Abstract
This paper examines Jia Zhangke's aesthetics of time and space based on Deleuze's cinema philosophy as a theoretical foundation. The paper's central thesis is that Jia Zhangke creates an aesthetic of space and time in film through the presentation of temporal images. Through an analysis of Jia Zhangke's The Good Man of Three Gorges, The World, and Xiao Wu, it is argued that Jia not only provides a practical example of Deleuze's philosophical theory of cinema but also portrays a complex and realistic social spectacle in the context and culture of China.
Keywords:
Crystal-image, Deleuze, Jia Zhangke, Time-image, Time-spaceReferences
Issue
2021 Vol.1 No.1
Copyright & License
Copyright (c) 2022 Shuge Xing
This work is licensed under a Creative Commons Attribution 4.0 International License.
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