 99 105 106 Operatic Tradition and Its Transnational Refashioning: A Case Study of The Banquet (2006)................................................. 109 Introduction...................................................................................................... 109 The Bamboo Forest: Audiovisual Magic and Romanticized Violence........................................................................................................... 114
Music as an Expression of Slow Motion.................................................... 126 Hearing Suspense............................................................................................. 127 The Climactic Fighting................................................................................... 129 The Operatic Design of Percussive Sound.................................................. 134 Contextualized Non-diegetic Percussive Sound........................................... 140 Conclusion......................................................................................................... 150 References........................................................................................................ 153 Epilogue.................................................................................................................. 157 References.............................................................................................................. 161
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| adam_txt |
Contents 1 Introduction. Where Sounds Fail, Opera Starts. Interdisciplinary Approaches in Chinese Cinema Studies. Chapter Divisions. Conclusion. References. 1 2 10 17 19 20 2 Musicking the Chinese Martial Arts Cinema. The Establishment of “Silent Screen Opera”. Peking Opera and Its Hybridization with Hong Kong’s Martial Arts Cinema. The “New Wuxia Century” Movement and the Influence of Peking Opera. References. 23 23 3 Operatic Film Songs and Cross-Media Composing in Cantonese Martial Arts Cinema. Pre-existing Music in Early Cantonese Martial Arts Films. Poon Cheuk and his OriginalOperatic Film
Songs. References. 4 Hearing the Theatre Through Four Moods (***» (1970). An Examination of the Anger Episode. Transformation and Interaction: Storytelling, Literature and Theatre. . Storytelling by Mimicry and Synchronization: The Legacy of Kouji. San Cha Kou: From Theatre to Cinema. Luo Gu Dian Zi in Synchronization—On Screen and On Stage. References. 30 32 38 41 43 45 51 53 55 56 59 60 63 76 vii
viii Contents 5 Buddhism Manifested in Operatic Percussion in King Hu’s Raining in the Mountain (Й ill ® NJ) (1979). 79 Introduction. King Hu as the “Auteur”. The Blurred Distinction—Narrative Versus Additive. Musicking the Buddhist Philosophy. Journeying as Redemption, Body as Allegory . The Thieves’ Journey to the Dead End. Qiu Ming: The Incarnation of Xia. Buddhist Salvation andMusically Glorified Body. Conclusion. References. 6 79 80 84 86 90 92 99 105 106 Operatic Tradition and Its Transnational Refashioning: A Case Study of The Banquet (2006). 109 Introduction. 109 The Bamboo Forest: Audiovisual Magic and Romanticized Violence. 114
Music as an Expression of Slow Motion. 126 Hearing Suspense. 127 The Climactic Fighting. 129 The Operatic Design of Percussive Sound. 134 Contextualized Non-diegetic Percussive Sound. 140 Conclusion. 150 References. 153 Epilogue. 157 References. 161 |
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| author | Wang, Shuang |
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| spelling | Wang, Shuang Verfasser (DE-588)1309252440 aut From stage to screen the legacy of traditional Chinese theatre in Chinese martial arts cinema soundtracks Shuang Wang theater Singapore Springer [2023] viii, 161 Seiten Illustrationen 24 cm txt rdacontent n rdamedia nc rdacarrier "Chinese martial arts cinema is held to be a synthesis drawing on artistic conventions of traditional Chinese theatre. Film sound and music perform as the legitimate heirs of some of the aesthetic ideas and norms of traditional Chinese theatre. This book critically examines the history of this under-explored field of inquiry from a theoretically comparative perspective, demonstrating that the musical codes drawn from traditional theatre are a constantly changing component integral to Chinese martial arts cinema. It explores the interaction between traditional Chinese theatre and Chinese martial arts cinema in how the musical codes of the former have shaped the aesthetics of the latter uniquely. This departs from conventional existing studies that focus on "adaptation." The book’s historical and theoretical approach connects film, theatre and music, and re-defines the status of distinctive domains of filmic expression, grounding theatre as the pivot – or "hinge" – of film aesthetics. The book proffers this unique angle of research to rethink and re-imagine film sound and audiovisual synchronisation. Primarily intended for scholars in Chinese cinema, film music, Chinese theatre and visual culture, this monograph also presents introductory and comprehensive material for undergraduate and graduate-level courses in film and media studies, film music, Chinese cinema, and Chinese theatre." Filmmusik (DE-588)4017129-2 gnd rswk-swf Theater (DE-588)4059702-7 gnd rswk-swf Martial-Arts-Film (DE-588)4667411-1 gnd rswk-swf China (DE-588)4009937-4 gnd rswk-swf Film soundtracks / China / History and criticism Martial arts films / China Theater / China / History Film soundtracks Martial arts films Theater China Criticism, interpretation, etc History China (DE-588)4009937-4 g Martial-Arts-Film (DE-588)4667411-1 s Filmmusik (DE-588)4017129-2 s Theater (DE-588)4059702-7 s DE-604 Erscheint auch als Online-Ausgabe 978-981-19-7037-5 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034608731&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Wang, Shuang From stage to screen the legacy of traditional Chinese theatre in Chinese martial arts cinema soundtracks Filmmusik (DE-588)4017129-2 gnd Theater (DE-588)4059702-7 gnd Martial-Arts-Film (DE-588)4667411-1 gnd |
| subject_GND | (DE-588)4017129-2 (DE-588)4059702-7 (DE-588)4667411-1 (DE-588)4009937-4 |
| title | From stage to screen the legacy of traditional Chinese theatre in Chinese martial arts cinema soundtracks |
| title_alt | theater |
| title_auth | From stage to screen the legacy of traditional Chinese theatre in Chinese martial arts cinema soundtracks |
| title_exact_search | From stage to screen the legacy of traditional Chinese theatre in Chinese martial arts cinema soundtracks |
| title_exact_search_txtP | From stage to screen the legacy of traditional Chinese theatre in Chinese martial arts cinema soundtracks |
| title_full | From stage to screen the legacy of traditional Chinese theatre in Chinese martial arts cinema soundtracks Shuang Wang |
| title_fullStr | From stage to screen the legacy of traditional Chinese theatre in Chinese martial arts cinema soundtracks Shuang Wang |
| title_full_unstemmed | From stage to screen the legacy of traditional Chinese theatre in Chinese martial arts cinema soundtracks Shuang Wang |
| title_short | From stage to screen |
| title_sort | from stage to screen the legacy of traditional chinese theatre in chinese martial arts cinema soundtracks |
| title_sub | the legacy of traditional Chinese theatre in Chinese martial arts cinema soundtracks |
| topic | Filmmusik (DE-588)4017129-2 gnd Theater (DE-588)4059702-7 gnd Martial-Arts-Film (DE-588)4667411-1 gnd |
| topic_facet | Filmmusik Theater Martial-Arts-Film China |
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