Sentimental Returns
On the Uses of the Everyday in the Recent Films of Zhang Yimou and Wong Kar-wai
Bibliographic Data
| ID | 4271326 |
|---|---|
| Authors | Rey Chow (corresponding author) |
| Year | 2002 |
| Volume | 33 |
| Issue | 4 |
| Pages | 639-654 |
| Publication date | 2002-09-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | New Literary History (JOURNAL) |
| Journal identifiers | ISSN: 0028-6087 • E-ISSN: 1080-661X |
| Publisher | Project MUSE (PUBLISHER • US) |
| DOI | 10.1353/nlh.2002.0035 |
| OpenAlex | W2027850814 |
| Language | EN |
| Citations received | 2 |
| References cited | 3 |
The everyday: an open, empty category, one that allows critics to fill it with critical agendas as they please. This is why both its defenders and its detractors can use it to stake their political claims, either as the bedrock of reality, the ground zero of cultural representation, or as a misleading set of appearances concealing ideological exploitation, a collective false consciousness. For these reasons, it is perhaps less interesting simply to unravel the argumentative pros and cons around the everyday as such than to consider specific uses of the everyday in representational practices, which in this essay I shall do with two examples of contemporary Chinese cinema. I have found it productive to approach some of the key questions involved with Pier Paolo Pasolini's theorization of cinematic signification
Aesthetics · Argumentative · Art · China · Epistemology · Everyday life · Ideology · Political science · Politics · Representation (politics) · Set (abstract data type) · Sociology · Zhàng · Chinese history and philosophy · Computer Science · Hong Kong and Taiwan Politics · Italian Fascism and Post-war Society · Law · Philosophy
| Citations per year | 0.2 |
|---|---|
| Citation span | 2016 - 2024 (9) |
| Highly cited | No |