Persistent Reflection, Artistic Conception: A Review of One Second
-
Ke Hu
Ke Hu is a professor and Ph.D. supervisor of School of Theater, Film and Television in Communication, University of China. He graduated from the School of Chinese Language and Literature of Beijing Normal University in 1984, and got his master’s degree in Arts. From 1984 to 2004, he worked as a researcher in films at China Film Art Research Center. His main directions were the theory of films, the history and theory of Chinese films. Ke Hu also published several film reviews. Later, he became a master’s supervisor, and has worked on teaching and research in School of Theater, Film and Television in Communication University of China since 2005. His major publications include
A History Review of Chinese Film Theory. 
Abstract
The uniqueness of One Second (Yimiaozhong, 2020) lies in its two-fold expression: it first tells the story of a father at an exceptional point in history who breaks out of jail to look for, then view a clip of his daughter. Second, through the form of cinema, it reflects on the relationship between the movie and audience, exploring the particularities of film to convey the auteur’s sentimentality for the medium. This is a simple but innovative film with rich connotations, diverse in its intentions.
About the author
Ke Hu is a professor and Ph.D. supervisor of School of Theater, Film and Television in Communication, University of China. He graduated from the School of Chinese Language and Literature of Beijing Normal University in 1984, and got his master’s degree in Arts. From 1984 to 2004, he worked as a researcher in films at China Film Art Research Center. His main directions were the theory of films, the history and theory of Chinese films. Ke Hu also published several film reviews. Later, he became a master’s supervisor, and has worked on teaching and research in School of Theater, Film and Television in Communication University of China since 2005. His major publications include A History Review of Chinese Film Theory.
Reference
Hayward, S. 2013. Cinema Studies: The Key Concepts. Translated by Li Yueyang, Sun Bo and Zou Zan. Beijing: Peking University Press.10.4324/9780203075555Suche in Google Scholar
© 2022 Walter de Gruyter GmbH, Berlin/Boston
Artikel in diesem Heft
- Frontmatter
- Research Articles
- Chinese Cultural Spirit: The Expression of Values in Chinese Films
- “Tonghua” Theory and a Holistic View of Chinese Films
- The Views and Characteristics of Chinese Film Esthetics in the First Half of the 20th Century
- Narrative Time and Narrative Viewpoints in Films About Revolutionary History During the “Seventeen-Year Period” (1949–1966)
- Reforging the Rust Belt: China’s Northeast on the Silver Screen
- Chinese Dreams of Nostalgia and Fantasy: Cultural Critique in Feng Xiaogang’s Personal Tailor (2013)
- The Evolving Esthetics of Hong Kong Films in the 21st Century
- Constructing a Theoretical System for the “Chinese School of New Animation”
- The Development of Digital Technology and Changes in Performance Esthetics
- The “Core Actions” and “Uniquely Colorful Lyricism” of New Mainstream Films
- Film Reviews
- B for Busy: A Rose with Thorns in the Post-Feminist Era
- Hi, Mom: Farewell in the Vision and Reconciliation in the Farewell
- The Battle at Lake Changjin: A National Aesthetic Paradigm for Chinese Blockbusters
- Persistent Reflection, Artistic Conception: A Review of One Second
Artikel in diesem Heft
- Frontmatter
- Research Articles
- Chinese Cultural Spirit: The Expression of Values in Chinese Films
- “Tonghua” Theory and a Holistic View of Chinese Films
- The Views and Characteristics of Chinese Film Esthetics in the First Half of the 20th Century
- Narrative Time and Narrative Viewpoints in Films About Revolutionary History During the “Seventeen-Year Period” (1949–1966)
- Reforging the Rust Belt: China’s Northeast on the Silver Screen
- Chinese Dreams of Nostalgia and Fantasy: Cultural Critique in Feng Xiaogang’s Personal Tailor (2013)
- The Evolving Esthetics of Hong Kong Films in the 21st Century
- Constructing a Theoretical System for the “Chinese School of New Animation”
- The Development of Digital Technology and Changes in Performance Esthetics
- The “Core Actions” and “Uniquely Colorful Lyricism” of New Mainstream Films
- Film Reviews
- B for Busy: A Rose with Thorns in the Post-Feminist Era
- Hi, Mom: Farewell in the Vision and Reconciliation in the Farewell
- The Battle at Lake Changjin: A National Aesthetic Paradigm for Chinese Blockbusters
- Persistent Reflection, Artistic Conception: A Review of One Second
