The poetics of (social) mise-en-scène and transcendence in Li Shaohong’s Stolen Life

Tsang, Hing (2018) The poetics of (social) mise-en-scène and transcendence in Li Shaohong’s Stolen Life. Asian Cinema, 29 (2). pp. 243-260. ISSN 1059-440X

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Abstract

This article is a formal analysis of the poetics of Li Shaohong’s Stolen Life (2005). It analyses issues of mise-en-scène from the perspective of composition, camera movement and choreography of characters within the frame. Taking in equal measure from David Bordwell’s classic work on mise-en-scène and Adrian Martin’s recent espousal of social mise-en-scène, I shall be arguing that Li’s work presents rich social description but also provides an account of agency and transcendence. My analysis of Stolen Life acknowledges Li Shaohong’s deployment of familiar tropes from popular storytelling, while giving emphasis to the distinct variations that she provides throughout the film.

Item Type: Article
Uncontrolled Keywords: aperture framing,composition in depth, deliberative agency, human agency, mise-en-scène, social mise-en-scène, transcendence
Subjects: N Fine Arts > N Visual arts (General) For photography, see TR
Divisions: Faculty of Arts, Business & Applied Social Science > Department of Arts & Humanities
SWORD Depositor: Pub Router
Depositing User: Pub Router
Date Deposited: 28 Nov 2018 12:31
Last Modified: 29 Nov 2018 10:33
URI: http://oars.uos.ac.uk/id/eprint/775

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