4) Learning Chinese: Describing a Film Scene

電影理論詞彙  //  中英對照
Basic Chinese Cinema Studies & Film Analysis Terms

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This post features "describing a film scene" terms. Additional learning Chinese links include:

1) Learning Chinese: Film Genre Terms
2) Learning Chinese: Film Technique & Production Terms
3) Learning Chinese: Film Personnel Terms
4) Learning Chinese: Describing a Film Scene
5) Learning Chinese: Cultural Studies and Film Studies Terms, Part 1 and Part 2

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Describing a Film Scene Terms

包圍  bāowéi   surround
扮演  bànyǎn   perform, act
背景  bèijǐng  background
表演  biǎoyǎn perform, act
表現  biǎoxiàn  display
場景  chǎngjǐng  scene, setting 
場面  chǎngmiàn  scene, appearance
成份  chéngfèn  components
長鏡頭  cháng jìngtóu   long take
地點  dìdiǎn   site, place
對白  duìbái  dialogue
縫合  fénghé  suture
構想  gòuxiǎng   visualize, conceptualize
觀念  guānniàn   concept
觀眾  guānzhòng   audience
觀點  guāndiǎn   point of view
畫面  huàmiàn   tableau
黑白畫  hēibáihuà  ink-painting
劇情  jùqíng  plot, diegetic
基調  jīdiào   central theme
技術  jìshù   technology, technique
景色  jǐngsè   scene, landscape
景觀  jǐngguān   landscape
景觀鏡頭   jǐngguān jìngtóu landscape shot
極其  jíqí   extremely
結構  jiégòu  structure, composition
角度  jiǎodù  angle, perspective
角色  juésè   role
階段  jiēduàn   stage
客觀  kèguān   objectivity/ objective
空間  kōngjiān open spaces
開場  kāichǎng   opening scene
領悟  lǐngwù   comprehend, understand
類型  lèixíng   type
媒介  méijiè   medium
片段  piànduàn   fragment
配樂  pèiyuè   dub background music
情景  qíngjǐng  scene, circumstance
情節  qíngjié   plot
實驗性 shíyàn xìng  experimental
聲音  shēngyīn  sound, voice
視覺  shìjué   visual, visual sense
視界  shìjiè  visual field
視角  shìjiǎo  visual angle
視野  shìyě  field of vision
說故事 shuō gùshi  tell a story
飾演  shìyǎn  perform a role
題材  tícái  subject
物質  wùzhì   matter, substance
寫實  xiěshí  realistic
形象  xíngxiàng  image, imagery
心境  xīnjìng  state of mind, mood
敘事  xùshì  narrate
現場  xiànchǎng  scene
現實  xiànshí  real, reality
細節  xìjié    details, particulars
肖像  xiàoxiàng portrait
虛擬  xūnǐ   fictitious, virtual
鮮明  xiānmíng  bright, distinct
仰角  yǎngjiǎo  angle of elevation
原本  yuánběn  original
原著  yuánzhù  original work
影像  yǐngxiàng   image, portrait
影壇  yǐngtán  film circles (in the industry)
影子  yǐngzi  shadow
影展  yǐngzhǎn  film festival
影評  yǐngpíng  film review
意境  yìjìng  creative concept
意象  yìxiàng  image, imagery
樣貌  yàngmào  appearance, shape
議題  yìtí  topic
運動  yùndòng   move, movement
音軌  yīn guǐ    soundtrack
主觀  zhǔguān  subjectivity/ subjective
主觀鏡頭  zhǔguān jìngtóu subjective (POV) shot
仔細閱讀  zǐxì yuèdú   close reading
作品  zuòpǐn    works, productions
展現  zhǎnxiàn  unfold, develop
狀態  zhuàngtài  condition
組成  zǔchéng   compose
縱橫交錯  zònghéngjiāocuò   crisscross

5) Learning Chinese: Cultural Studies and Film Studies Terms, Part 1

電影理論詞彙  //  中英對照
Basic Chinese Cinema Studies & Film Analysis Terms

============================================================

This post is part 1 of a list of terms which might be used to analyze a film scene or cultural studies topic. Part 2 can be located at this link here.

Additional learning Chinese links include:

1) Learning Chinese: Film Genre Terms
2) Learning Chinese: Film Technique & Production Terms
3) Learning Chinese: Film Personnel Terms
4) Learning Chinese: Describing a Film Scene
5) Learning Chinese: Cultural Studies and Film Studies Terms, Part 1 and Part 2

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Cultural Studies and Film Studies Analysis Terms

A-O

暗示   ànshì   suggest
曖昧   àimèi  ambiguous, shady
不具   bùjù   incomplete, insufficient
不息   bùxī    incessantly
不自覺   bù zìjué   subconsciously
不變   bùbiàn   fixed, constant
保守   bǎoshǒu  conservative
保持   bǎochí  maintain
保留   bǎoliú   retain
捕捉   bǔzhuō  seize
本質   běnzhì   essence, nature
標榜   biāobǎng   flaunt, excessively
表情   biǎoqíng  expression
表達   biǎodá   convey
邊界   biānjiè   boundary; border
邊緣   biānyuán   margin, edge, borderline
傳達   chuándá   transmit
出現   chūxiàn   appear
創造   chuàngzào   create
呈現   chéngxiàn  appear
層面   céngmiàn  layer, surface
差異性  chāyìxìng   difference
採用   cǎiyòng    use, adopt
揣摩   chuǎimó   speculate
次要   cìyao   secondary
穿插   chuānchā   alternate, insert
超越   chāoyuè   exceed, transcend
錯亂   cuòluàn   in a state of confusion
動人   dòngrén  moving
單 純  dānchún   simple, plain
多層次  duōcéngcì   multilayered
對比   duìbǐ   contrast
得知   dézhī  v. know, learn about
調度   diàodù   manage, control
顛覆   diānfù  subvert
分析   fēnxi  analyze
反射   fǎnshè   reflect
反應   fǎnyìng   respond, reaction
反映   fǎnyìng   reflect
彷彿   fǎngfú  seem
氛圍   fēnwéi   atmosphere
符號   fúhào   symbol
複雜   fùzá   complex
豐富   fēngfù  rich
負面   fùmiàn   reverse side
風格   fēnggé   style
公式   gōngshì  formula
功能   gōngnéng  function
感言   gǎnyán    impressions
概念   gàiniàn  concept
歸納   guīnà   sum up, conclude
溝通   gōutōng   communicate
觀察   guānchá  observe
觀看   guānkàn   view
過於   guòyú   excessively
關懷   guānhuái   concern for
關連   guānlián   connected
高度   gāodù   high degree, height
含意   hányì   meaning, implication
含蓄   hánxù  contain
喚起   huànqǐ   arouse, recall
回應   huíyìng  response
回顧   huígù   review, retrospective
宏觀   hóngguān  cosmos, macroscopic
忽略   hūlüè    neglect, overlook
恆久   héngjiǔ  constant, persistent
核心   héxīn   nucleus
毫無   háowú  completely lack
混亂   hùnluàn    chaotic
混沌   hùndùn   primal chaos, muddled
基本   jīběn   fundamental
境界   jìngjiè   boundary, state
建構   jiàngòu   construct
接受   jiēshòu  accept, receive
接合   jiēhé    connect, link
檢視   jiǎnshì  inspect
激賞   jīshǎng  praise
積累   jīlěi    accumulate
節奏   jiézòu  rhythm
簡單   jiǎndān  simple
精確   jīngquè    precise
精華   jīnghuá   essence
經歷   jīnglì   experience
經濟   jīngjì   economy
緊接著  jǐnjiēzhe  immediately after
解構   jiěgòu  v. analyze, deconstruct
解讀   jiědú   decipher
記憶   jìyì   remember, memory
解釋   jiěshì   expound, interpret
刻意   kèyì   meticulous, painstakingly
考古學  kǎogǔxué   archeology
跨國   kuàguó   transnational
跨文化   kuà wénhuà  transcultural
屢屢   lǚlǚ   repeatedly
歷史性  lìshǐxìng  historic, historicity
理解   lǐjiě    understand, comprehend
理論   lǐlùn  theory
論述   lùnshù   discuss, expound
連結   liánjié   join, link
類似   lèisì  similar to
描繪   miáohuì depict, describe
描述   miáoshù   describe
明確   míngquè    clear
模擬   mónǐ   imitate, simulate
模糊   móhu   vague, blurred
美學   měixué  aesthetics
美術   měishù    fine arts
馬克斯主義  mǎkèsī zhǔyì Marxism
內涵   nèihán  intention, connotation
濃厚   nónghòu   strong, pronounced
濃密   nóngmì   dense, intense
偶發   ǒufā   occasional, spontaneous

5) Learning Chinese: Cultural Studies and Film Studies Terms, Part 2

電影理論詞彙  //  中英對照
Basic Chinese Cinema Studies & Film Analysis Terms

============================================================

This post is part 2 of a list of terms which might be used to analyze a film scene or cultural studies topic. Part 1 can be located at this link here.

Additional learning Chinese links include:

1) Learning Chinese: Film Genre Terms
2) Learning Chinese: Film Technique & Production Terms
3) Learning Chinese: Film Personnel Terms
4) Learning Chinese: Describing a Film Scene
5) Learning Chinese: Cultural Studies and Film Studies Terms, Part 1 and Part 2

============================================================

Cultural Studies and Film Studies Analysis Terms

P-Z

判定   pàndìng   judge, determine
批評   pīpíng   criticize
旁白   pángbái  aside (remark)
普泛   pǔfàn  widespread, universal
評審   píngshěn  examine/evaluate
評論   pínglùn  review, critique
陪襯   péichèn   to enhance by contrast
頗為   pōwéi  somewhat
全球化  quánqiúhuà  globalization
區別   qūbié   distinguish
巧妙   qiǎomiào   ingenious
強勢   qiángshì  emphasis
強調   qiángdiào   stress
情緒   qíngxù   emotion
親密   qīnmì   intimate
仍舊   réngjiù    still, as before
善於   shànyú  be good at
實際   shíjì   reality, actual
庶民   shùmín  the masses
思念   sīniàn   long for
手法   shǒufǎ  skill, technique
散發   sànfā   diffuse, distribute
深刻   shēnkè   profound
深度   shēndù  depth
生存   shēngcún  exist
疏離   shūlí   become alienated, drift apart
設定   shèdìng   establish
試圖   shìtú   attempt
試論   shìlùn   deal with
詩學   shīxué  poetics
說明   shuōmíng  explain
凸顯   tūxiǎn   magnify
探討   tàntǎo  explore
推測   tuīcè   infer, conjecture
提供   tígōng   supply
提出見解   tíchū jiànjiě   state one’s opinions
特徵   tèzhēng   characteristic
特效   tèxiào  positive effect
突兀   tūwù   towering, unexpected
唯一   wéiyī   only, sole
宛若   wǎnruò   be just like
文化學  wénhuà xué cultural studies
為例   wéilì   as an example
無形   wúxíng   invisible, intangible
無法   wúfǎ   unable to
無窮   wúqióng   infinite
學術   xuéshù  academic
宣傳工具   xuānchuán gōngjù   means of propaganda
形容   xíngróng  describe
形體   xíngtǐ  form, structure
心理   xīnlǐ    psychology
性質   xìngzhì   nature
戲劇性   xìjùxìng  dramatic
系統   xìtǒng   system, device
象徵   xiàngzhēng  symbolize
顯得   xiǎnde  look, appear
顯示   xiǎnshì   show, display
一貫   yīguàn    consistent
仰賴   yǎnglài  rely on
優雅   yōuyǎ  graceful
元素   yuánsù   element
印象   yìnxiàng  impression
因果關係   yīn-guǒ guānxi  causality
娛樂   yúlè    amusement
寓意   yùyì   allusion, message
延續   yánxù  continue
引發   yǐnfā  evoke
愈發   yùfā   even more
意味著   yìwèizhe   signify
意義   yìyì    meaning
意識   yìshi  consciousness, mentality
有效   yǒuxiào   effective      
有系統   yǒu xìtǒng  systematic
游離   yóulí   dissociated, drifting
藝術   yìshù   art, skill
遠向   yuǎnxiàng   long time
隱含   yǐnhán   imply
隱喻   yǐnyù   metaphor
隱約   yǐnyuē   indistinct, faint
隱藏   yǐncáng   hide, conceal
韻律   yùnlǜ   meter, rhythm
預感   yùgǎn   premonition
預示   yùshì  indicate
主題   zhǔtí   theme, motif
仔細   zǐxì   careful
專訪   zhuānfǎng   report (n.)
指出   zhǐchū    point out
指涉   zhǐshè   refer to, reference
指示   zhǐshì   indicate
政治   zhèngzhì politics
暫時   zànshí   temporary
直指   zhízhǐ directed at/aimed towards
直接   zhíjiē  direct, immediate
真實   zhēnshí  real, authentic
真正   zhēnzhèng   genuine, real
秩序   zhìxù  order; sequence
自然   zìrán  natural
自覺   zìjué   conscious
著重   zhuózhòng   stress
質疑   zhìyí   challenge
重要性   zhòngyàoxìng   importance, significance
針對   zhēnduì  aimed at
雜亂   záluàn   disorderly

Taiwan Films: Symposium, Screenings, and New Book Release

Butler Library, Columbia University

The link to the press release for the April 21-22, 2016 Columbia University "Symposium and Screening of Taiwan Cinema to Celebrate New Book by Columbia University Press" is here:
http://library.columbia.edu/news/libraries/2015/2016-4-20_Taiwan_Cinema_Screening.html

The book release is for An Annotated Bibliography for Taiwan Film Studies by Jim Cheng, Sachie Noguchi, and James Wicks. The symposium includes presentations by Professors Guo-juin Hong, Robert Rui-Shou Chen, and James Wicks and screenings of Banana Paradise / 香蕉天堂 (Wang Tong, 1989, Buddha, Bless America / 太平天國 (Wu Nien-Jen, 1996), Maverick / 菜鳥 (2015), and 10 + 10 (Hou Hsiao-hsien et al., 2011).

An Annotated Bibliography for Taiwan Film Studies (Columbia UP, 2016)

Transnational Panels at AAS, Seattle 2016

I remain fascinated by the transnational as a theoretical framework. The organic ways in which this approach can take into account border crossings, while recording the unequal power exchange that might occur when bodies, ideas, and products move across national and other boundaries, seems to ensure that the transnational remains a relevant approach in multiple disciplines today.

However at times, when the “transnational” is used, the theoretical framework of the term is assumed rather than explained. In addition, the connections and differences between transnational studies and global creative industry studies are not always clearly delineated.

Regardless, it was a global creative industries panel that I found used a transnational approach most comprehensively; namely, the “The Rise and Fall of the Anime Boom in the US: Lessons for Global Creative Industries” panel which was interdisciplinary, well-organized, and collaborative. It was also probably my favorite of the Association for Asian Studies conference this year. Featuring commerce data, theory, and authoritative sources including numerous interviews, I was most inspired during the presentations by Nissim Otmazgin’s conclusion that one simultaneously locates deterritorialization (cross-continental mixture) and reterritorialization (distinct national characteristics) when analyzing anime as both creative content and commodity. The dialectic here is one that includes nuances and complex valences. In the process of uncovering these various dynamics, interestingly one still finds aspects of the center-periphery model firmly in place (a supporting comment along these lines can be located on my blog here).

Panels that addressed the transnational also included “Transnational Art in East Asia: The Politics of Exhibitions and Performances in the Twentieth Century” and “Transnationalism, Borderlands, and the History of Archaeology in Twentieth-Century East Asia,” among others.

The former looked at documents from Xinjing that provide local accounts of Aurel Stein's early 20th century expeditions (Justin Jacobs) and cultural exchanges between PRC and US archeologists (Clayton D. Brown), among other thought-provoking inquiries. The latter included discussions of art exhibits and exchanges between Japan and the PRC in the 1950s (Yanfei Yin), KMT art exhibitions in France between 1924-1964 in France (Jennifer Chernick), and Areum Jeong’s fascinating account of activists who are documenting and memorializing the Sewol ferry disaster of 2014.

I was grateful to participate in a panel, inherently comparative in its approach, entitled “Divergences and Convergences: Comparative Studies of Contemporary Literature, Film and Theater in PRC and Taiwan” with papers analyzing theater (Hongjian Wang), poetry (Brian Skerratt), fiction (Chialan Sharon Wang), and film (link to the panel papers here and my abstract here) on both sides of the Taiwan Strait. Surprisingly, oftentimes Taiwan and PRC studies are not brought together in such a manner. A transnational comparative approach is essential when doing so, I believe.

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Multiple presentations included "Transnational" in their titles; however below is a list of panels that contained in "Transnational" in their panel titles.

61. Legal Shades of Grey: Transnational Commerce in Early Communist China – Sponsored by Historical Society of Twentieth Century China (HSTCC)

92. May Fourth and Its Aftermath in a Transnational Context (missed due to having a panel at the same time)

173. Transnational Art in East Asia: The Politics of Exhibitions and Performances in the Twentieth Century

203. Transnationalism, Borderlands, and the History of Archaeology in Twentieth-Century East Asia

325. Construction of the Early Manchu State: Manchus and Their Transnational Relations from Aspects of Economy and Ideology – Sponsored by the Manchu Studies Group

333. Affiliations, Networks, and Identities: Transnational Chinese Religions in the Modern Period

Cold War Panels at AAS, Seattle 2016

During the Association for Asian Studies conference this year (Seattle, 2016) one of my goals was to attend panels that focused on the Cold War. I have an article in progress that deals with Hong Kong/Taiwan film during the era, so I'm particularly interested in the state of current research on this topic.

Of course, it's not possible to attend all of the panels that address a given topic, and at times interesting panels are scheduled at the same time. And I don't intend to use this forum to critique, or provide a comprehensive state of the field; rather, I just want to record a few highlights and impressions that will likely stay with me for some time following the conference.

On Friday morning, the "Framing Devices: Cold War Manga/Manwha and Popular Media in Japan and Korea" panelists collectively did a marvelous job identifying ways visual texts in new mediascapes "forged in Cold War geopolitics" portray bodies that are ethnicized, nationalized, gendered, at times sensualized, and displayed under a surveillance regime.

 

The "More than a Mouthpiece: Media Culture in Cold War China" panel, chaired by Jerome Silbergeld, featured presentations on: The Chinese Student Weekly and youth magazines in Hong Kong from 1952-1960 (Poshek Fu); the communal nature of TV viewing in 1970s China (Nicole Xincun Huang); the adaptation of a US television show in China in the early 1980s (Yinyin Xue), and Radio Culture in Cold War Hong Kong (Xiaojue Wang). The panel as a whole reminds one to keep in mind the intersection of multiple media cultures when analyzing the period. For example, as Xiaojue Wang presented, Wong Kar-wai's film In the Mood for Love (2000) includes Cold War-era radio as an important part of its soundtrack.

Saturday's "East Asian Intervention in the Cold War" panel included a presentation by Evelyn Shih on adaptations of 007 films into spy comedies. Examples of these adaptations, one from Taiwan and one from Korea, show the ways that Cold War espionage narratives became the source of humor even as their stories and characters mirrored regional and global conflicts.

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Multiple presentations included "Cold War" in their titles; however, below is a list of panels that contained "Cold War" in their panel titles:

38. Framing Devices: Cold War Manga/Manwha and Popular Media in Japan and Korea

163. More than a Mouthpiece: Media Culture in Cold War China

223. “Cure the Sickness to Save the Patient”: Rescuing Thought Work from Cold War Ideology

273. East Asian Intervention in the Cold War: Breaking the Cultural Codes of Race, History, Genre, and Gender

331. Roundtable: JAS (Journal of Asian Studies) at AAS: Contemplating the Cold War in Asia

The Transnational and Totality, A Brief Comment

“In my use of the theory of transnationalism, I align with Fredric Jameson’s view that capitalism can be considered a totalizing system when globalization regards cultural dominants valued by various regional, national, and local cultures solely as hindrances to discard or overturn.(1) Otherwise, simply stating euphorically that cultural exchange--in this case the inspiration, production, and distribution of cinema--is a two-way street, offers too much latitude for global capitalism to disguise its dominance and maintain the unequal power relations it has produced.” 

(1) please see Fredric Jameson’s discussion of totality in Postmodernism, or, The Cultural Logic of Late Capitalism, Duke UP, 1992.

-- from James Wicks, Transnational Representations: The State of Taiwan Film in the 1960s and 1970s, HKUP 2014. “Introduction,” xix.