Not exact matches
Morita's work in The Karate Kid is iconographic — the character functions like any number of old Asian man archetypes from martial
arts cinema, but, transplanted to American pop (his arrival softened by Yoda in The Empire Strikes Back), Miyagi becomes something like an albatross for Asians in modern
Western culture not for its incompetence, but for its tonal perfection.
Critics have long accused
cinema of being a spectacle for passive viewership while, within liberal
Western societies, contemporary
art is frequently characterized as progressive, dialogical and critical.
Other works on view include a suite of watercolors by Guo Hongwei, combining his renderings of American iconography with his father's calligraphy of Chinese classical poems; Chen Wei's staged photographs in the traditions of Gregory Crewdson and Cindy Sherman; a thick - imexhibitionso floral - patterned diptych by Liang Yuanwei, exhibitionsly featured in the Chinese pavilion at the 54th Biennale di Venezia; Cheng Ran's romantically staged photos of the Hollywood sign, commenting on the role
cinema has played in shaping the image of America in the psyche of younger Chinese generations; the American premiere of Sun Xun's 21 Grams, a four - year long animation project reflecting on history, social struggles and dystopia; and Hu Xiangqian's
Art Museum, a video presentation of the «collection» of
Western artworks that have inspired the artist's creative language but that he's never seen in person or fully understood.
She works on experimental
cinema, the media
arts of the Arab world, Islamic genealogies of
Western philosophy, and the embodied, process - based analysis of information culture.