This article examines the Asian storytelling model ‘Kishotenketsu’, identifying its similarities with, and differences from, the classical Western model of dramaturgical plot construction. The ‘Kishotenketsu’ structure is used in poetry, literature, documentation, scientific research dissertations, music, and video game design. The article examines the application of this model in feature films. From the directing point of view, researchers have studied films with different artistic trends and from different production countries and discovered scripting and directing techniques having the elements of (...) the Asian model. Through the comparative analysis of the world films with those from Kazakhstan, this study attempted to reveal the use of the ‘Kishotenketsu’ model and its separate elements in the process of making films by prominent filmmakers in the past and the present from different countries. The films were studied in the context of screenwriting, visual storytelling, and editing. The study found that the ‘Kishotenketsu’ model is found in Kazakh cinematography in the direction of Art cinemas. The authors believe that ‘Kishotenketsu’ model will add more artistic value to the Kazakh cinema, allowing filmmakers to diversify unconventional ways of storytelling and filmmaking in the genres of both auteurs’ cinema and commercial cinema. (shrink)

Despite claims about the end of history and the death of cinema, visual media continue to contribute to our understanding of history and history-making. In this book, Marcia Landy argues that rethinking history and memory must take into account shifting conceptions of visual and aural technologies. With the assistance of thinkers such as Gilles Deleuze and Félix Guattari, Cinema and Counter-History examines writings and films that challenge prevailing notions of history in order to explore the philosophic, aesthetic, and (...) political stakes of activating the past. Marshaling evidence across European, African, and Asian cinema, Landy engages in a counter-historical project that calls into question the certainty of visual representations and unmoors notions of a history firmly anchored in truth. (shrink)

This well-written, engaging volume by Stephen Teo is a welcome intervention in the field of film studies in that it confronts the hegemony of Western theoretical approaches to cinema and provides a counterbalancing model that applies what Teo calls “Eastern theory” to Western film classics. Although Teo’s use of terms such as “Eastern theory” and “Eastern essence” could be construed as perilously totalizing--painting “the East” with a monochromatic brush that beckons toward a regression into Orientalizing--his apologia for the study (...) and his execution of the analyses are sufficiently adept and focused to remediate the occasional sweeping generalization. Indeed, Teo spends much of his introduction and first chapter... (shrink)

Gilles Deleuze published two radical books on film: Cinema 1: The Movement-Image and Cinema 2: The Time-Image. Engaging with a wide range of film styles, histories and theories, Deleuze's writings treat film as a new form of philosophy. This ciné-philosophy offers a startling new way of understanding the complexities of the moving image, its technical concerns and constraints as well as its psychological and political outcomes. Deleuze and Cinema presents a step-by-step guide to the key concepts behind (...) Deleuze's revolutionary theory of the cinema. Exploring ideas through key directors and genres, Deleuze's method is illustrated with examples drawn from American, British, continental European, Russian and Asian cinema. Deleuze and Cinema provides the first introductory guide to Deleuze's radical methodology for screen analysis. It will be invaluable for students and teachers of film theory, film history and film forms. (shrink)

What explains white male animus against Asian women? We address this question by examining the murders in Atlanta, GA, which reflect a larger global pattern of violence against what are perceived as hypersexualized Asian women. Dominant discourses on these murders promote either a narrative of racial xenophobia or a stance for or against sex work. Neither discourse adequately accounts for the simultaneous racial and gendered determination of Asian women’s experiences. In this commentary, we provide a racial–gender analysis (...) and underscore how the gendered racialization of Asian women as hypersexual can result in their perception as disposable bodies for white male rage. As we explain, hypersexualization implies immorality, which in turn threatens the social order and thereby justifies Asian women’s disposability. This commentary establishes Asian women’s hypersexualization as a century-old view in American society perpetuated in cinema and the law. (shrink)

As the dominant media institution in South Asia, Bombay cinema's cultural production of narratives, images and spectacle plays a crucial role in the effort to consolidate and project definitions of the nation. Moreover, such images are exported to the South Asian diaspora worldwide as part of the processes associated with the globalized cultural product referred to as Bollywood. This discussion examines the production and reception of the 2008 film Jodhaa Akbar both as process and product of complex historical, (...) cultural and political nation-building projects in which gender plays a central role. (shrink)

Films provide many memorable scenes of care that both shape and reinforce ideas about who deserves care, how carers should behave, and what kinds of people appear ‘naturally’ suited to the labors of caring for children, the sick, the elderly and the disabled (namely women). My specific interest here is in films about migrant domestic workers in Hong Kong and Singapore. from the Philippines and Indonesia, who take up live-in housekeeping positions. The films about their lives range from documentary to (...) popular, low-budget horror to independent art cinema. While surveying the strengths and limitations of a handful of these films, I offer strategies for how to frame each film in terms of its director, production methods, distribution, and target audience. How and when might different genres be best used to engage students in critical thinking about care work and migrant labor? What stereotypes exist about migrant workers and what blind spots emerge in understanding paid care work? How can we promote dialogue about the often ambivalent relationship between caregiver and cared-for? (shrink)

What is the role of cultural archives in creating and sustaining connections between diasporic communities? Through an analysis of an audiovisual archive that has sought to bring together representations of and by African, Caribbean and Asian people, this article discusses the relationship between diasporic film, knowledge production and feminist solidarity. Focusing on a self-curated, UK-based archive, the June Givanni Pan-African Cinema Archive, we explore the potentiality of archives for carving out spaces of diasporic connectivity and resistance. This archive (...) assembles the holdings of pan-African films and film-related materials, built over several decades by June Givanni, a Guyanese-born London-based film curator. Givanni’s archive embodies her long relationship with the intersecting worlds of African and Asian diasporic cinema, which hold deep connections to Black British heritage through global networks spanning across empire. In the making of this cultural analysis, we employ a co-produced, decolonial methodological approach by designing and producing the article in collaboration with Givanni over a two-year period. We aim to foreground the role of feminist labour (academic and practitioner) as agents of change who are reclaiming stories, voices and memory-making. The wider backdrop to this co-produced analysis is the ongoing resilience of a cultural amnesia that has pervaded the Black British experience and the current fragility of Black arts and cultural spaces in the UK. Our question is how might archives help us map the connections between racialised ideas of belonging, memory politics and the reconfiguration of colonial power whilst also operating as a site of feminist connectivity? (shrink)

This article introduces the unique Asian film technique of the “empty shot” from the perspective of Chinese philosophical thought and aesthetics. In Chinese cinema, the “empty shot” is understood as a shot comprised of nonhuman subjects, distinct from both the establishing shot and the cutaway. Perhaps due to the lack of understanding of its philosophical grounding, the “empty shot” has not received much attention in Anglophone film studies, and has been criticized as an overgeneralised concept. This article first (...) relates the “empty shot” to the more widely accepted “pillow shot” in Anglophone studies of Japanese cinema. This article aims to make visible a non-anthropocentric worldview conveyed through the “empty shot”, and to make space for the potentialities of this film device, which may also be found in non-Chinese cinemas. It explains the “empty shot”’s central features: firstly, its visible scenes are imbued with invisible emotion, leaving space for the audience to feel what the characters are feeling. Second, it facilitates the generation of qi or “air” in a film, indicating the circulation of qi in a process of dynamic transformation between “actual” and “virtual”. Thirdly, the “empty shot” communicates with the audience, allowing them to more fully experience natural scenery and to encounter other beings while suspending everyday experiences, existing biases, and the separation between self and other. (shrink)

By coincidence, it seems, the critical vocabulary and concerns that came to be known as postcolonial theory and methodology rose to be a dominant school of inquiry in the Anglo-American academy in the same years that the Soviet Union collapsed (notwithstanding that key theoretical texts by Frantz Fanon and others predated this moment by decades). Yet, oddly, postcolonialist terms were seldom applied to postsocialist and post-Soviet cases until the 2000s, and they have become more broadly utilized in these territories only (...) in the past decade. Further, it must be admitted that few results of these applications of postcolonial tools to postsocialist cases have made much of a mark among broader circles of postcolonial scholars and thinkers. Djagalov's book may help to correct this situation. Rather than work in the mode of “application”—applying a postcolonial framework to yet one more case—Djagalov reconstructs the history of a century of socialist anti-imperialism, as it was expressed in global cultural institutions and networks, and in so doing discovers the ignored or forgotten genealogy that links contemporary postcolonial thought to writers, activists, and theoreticians of the socialist world.Djagalov's book toggles between, on the one hand, chapters of institutional history that chronicle the global cultural institutions (such as the Afro-Asian Writers Association, the Tashkent Film Festival, and the Lotus Prize) that connected the Soviet Union with decolonizing countries and, on the other hand, chapters of synthetic cultural criticism that articulate typological analyses of common narrative forms that circulated in the fiction and film of the socialist world—recurring varieties of “solidarity narratives,” as Djagalov calls them. His work reveals how central the state-socialist political imaginary was for writers and filmmakers ranging from Nâzım Hikmet to Ngūgī wa Thiong'o, and how prominent their itineraries through Soviet institutions and networks were in their biographies. Ngūgī, for instance, finished his 1977 novel Petals of Blood during a residency in the Soviet Writers House in Yalta.In recovering the lost continent of anti-imperial socialist globality that bridged the “second” and “third worlds,” Djagalov has demonstrated not how postcolonial terms can be applied to postsocialist cases but how postcolonial theory and method are themselves postsocialist phenomena. Djagalov does not attempt to rectify the state-socialist prehistory of postcolonial thought with a critique of Soviet imperial habits or of the postcolonial contexts of contemporary Eastern Europe, the Caucasus, and Central Asia. At least, though, the challenges of thinking “postcolonial” and “postsocialist” together have now become clearer. From Internationalism to Postcolonialism leaves us with new research problems: what, for example, does it mean to be a postcolony of an anti-imperial empire? (shrink)

Using Ang Lee’s Lust, Caution (2007), this article illustrates how an affective mode of address is encouraged when one attends to the ways in which on-screen cinematic audio-visual spectacles are produced through the interaction of different bodies on-screen. Affective cinematic encounters open up other ways of understanding the female body as productive assemblages of everyday affective interactions and relationalities with other bodies within material culture. Particularly, I demonstrate an affective mode of address that attends to the interaction of cinematic objects (...) and how they are constructed, arranged, and engaged with on-screen to reveal hidden dynamics to characters’ relationship and overarching narratives off-screen. (shrink)

_The Universal_ proposes a radically new philosophical system that moves from ontology to ethics. Drawing on the work of De Beauvoir, Sartre, and Le Doeuff, among others, and addressing a range of topics from the Asian sex trade to late capitalism, quantum gravity, and Merleau-Ponty's views on cinema, Dorothea Olkowski stretches the mathematical, political, epistemological, and aesthetic limits of continental philosophy and introduces a new perspective on political structures. Straddling a course between formalism and conventionalism, Olkowski develops the (...) concept of an ontological unconscious that arises from our "sensible" relation to the world-the information we absorb and emit that affects our encounters with the environment and others. In this "realm of the senses," or the field of vulnerability defined by our experience with pleasure and pain, Olkowski is able to rethink the space-time relations put forth by Irigaray's notion of the "interval," Bergson's "recollection," Merleau-Ponty's idea of the "flesh," and Deleuze's "plane of immanence." This aesthetic sense is shared by all humankind and nonhuman entities in the organic and inorganic world. The sensible universal can be applied to categories of pure and practical reason; experiential binaries of male-female and subject-object; and issues of autonomy, moral laws, and the regulation of perception. (shrink)

When my book Reframing Women: A history of New Zealand cinema was published in 2000 New Zealand women’s film was flourishing. There had been an explosion of filmmaking following the upsurge of twentieth century feminism in the 1970s beginning with the international women’s year film Some of My Best Friends are Women and the subsequent production of nine feminist documentary films. The energy generated by these films and the international feminist history projects that uncovered the formerly invisible contribution of (...) women across every sphere of creative was contagious. There was a feeling of optimism that anything was possible. Women were using the camera to focus the lens on themselves and their issues. Between 1980 and 1990 dramas and features dealing with gender issues increased dramatically while the formerly marginalised were gaining access to the technology to explore sexuality and identity politics. There were powerful films about identity by Maori, Pacific, Asian, Yugoslavi... (shrink)

The enemy must fear us. When this is over, there will be much more fear in the world. […] Give the government an ultimatum. Say, “This was just the trailer. Just wait till you see the rest of the film.”The overhanging statement – which draws attention to troubling links interconnecting action cinema and acts of terrorism – is delivered towards the end of Dan Reed’s Terror in Mumbai, an insightful documentary that unfolds a balanced enquiry into the November 2008 (...) massacre by the South Asian terrorist organization Lashkar-e-Tayyaba. The film weaves hours of phone intercepts between a Pakistani handler and Lashkar-e-Tayyaba agents into a collage of recovered CCTV footage, live... (shrink)

Interrogating the totalizing perspectives on Chinese gender studies that typically treat China only in binary opposition to the West, “Other Genders, Other Sexualities” focuses on the dynamics of difference within China and probes the complex history of Chinese sexuality and gender formations. The centerpiece of this special issue is the first English translation of Li Xiaojiang’s 1983 post-Mao feminist retheorization of women’s emancipation and sexual differences. Other topics addressed include the emergence of the “modern girl” in early twentieth-century China, the (...) legacy of socialist gender practices in rural cultures, transgender performance on Chinese television, the political ambivalence of Chinese gay identity in the cinema, and early Chinese gender configurations in East Han art and writing. By recognizing the gender implications of China’s competing economic ideologies, this issue generates critical insights and new perspectives for the study of Chinese history, gender and sexuality, and feminist culture. Contributors:_Hongwei Bao, Tani Barlow, Dong Limin, Chengzhou He, Sarah Kile, Li Xiaojiang, Lingzhen Wang, Yu Shiling Lingzhen Wang_ is Associate Professor of East Asian Studies at Brown University. She is the author of _Personal Matters: Women's Autobiographical Practice in Twentieth-Century China_. (shrink)

This paper discusses the impact of East Asian philosophical ideas on the origins and development of martial arts. The article argues that the ideas of Daoist philosophy were developed into ‘soft styles’ or ‘internal schools’ that are based on the doctrine of ‘wuwei’ (action through non-action, effortless action) which follows the path of Yin. These styles are in opposition to ‘external’ or ‘hard styles’ of martial arts that follow the path of Yang. Daoist philosophy of ‘ziran’ (naturalness, spontaneity) influenced (...) ‘animal’ or ‘imitation styles’ and the paradigm of natural, unplanned, and unforced combat movements. The influence of Buddhism on martial arts is found in techniques of mental tranquillity training for the extreme conditions of combat. The work also shows the significance of Confucianism for the formation of a code of honor for warriors, which includes the ethics of duty and respect. (shrink)

The author examines South Asian American women caregivers in two domestic violence organizations, namely Apna Ghar, the Chicago shelter for battered immigrant women, and Saheli, a support group for abuse survivors in Austin, Texas. Through informal interviews with Apna Ghar workers and Saheli volunteers and participant observation at Apna Ghar, she outlines the concept of “radical caring.” Radical caring emerges at the conjunction of individual and organizational motivations. However, radical caring is inherently contradictory; first, the caregivers’ traditional gender identities (...) are used to alter the very same gender ideologies in their racialized communities. Second, workers attempt to preserve the dignity of care receivers even as they engage in tasks that undermine their self-respect. Third, caseworkers exercise authority so that residents’ autonomy may be enhanced. The author argues that although organizations such as Apna Ghar hold the potential for social change, professionalization of shelter work along with the contradictions inherent in caregiving compromise radical caring. (shrink)

This book is about the ethical issues arising in the course of business, especially those affecting people working in Asia. Each chapter offers a different perspective and the positions taken vary greatly from one writer to another.

The paper discusses situation-specific justifications for temporary curtailment of particular human rights, Asian justifications for Western values and human rights practices, and the plausibility of a distinctively East Asian conception of human interest and welfare that may justify a distinctively East Asian human rights regime. The paper argues that the so-called East Asian challenge is the prioritization of social and economic rights over civil and political rights and hence does not represent a culturally specific challenge but (...) rather addresses a debate between commi. ütarians and liberals which already exists in the Western scholarly community. Marxist and other nonliberal critiques of civil and political rights are invoked and it is suggested that the relative weakness of the left intelligentsia since the end of the Cold W-r is responsible for the resurfacing of the formerly communitarian and Marxist emphasis on social and economic rights in cultural relativist disguise. The article further chums that it was through the industrial revolution and the corresponding discourse of modernity that these rights emerged within the theocentric cultural traditions of Wesiern Europe, and that the flourishing of human rights discourse in non-Western socie.!;.es will also follow and correspond to their economic development. (shrink)

Criado em 1969, o Festival Pan-africano de Cinema e Televisão de Ouagadougou, o Fespaco, é parte fundamental na história do cinema africano. Os elementos que compõem sua história têm servido a cineastas, curadores, pesquisadores e estudiosos da temática tanto como um termômetro de tendências cinematográficas quanto de direcionamento das políticas de cultura presentes dos caminhos do cinema continente. Mais ainda, sua história se conecta diretamente com os acontecimentos e debates no âmbito das políticas do continente. O presente (...) artigo apresenta alguns dos elementos que entrelaçam o desenvolvimento do cinema africano à história do Fespaco, no intuito de montar não só um panorama histórico do Festival mas também fornecer meios para a compreensão do cenário de desenvolvimento da produção de filmes na África. Palavras-chave: Cinema Africano, Fespaco, história da África. (shrink)

O artigo ora apresentado trata da possibilidade de os conceitos trabalhados por Hegel em seus Cursos de Estética serem aplicados à compreensão da arte cinematográfica. Para tal, há a indagação se a cinematografia seria uma percepção contemporânea para o Belo ou se o cinema é arte porque se serve de outras formas artísticas para compor-se. Tendo como base o método bibliográfico, o trabalho em questão se debruça sobre os trechos dos Cursos de Estética, bem como outros autores que comentam (...) a arte em Hegel, de forma a entender o movimento realizado pelo Espírito, o qual também é presente na manifestação artística a fim de compreender-se a si próprio. Na dinâmica espiritual da arte, o cinema pode nesta ser incluído, visto tratar-se de obra cultural destinada a ser apresentada a um grupo amplo e compreendida por ele. Neste âmbito, a leitura do texto hegeliano resulta no encontro de similaridades entre o conceito de Espírito como algo próximo a uma construção simbólica de um povo ou segmento social, com o cinema como um produto artístico empedernido de códigos e significados que também é direcionado a um público. Este artigo conclui ser bem-vindo um esboço, sob as nomenclaturas legadas por Hegel, de um conceito que contemple a atividade cinemática dentre as demais obras de arte abrangidas pelo filósofo nos Cursos de Estética. Além disso, o artigo encontra a compreensão de que o Espírito, com o cinema, tornou-se mais acessível ao público, o que acarreta num melhor entendimento de si mesmo pela arte. (shrink)

Laura U. Marks _The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses_ Durham, NC: Duke University Press, 2000 ISBN 0-8223-2391-5 298 pp.

This book review describes and analyzes the basic ideas in Edward Branigan's book POINT OF VIEW IN THE CINEMA. -/- The review points out the importance of the topic, as well as the various kinds of POV shots used in film "language." -/- Although a few (relatively minor) challenges are raised, for the most part this review proclaims Branigan's encyclopedic treatment of POV to be EXTREMELY valuable to cinema scholars and students alike. So much so that I recommend (...) further research on the subject matter. (shrink)

Using an institutional perspective, this paper investigates how consumers in Western developed and Southeast Asian emerging markets respond to fashion brands’ moral transgressions and how consumers’ moral rationalization tendencies vary across the two markets. The study employs multimethod analyses, including cross-national secondary data from 12 countries and experimental data from 940 German and Vietnamese consumers. In a non-transgression context, the multivariate analyses show that Western developed-market consumers embrace higher ethical standards (Study 1A), tend to seek collective action against prevalent (...) immoral behaviors in society (Study 1B), and are more critical in evaluating fashion brand ethicality than Southeast Asian emerging-market consumers (Study 2). However, in a transgression context, the moderated mediation analyses reveal that consumers largely do not differ in their direct devaluation of fashion brand ethicality and subsequent price considerations (Study 3) across six transgression scenarios (i.e., worker abuse, child labor, racist advertising, weight discrimination, climate change, and environmental pollution). Interestingly, moral rationalization processes appear to be more frequent and consequential in the Southeast Asian emerging market, while they either do not occur or are significantly weaker in the Western developed market. The results provide theoretical and practical implications for ethical business practices in the fashion industry based on market differences in regulatory frameworks, cognitive considerations, and social norms. (shrink)

Within the limited, but growing, literature on small business ethics almost no attention has been paid to the issue of social responsibility within ethnic minority businesses. Using a social capital perspective, this paper reports on an exploratory and qualitative investigation into the attitudinal and behavioural manifestations of CSR within small and medium-sized Asian owned or managed firms in the U.K., with particular reference to the distinctive factors motivating organisational responses. It offers alternative explanations of entrepreneurial behaviour and suggests areas (...) for further research. (shrink)

L’articolo intende mettere in luce i rapporti tra le fonti storiche del Medioevo russo e la resa cinematografica della narrazione medievale nelle poetiche di Ejzenštejn e Tarkovskij. Congelando le filmografie dei due autori sulle due rispettive pellicole che hanno raccontato il Medioevo russo, l’_Alexandr Nevskij_ di Ejzenštejn e l’_Andrej Rublёv_ di Tarkovskij, l’articolo propone un’indagine critica sulle modalità d’approccio divergenti dei due registi rispetto al materiale storiografico e l’analisi della portata storica che la narrazione del Medioevo assume in un prodotto (...) artistico cinematografico. Partendo dal pensiero di H. White sulla necessità di affiancare la forma narrativa al contenuto del lavoro storico, l’obiettivo dell’articolo è anzitutto la messa in discussione della presunta oggettività della verità storiografica, spostando l’attenzione, in un’ottica cinematografica, sui precisi processi che portano a compimento una narrazione storica _tout court_ in relazione al presente della narrazione e allo sguardo dello spettatore. _This contribution aims to highlight the relationship between the historical sources of the Russian Middle Ages and the cinematic rendering of the medieval narrative in Ejzenštejn and Tarkovskij’poetics. Focusing on two respective films that recounted the Russian Middle Ages, the _Alexandr Nevsky_ by Ejzenštejn and the _Andrej Rublёv_ by Tarkovskij, the article proposes a critical investigation into the divergent approaches of the two directors with respect to historiographical material and the analysis of the historical significance that the medieval narrative assumes in a cinematographic product. Starting from the thought of the philosophy of history’s expert H. White on the need to combine the narrative form with the content of the historical work, the objective of the contribution is primarily to question the alleged objectivity of the historiographical truth. Afterwards the focus will be on the precise processes that bring to completion an historical narrative _tout court_ in relation to the present of the narrative and the viewer’s gaze in a cinematographic perspective._. (shrink)

This book makes the argument that since Asian American women live in the periphery of the multicultural West, they need to strengthen the psychological process of self integration, assimilating neither to traditional cultural demands or those of the larger society.

I will speak here of three notions which are crucial for a thoroughgoing understanding of the three East Asian philosophical/religious teachings of Confucianism, Taoism and Buddhism. The first I name integrated practice ; the other two are already known to modern scholarship as essence-function and interpenetration. Despite the readily observable reliance on these fundamental and unifying elements by the major masters of the three traditions, through the past century of modern scholarly investigation in the West they have been paid (...) almost no sustained attention. While they have occasionally been identified in a fragmentary and cursory way, they have not been examined from the perspective of their role as fundamental constituents of a holistic cultural worldview, or as a set of pan-East Asian metaphysical categories which are radically distinct from basic Western paradigms, and which have retained remarkable consistency throughout the long histories and wide range of schools of thought contained in the three traditions. (shrink)

I try to outline parallels and differences between eastern and western thought about the supreme reality, And to answer the question: to what extent is theism found in both traditions? western classical theism is found significantly similar to advaita vedantism and even to mahayana buddhism. None of these is theistic in the full sense of identifying the God of worship with the supremely real. Some forms of non-Classical western theism and of pluralistic vedantism (bengali school, Founded by sri jiva goswami) (...) make this identification. Western classical pantheism is also considered--As another non-Genuine form of theism. Hua yen buddhism is similar. (shrink)

The concept of 'sustainable welfare society' is highlighted in the social quality analysis, an approach that was extended from a European into an Asian developmental context. is article will expose the basic meaning and conceptual framework used for an analysis of the sustainable welfare society. On this basis, it will examine the postwar Japanese experience of public policymaking and, furthermore, explore the implications of this approach by the analysis of Asian cases and of developing economies. Accordingly, the idea (...) of realizing sustainable welfare societies is discussed in the background of Japanese social policies in reference to the European context of development. (shrink)

This article questions how contemplative contemporary cinema “sexualize” the landscapes. Through the filmography of four directors, Abbas Kiarostami, Apichatpong Weerasethakul, Lars von Trier and B...