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Repression, silence, and cinematic language: Eastern sensibility in visualizing Brokeback Mountain
From Brokeback Mountain to Life of Pi, the Taiwan-born film director, Ang Lee, has won two Oscars for the Best Director. Both films are set in cultural contexts where Lee did not grow up, and yet both have drawn global audiences and received unanimous praise from critics. This article examines Ang Lee’s cinematic technique communicated with his Eastern sensibilities in Brokeback Mountain. In applying his cinematic language, he not only shows loyalty to the mood and content of the original short story, but also re-creates much visual detail. His visual additions serve to redeem what in writing is not replicable in film, such as psychological description, and to enrich the story to fill the range of a full-length feature film.
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