urban space, emotional cartography, surrealism, Chinese cinema, Diao Yi'nan
Siwei Liu. Uncharted Surrealism: the Emotional Cartography in Diao Yi'nan's Films. LNEP (2021) LNEP ICEIPI 2021: 357-365. DOI: 10.54254/lnep.iceipi.2021239.
[1]: Li, Z. (2014, April 2). 'Black Coal, Thin Ice' by Diao Yi'nan redefines Chinese movies. CNN. https://edition.cnn.com/2014/04/02/world/asia/china-film-black-coal-thin-ice/index.html
[2]: Du, L. (2020). Mapping out the emotional geography in Diao Yi'nan's films. Contemporary Cinema(090),47-52. doi:CNKI:SUN:DDDY.0.2020-09-007
[3]: Qi, W. (2020).Antonym modification obsession, strange love infatuation and the emotional impetus of his crime narrative:on Diao Yi'nan's cinematic style. Contemporary Cinema(09),53-57. doi:CNKI:SUN:DDDY.0.2020-09- 008.
[4]: Shen, C.H.(2019). Leixing-zuozhe de chuangzuolujing yu dianyinggongyemeixuedezijue—Diao Yi'nan daoyanchuangzuolun [The ‘Genre-Auteur’ creative process and contemporary film industry—An Auteur studies on Diao Yi'nan]. Sichuan Xiju[Sichuan Drama],(12),36-42.
[5]: Liu, J.(2019).Lighting the Night: discussing modelling languages and aesthetic ideas in film noir with Wild Goose Lake’s Dong Jinsong. Dianyingyishu[Film Arts](04),138-143. doi:CNKI:SUN:DYYS.0.2019-04-023.
[6]: Brian F. Blake (1974) Topophilia: A Study of Environmental Perception, Attitudes and Values. By Yi-Fu Tuan, Journal of Leisure Research, 6:4, 323-325, DOI: 10.1080/00222216.1974.11970208
[7]: Bruno, G. (2008). Motion and Emotion: Film and Urban Fabric. In A. Webber & E. Wilson (Eds.), Cities in transition: the moving image and the modern metropolis (pp. 14–28). essay, Wallflower.
[8]: Castro T. (2010) Mapping the City through Film: From ‘Topophilia’ to Urban Mapscapes. In: Koeck R., Roberts L. (eds) The City and the Moving Image. Palgrave Macmillan, London. https://doi.org/10.1057/9780230299238_10
[9]: Lan, J. Y.(2019).kongjian·quanli·zhenghou—Diao Yi'nandianyingzhong de renwuxingxiangyanjiu[Space, Power, Syndrome---A character studies on Diao Yi'nan's characters]. Xibuguangbodianshi[Western Broadcasting and TV](23),3-5. doi:CNKI:SUN:XBGS.0.2019-23-002.
[10]: Mu, J.(2017).‘Leixingzhong de zuozhe: ‘xiaofeizhuyiyujingxiadeyishubiaodacelue---yi Cao Baopin, Diao Yi'nan, Chener de jinqichuangzuoweili’[‘Autuers in genre pictures’: the artistic strategy in the consumerism context]. Dianyingpinjie [Chinese Film Reviews](15),23-27. doi:10.16583/j.cnki.52-1014/j.2017.15.006.
[11]: Criel, G. (1952). Surrealism. Books Abroad, 26(2), 133-136. doi:10.2307/40090932
[12]: Revocering the aesthetic pursuit of grotesque reality: interview with Diao yi'nan about Wild Goose Lake. Dianyingyishu[Film Arts](04),60-65. doi:CNKI:SUN:DYYS.0.2019-04-011.
[13]: [Zhaoxuliang].(2014, October 31). <bairiyanhuolimiannapimashiweishenmechuxiande>[Why is there a horse in Black Coal, Thin ice?][Online forum post].Retrieved from https://www.zhihu.com/question/23123247