Fugu y cinetización de las relaciones sociales en el cine de Ang Lee
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2019-12
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SeIDeSoC
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Descripción
En este texto se estudia una porción del cine en el mundo chino. El sujeto de estudio es
la trilogía de Ang Lee (李安 Li An) conocida como Papá sabe más. Se tocan varios temas
para ubicar contextualmente a la comida como metáfora poliséemica articuladora de las
relaciones sociales. El cine de Lee, al menos el de estas páginas, es una defensa del fugu
(复古), literalmente el regreso a costumbres y tradiciones antiguas. El apoyo conceptual
es la cinetización, instrumento de análisis de los filmes propuesto con el objetivo de
fortalecer la agenda de investigación del cine asiático.
In this text a portion of cinema in the Chinese world is studied. The subject of study is the trilogy of Ang Lee (李安 Li An) known as Father knows better. Several topics are touched on to contextually place food as a polysemic articulating metaphor of social relations. Lee's cinema, at least that of these pages, is a defense of fugu (复古), literally the return to ancient customs and traditions. The conceptual support is cinetization, instrument of analysis of the films proposed with the aim of strengthening the research agenda of Asian cinema.
In this text a portion of cinema in the Chinese world is studied. The subject of study is the trilogy of Ang Lee (李安 Li An) known as Father knows better. Several topics are touched on to contextually place food as a polysemic articulating metaphor of social relations. Lee's cinema, at least that of these pages, is a defense of fugu (复古), literally the return to ancient customs and traditions. The conceptual support is cinetization, instrument of analysis of the films proposed with the aim of strengthening the research agenda of Asian cinema.
Palabras clave
Ang Lee, Cine, Taiwán, Cinetización, Identidad china, Chinese identity