On East Asian Filmmakers
The Dekalog series is a new list of bi-annual publications dedicated to presenting insightful criticism on a wide range of subjects across the full spectrum of contemporary global cinema.
Each issue is a guest-edited specially-themed volume including the writings of a diverse collection of authors, from academic scholars and cultural theorists, film and media critics, and filmmakers and producers, to various personalities involved in all kinds of institutionalised cinephilia such as film festival directors, cinema programmers and film museum curators.
These multiple voices provide informed and complementary commentary on all things cinematic, making the Dekalog series the new home for serious film criticism.
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WOMENS TRAJECTORIES IN CHINESE AND JAPANESE
THE RELATIONSHIP BETWEEN
THE SEARCH FOR
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A-bomb slum A-bomb survivors actress Ann Hui Apichatpong Apichatpong Weerasethakul artistic audience Beijing Beijing Film Academy box-oce Cambodian genocide camera Chen Chinese cinema Chinese culture Chinese film Crazy Stone critics debut Dekalog demolition workers depicted dicult dierent directed displaced documentary film Dong East Asian cinema eect Esther Eng feature film female directors Feng Xiaogang fictional fifth-generation Film Festival film industry Film Studio film’s focuses Fukasaku genre girl global Hiroshima Hole Hong Kong international film Japan Japanese Jia Zhangke Jia’s Jinginaki Tatakai Khmer Rouge Kong’s Liu Xiaodong lives mainland China martial arts films memory modern musical numbers Naomi Kawase narrative Ning Hao Nozaki oers painting Panh Panh’s political post-war produced protagonists reality relationship Sanming scene sequence shot social story Studies suering Taiwan Taiwanese Thailand Three Gorges Toei Tokyo Tropical Malady Tsai Tsai’s urban viewers Wang women directors Women’s Cinema Xiangqi Xiao Xiao’s yakuza wars Zhang Yimou