Jolie Zhou | University of Toronto (original) (raw)
Jolie Zhou, an independent researcher and writer, based in Guangzhou, China.
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Papers by Jolie Zhou
This paper will focus on the works by two artists, Isaac Julien and Francis Alÿs, who primarily w... more This paper will focus on the works by two artists, Isaac Julien and Francis Alÿs, who primarily work with migration themes, yet have different politics of aesthetics. Specifically, the research paper will primarily focus on Isaac Julien’s Ten Thousand Waves (2010) and Francis Alÿs’s Don’t Cross the Bridge before You Get to the River (2008).
This paper will compare three films were made within the period of Structural Film, two Japanese ... more This paper will compare three films were made within the period of Structural Film, two Japanese experimental films, Spacy (1981) by Katashi Ito and Atman (1975) by Toshio Matsumoto, and one American experimental film, Serene Velocity (1970) by Ernie Gehr. After briefly explaining the history of Japanese experimental film, this paper will analyze and compare these three films in order to argue that American Structural Film had a strong influence on Japanese experimental filmmakers, Toshio Matsumoto and Katashi Ito, especially on their visual aspects.
Caméra Stylo, Apr 1, 2017
Drafts by Jolie Zhou
This paper argues that Mysterious Skin (2004) and Eternal Summer (2006) have a different represen... more This paper argues that Mysterious Skin (2004) and Eternal Summer (2006) have a different representation of sexuality because their genres are actually different. The former one suggests that sexuality is ambiguous, and the latter one suggests heteronormativity. Hence, even though they both depict homosexuality, New Queer Cinema is not the same genre as Boy’s Love Cinema.
This essay will compare Mother Joan of the Angels (dir. Jerzy Kawalerowicz, 1961) and Ida (dir. P... more This essay will compare Mother Joan of the Angels (dir. Jerzy Kawalerowicz, 1961) and Ida (dir. Paweł Pawlikowski, 2013) to discuss the change on the depictions of the fallen woman in religion – Mother Joan and Ida – from the Communist to the Capitalist Polish Cinemas.
The essay will first discuss the political and social contexts of these films and how they influence the representations of religion and history in these films; and then it will compare these two films to argue that Ida’s behaviours are no longer characterized as a fallen woman as Mother Joan due to the secularization of religion in Communist Poland; and she is glorified as the one who transcend the mundane world.
Jia Zhangke’s The World engages in the process of cultural translation through both transcription... more Jia Zhangke’s The World engages in the process of cultural translation through both transcription and transmission in light of Rey Chow’s translation approach. Therefore, on the one hand, the film strikes the audiences with its indexicality of Chinese social reality; on the other hand, Jia’s reassembling of historical realities brings up the problems of globalization and modernism in postsocialist China by his treatment of different spaces and the virtual world.
Johnnie To has been a very experienced director before he cofounded Milkyway Image in 1996, as he... more Johnnie To has been a very experienced director before he cofounded Milkyway Image in 1996, as he was trained at Shaw's TVB and then he worked as a film director there (Bordwell 251). He produces two types of films: crime films represent his personal style and are internationally successful, and comedy films are locally successful. Nevertheless, the core of his crime movies is irony. The film I choose, A Hero Never Dies (Hong Kong, 1998, dir. Johnnie To), is a film that embeds the heroic fatalism. Fatalism normally means that human's
This paper will focus on the works by two artists, Isaac Julien and Francis Alÿs, who primarily w... more This paper will focus on the works by two artists, Isaac Julien and Francis Alÿs, who primarily work with migration themes, yet have different politics of aesthetics. Specifically, the research paper will primarily focus on Isaac Julien’s Ten Thousand Waves (2010) and Francis Alÿs’s Don’t Cross the Bridge before You Get to the River (2008).
This paper will compare three films were made within the period of Structural Film, two Japanese ... more This paper will compare three films were made within the period of Structural Film, two Japanese experimental films, Spacy (1981) by Katashi Ito and Atman (1975) by Toshio Matsumoto, and one American experimental film, Serene Velocity (1970) by Ernie Gehr. After briefly explaining the history of Japanese experimental film, this paper will analyze and compare these three films in order to argue that American Structural Film had a strong influence on Japanese experimental filmmakers, Toshio Matsumoto and Katashi Ito, especially on their visual aspects.
Caméra Stylo, Apr 1, 2017
This paper argues that Mysterious Skin (2004) and Eternal Summer (2006) have a different represen... more This paper argues that Mysterious Skin (2004) and Eternal Summer (2006) have a different representation of sexuality because their genres are actually different. The former one suggests that sexuality is ambiguous, and the latter one suggests heteronormativity. Hence, even though they both depict homosexuality, New Queer Cinema is not the same genre as Boy’s Love Cinema.
This essay will compare Mother Joan of the Angels (dir. Jerzy Kawalerowicz, 1961) and Ida (dir. P... more This essay will compare Mother Joan of the Angels (dir. Jerzy Kawalerowicz, 1961) and Ida (dir. Paweł Pawlikowski, 2013) to discuss the change on the depictions of the fallen woman in religion – Mother Joan and Ida – from the Communist to the Capitalist Polish Cinemas.
The essay will first discuss the political and social contexts of these films and how they influence the representations of religion and history in these films; and then it will compare these two films to argue that Ida’s behaviours are no longer characterized as a fallen woman as Mother Joan due to the secularization of religion in Communist Poland; and she is glorified as the one who transcend the mundane world.
Jia Zhangke’s The World engages in the process of cultural translation through both transcription... more Jia Zhangke’s The World engages in the process of cultural translation through both transcription and transmission in light of Rey Chow’s translation approach. Therefore, on the one hand, the film strikes the audiences with its indexicality of Chinese social reality; on the other hand, Jia’s reassembling of historical realities brings up the problems of globalization and modernism in postsocialist China by his treatment of different spaces and the virtual world.
Johnnie To has been a very experienced director before he cofounded Milkyway Image in 1996, as he... more Johnnie To has been a very experienced director before he cofounded Milkyway Image in 1996, as he was trained at Shaw's TVB and then he worked as a film director there (Bordwell 251). He produces two types of films: crime films represent his personal style and are internationally successful, and comedy films are locally successful. Nevertheless, the core of his crime movies is irony. The film I choose, A Hero Never Dies (Hong Kong, 1998, dir. Johnnie To), is a film that embeds the heroic fatalism. Fatalism normally means that human's