James Udden
Biographic Data
| ID | 9230636 |
|---|---|
| NAME | James Udden |
| GIVEN NAMES | James |
| FAMILY NAME | Udden |
| SIGNATURE | UDDÉN J |
| AFFILIATIONS | Gettysburg College, Pennsylvania, USA |
| VERIFIED | No |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 1 |
| FIRST PUBLICATION YEAR | 2002 |
| LATEST PUBLICATION YEAR | 2017 |
| H-INDEX | 0 |
No Man an Island
Taiwan is a peculiar place resulting in a peculiar cinema, with Hou Hsiao-hsien being its most remarkable product. Hou’s signature long and static shots almost invite critics to give auteurist readings of his films, often privileging the analysis of cinematic techniques at the expense of the context from which Hou emerges. In this pioneering study, James Udden argues instead that the Taiwanese experience is the key to understanding Hou’s art. The…
The Poetics of Chinese Cinema
This book examines the aesthetic qualities of particular Chinese-language films and the rich artistic traditions from which they spring. It brings together leading experts in the field, and encompasse
The Other Film International
No Man an Island
This pioneering study of Hou Hsiao-hsien illuminates the many distinctive achievements of Taiwan’s famous director. His body of work in films such as The Puppetmaster, City of Sadness, and Flowers of Shanghai reflects a powerfully unique style characterized by intricate lighting, improvisational acting, and exceptionally long, static shots. James Udden argues that Hou’s films reflect Taiwan’s peculiar historical and geographical situation and cou…
DVD Reviews
Yi Yi (A One and a Two) (2000) Cinema 16: European Short Films (2007) Clean, Shaven (1993) Eric Rohmer's Six Moral Tales The Criterion Collection. 2006 ISBN: 1-55940-989-4. 99.95 The Bakery Girl of Monceau (La Boulangre de Monceau, 1962) Suzanne's Career (La Carrire de Suzanne, 1963) My Night at Maud's (Ma nuit chez Maud, 1969) La Collectionneuse (1969) Claire's Knee (Le Genou de Claire, 1970) Love in the After-noon (L'Amour, laprs-midi, 1972) R.…
Hou Hsiao-hsien and the Question of a Chinese Style
Is the style of the Taiwanese film director Hou Hsiao-hsien Chinese? This question seems innocent enough, maybe even redundant to those who find its answer to be self-evident. In fact, more and more the critical and scholarly literature on Hou has answered largely in the affirmative without exploring the deeper assumptions upon which this conclusion rests. Godfrey Cheshire, for example, says that in turning away from plot and character, and focus…
No prominent works on this page.
Hou Hsiao-hsien and the Question of a Chinese Style
Is the style of the Taiwanese film director Hou Hsiao-hsien Chinese? This question seems innocent enough, maybe even redundant to those who find its answer to be self-evident. In fact, more and more the critical and scholarly literature on Hou has answered largely in the affirmative without exploring the deeper assumptions upon which this conclusion rests. Godfrey Cheshire, for example, says that in turning away from plot and character, and focus…
DVD Reviews
Yi Yi (A One and a Two) (2000) Cinema 16: European Short Films (2007) Clean, Shaven (1993) Eric Rohmer's Six Moral Tales The Criterion Collection. 2006 ISBN: 1-55940-989-4. 99.95 The Bakery Girl of Monceau (La Boulangre de Monceau, 1962) Suzanne's Career (La Carrire de Suzanne, 1963) My Night at Maud's (Ma nuit chez Maud, 1969) La Collectionneuse (1969) Claire's Knee (Le Genou de Claire, 1970) Love in the After-noon (L'Amour, laprs-midi, 1972) R.…
No Man an Island
This pioneering study of Hou Hsiao-hsien illuminates the many distinctive achievements of Taiwan’s famous director. His body of work in films such as The Puppetmaster, City of Sadness, and Flowers of Shanghai reflects a powerfully unique style characterized by intricate lighting, improvisational acting, and exceptionally long, static shots. James Udden argues that Hou’s films reflect Taiwan’s peculiar historical and geographical situation and cou…
The Other Film International
The Poetics of Chinese Cinema
This book examines the aesthetic qualities of particular Chinese-language films and the rich artistic traditions from which they spring. It brings together leading experts in the field, and encompasse
No Man an Island
Taiwan is a peculiar place resulting in a peculiar cinema, with Hou Hsiao-hsien being its most remarkable product. Hou’s signature long and static shots almost invite critics to give auteurist readings of his films, often privileging the analysis of cinematic techniques at the expense of the context from which Hou emerges. In this pioneering study, James Udden argues instead that the Taiwanese experience is the key to understanding Hou’s art. The…
Art (4 works) · Cinema and Media Studies (4 works) · Hong Kong and Taiwan Politics (4 works) · History (3 works) · Aesthetics (2 works) · Asian Culture and Media Studies (2 works) · china (2 works) · Geography (2 works) · Japanese History and Culture (2 works) · Literature (2 works)