Kapitel in diesem Buch

1. Frontmatter i
2. Contents v
3. Acknowledgments ix
4. Contributors xi
5. Introduction: Cinema, Ecology, Modernity 1
6. Part I. Hydro-Politics: Water, River, and National Trauma
7. 1 Framing Ambient Unheimlich: Ecoggedon, Ecological Unconscious, and Water Pathology in New Chinese Cinema 17
8. 2 Gorgeous Three Gorges at Last Sight: Cinematic Remembrance and the Dialectic of Modernization 39
9. 3 Submerged Ecology and Depth Psychology in Wushan yunyu: Aesthetic Insight into National Development 57
10. 4 Floating Consciousness: The Cinematic Confluence of Ecological Aesthetics in Suzhou River 73
11. Part II. Eco-Aesthetics, Heteroscape, and Manufactured Landscape
12. 5 The Idea-Image: Conceptualizing Landscape in Recent Martial Arts Movies 95
13. 6 Façades: The New Beijing and the Unsettled Ecology of Jia Zhangke’s The World 113
14. 7 Ruins and Grassroots: Jia Zhangke’s Cinematic Discontents in the Age of Globalization 129
15. Part III. Urban Space in Production and Disappearance
16. 8 Of Humans and Nature in Documentary: The Logic of Capital in West of the Tracks and Blind Shaft 157
17. 9 Toward a Hong Kong Ecocinema: The Dis-appearance of “Nature” in Three Films by Fruit Chan 171
18. 10 A City of Disappearance: Trauma, Displacement, and Spectral Cityscape in Contemporary Chinese Cinema 195
19. Part IV. Bioethics, Non-Anthropocentrism, and Green Sovereignty
20. 11 In the Face of Developmental Ruins: Place Attachment and Its Ethical Claims 217
21. 12 Ning Hao’s Incense: A Curious Tale of Earthly Buddhism 235
22. 13 Putting Back the Animals: Woman-Animal Meme in Contemporary Taiwanese Ecofeminist Imagination 255
23. 14 “Reconstructing the God-Fearing Community”: Filming Tibet in the Twenty-First Century 271
24. Notes 289
25. Chinese Glossary 325
26. Filmography 329
27. Bibliography 333
28. Index 353