Francisca Cho received her Ph.D. from the University of Chicago Divinity School and works on East Asian Buddhism from the perspective of aesthetic media. Her first book, Embracing Illusion: Truth and Fiction in the Dream of the Nine Clouds (1996) focused on classic fiction, and her second, Embracing Illusion: Manhae's Poems of Love and Longing (2005) focused on poetry. She is currently working on a monograph on Buddhism and film, from which the current article is excerpted.Address: Theology Department, Georgetown University, Box 571135, Washington DC 20057-1135. Email:
關鍵詞
Motion Pictures -- Reviews
摘要
Kim Kiduk's Spring, Summer, Fall, Winter . . . and Spring is a Buddhist film from Korea that reflects both traditional Asian and modern western-influenced impulses. A close reading of the film reveals how it replicates long-standing ritual practices such as seeing and being seen by the Buddha, and literary themes such as the cycle of karma. It also exhibits fidelity to canonical accounts of contemplative practices, reflecting a mainstream interest of western Buddhism that has found its way back to Korean society. Kiduk's film demonstrates that Buddhism is a complex and dynamic entity that evolves through a process of feedback and response in a global context that should not be atomized into “Asian” versus “western,” and “traditional” versus “contemporary” fragments.
目次
The bodhisattva’s vision 113 Repetition and awakening 117 The question of identity 120 Notes 122 References 123
