David Carter – East Asian Cinema

A book designed to introduce and provide an overview of the contributions of East Asian cinema including countries such as China, Taiwan, the city of Hong Kong, North and South Korea and Japan can have no arguments put forward for lack of ambition. Indeed, the scope of this book is incredibly vast and provides a comprehensive overview of established East Asian directors such as Akira Kurosawa and Ang Lee as well as lesser- known individuals for western audiences. Carter’s attempt to create a large scale introduction to the directors and films of East Asian cinema is somewhat admirable.

But you have to wonder whether Carter should have considered quality over quantity. With the films explored in precious little thematic or technical depth or discussion, the book is limited somewhat in genuine insight into many of the film’s that are listed. For example, one such comment on the film The Outcast has the sole critical evaluation of the film as “strong, complex characterisation” with no further expansion or discussion of this point. The limited nature of the prose is indeed very frustrating. Whilst this book is a suitable and apt guide to those new to East Asian Cinema, those looking for strong evaluation and profound analysis of the film’s themselves will be incredibly disappointed.

Yet there is the highly redeeming factor of Carter bringing in many of the East Asian countries political history. Writings on Communist leader of China, Mao Tse Tung’s pursuit of Chinese ideals whilst promoting the communist state such as “combination of revolutionary realism and revolutionary romanticism” are very enlightening. Furthermore, the book also provides a display of the communist parties banning of film satires and other such intriguing factors particularly when examining the impact of totalitarianism upon filmmaking.

For all the book’s flaws of feeling hollow, there are many passages of surprise or interest depicted. The abduction of the south Korean director Shin Sang- ok by Kim Jong II and the former’s later employment to direct for the North Korean dictator after an accidental three years imprisonment proves to be an engaging, shocking and memorable true story. Yet as well, for all the lack of depth, I cannot help but feel that the film’s plotlines on their own will elicit interest from readers. From the intriguing plots of films such as Rashomon (1950), the plot of which promises a multilayered retrospect of a crime to Raise the Red Lantern(1992) which promises an honest depiction of the role of women in feudal China. The book does work as a suitable guide to choosing the best and deepest films of East Asian cinema as well as providing a relevant political history alongside. Though as an intellectual exercise or a focused examination of the technical, storytelling and thematic elements of East Asian cinema, the book is a great disappointment.