Author(s)

Yuqi Wang ¹

Affiliation(s)

¹ Academy of Film and Television Arts, Liaoning Normal University, Liaoning, Dalian, China

Corresponding Author

Yuqi Wang

ABSTRACT

Chinese film director Ang Lee can be considered a benchmark figure in the film industry, his films are always deeply philosophical and intriguing. Growing up in Taiwan and studying in the United States, the interplay of two different cultures has created a distinctive aesthetic perspective in Ang Lee's work, which also combines the traditional Confucian culture of the East with the openness and liberality of the West. This unique experience has also enabled him to make Chinese films acceptable to the West, while blending the aesthetics of East and West to achieve a cross-cultural spread of film art.

KEYWORDS

Cultural intermingling, Western reception of Chinese film, East-meets-West aesthetics, cross-cultural communication

CITE THIS PAPER

Yuqi Wang, The Aesthetic Singer of East and West—Film Master Ang Lee. Art and Performance Letters (2023) Vol. 4: 72-77. DOI: http://dx.doi.org/10.23977/artpl.2023.040113.

REFERENCES

[1] Leung W. So Queer Yet So Straight: Ang Lee's The Wedding Banquet and Brokeback Mountain. Journal of Film and Video, 2008, 60(1), 23-42.
[2] Cao Wenhui. Acceptance of Ang Lee films by Eastern and Western audiences study [D]. Shandong Normal University, 2009.
[3] Hu Qifei. Aesthetic Inquiry of Ang Lee's films [J]. Film literature, 2010 (16): 2.
[4] Hailing Sun. (2019).Comparative Analysis of the Father-Son Relationships in Crystal Boys and The Wedding Banquet. (eds.) Proceedings of 6th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2019) (Advances in Social Science, Education and Humanities Research, VOL.378) (pp. 691-697).Atlantis Press.
[5] Sun Liyan. An Analysis of the Eastern and Western Cultural Identity and Characteristics in Ang Lee's films [J]. Grade Classic, 2019 (8): 3.
[6] Xu Huiwen. Aesthetic features of audi-visual language in Ang Lee's films [J]. Film Literature, 2015 (24): 3.

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