000			03543cam a2200541 i 4500
003			PHURS
005			20221125083422.0
008			201204t20212021miua ob 001 0 eng
040			_aDLC _beng _erda _epn _cDLC _dEYM _dOCLCF _dOCLCO _dJSTOR _dOCLCO _dUNOMP _dP@U _dYDX _dEBLCP _dOCLCQ _dYDX _dUKKNU _dN$T _dS2H _dN$T _dOCL _dOCLCQ
020			_a0472902431 _q(electronic book)
020			_a9780472128914 _q(electronic book)
020			_a0472128914 _q(electronic book)
020			_a9780472902439 _q(electronic bk.)
020			_z9780472132553 _q(hardcover _qacid-free paper)
050	0	4	_aPN1995.9.C327 _bN67 2021
100	1		_aNornes, Markus, _eauthor. _0http://id.loc.gov/authorities/names/nr92013234
245	1	0	_aBrushed in light : _bcalligraphy in East Asian cinema / _cMarkus Nornes.
264		1	_aAnn Arbor : _bUniversity of Michigan Press, _c2021.
264		4	_c©2021
300			_a1 online resource : _billustrations (chiefly color)
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
504			_aIncludes bibliographical references and index.
505	0		_aIntroduction -- Shufa/Seoye/Shodo -- Transformations -- Defining Calligraphy -- Force and Form -- A Prop unlike Any Other -- The Shimmering Smudge -- Brushed in Light.
520			_a"Brushed in Light examines how the brushed word appears in films and in film cultures of Korea, Japan, Taiwan, Hong Kong, and PRC cinemas. This includes silent era intertitles, subtitles, title frames, letters, graffiti, end titles, and props. Professor Nornes also looks at the role calligraphy plays in film culture at large, from gifts to correspondence to advertising. The book begins with a historical dimension, tracking how calligraphy is initially used in early cinema and how it is continually rearticulated by transforming conventions and the integration of new technologies. It then considers how cinematic writing presents the peculiarities of calligraphy as resources for innovative screenwriters and filmmakers. These chapters ask how calligraphy creates new meaning in cinema, as well as providing a demonstration of how this all works in a single film. The last part of the book moves to other regions of theory, particularly questions surrounding the cinematization of the handwritten word"-- _cProvided by publisher
542			_fThis work is licensed under the Creative Commons Attribution-Non-Commercial-NoDerivatives International License _uhttps://creativecommons.org/licenses/by-nc-nd/4.0
588	0		_aOnline resource; title from digital title page (viewed on May 06, 2021).
506	0		_5EbpS
590			_aJSTOR _bBooks at JSTOR Open Access
650		0	_aCalligraphy in motion pictures.
650		0	_aMotion pictures _zEast Asia _xHistory.
650		0	_aCredit titles (Motion pictures, television, etc.) _zEast Asia.
650		0	_aMotion pictures _zEast Asia _xAesthetics.
650		7	_aSOCIAL SCIENCE _xGeneral.
650		7	_aCalligraphy in motion pictures.
650		7	_aMotion pictures _xAesthetics.
650		7	_aCredit titles (Motion pictures, television, etc.)
650		7	_aCalligraphy.
650		7	_aMotion pictures.
651		7	_aEast Asia.
655		4	_aElectronic books.
655		7	_aHistory.
776	0	8	_iPrint version: _aNornes, Markus. _tBrushed in light. _dAnn Arbor : University of Michigan Press, 2021 _z9780472132553 _w(DLC) 2020051242
856	4	0	_uhttps://www.jstor.org/stable/10.3998/mpub.11373292
942			_2lcc _cE-BOOK
994			_a92 _bPHURS
999			_c57867 _d57867