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Keyword Source 2 - Painting the City Red

Keyword Source 2 - Painting the City Red - challenged this...

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Jason Lau Abstract of Keyword Source 2 3/25/12 Film has been used by Chinese Communist Party to establish Tiananmen Square as a symbol of socialist ideals. Tiananmen Square has dual functions; it is both a symbol of the state and a space for the citizens’ recreational use. Cinematography has explored the conflict between these two functions, as it is difficult for the two to coexist. Braester uses the term chronotype of perpetual revolution which emphasized the Chinese socialist ideology in the context of Tiananmen Square. Essentially, Tiananmen Square is a monument that will always represent revolution and the ideals of socialism. Party leaders used The Birth of a Nation to establish Tiananmen Square as a symbol of power and revolution. Along with the transformation of Tiananmen into an icon of revolution has also arisen many “counterimages” that challenge this notion. Some directors
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Unformatted text preview: challenged this aspect by trying to create an image of Tiananmen Square that creates an image that relates more with the individual as opposed to revolution. Braester divides the chapter into three sections. The first section talks about how films have transformed Tiananmen Square into a spectacle of revolution. The second discusses how Tiananmen’s role as an icon of revolution still remains the same in works that challenge sot ideals. The final section discusses films that address the implications of urban policy at Tiananmen. Braester relies on many documentaries including The Birth of China and the Big Parade in his analysis. Braester, Yomi. "Four: The First Precinct under Heaven: State Symbolism and Unplanned Urbanism at Tiananmen Square ." Painting the City Red: Chinese Cinema and the Urban Contract . Durham, NC: Duke University Press, 2010. 151-186. Print....
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