- Title Pages
- Acknowledgments
- Contributors
- Introduction
- 1 Framing Ambient <i>Unheimlich</i>: Ecoggedon, Ecological Unconscious, and Water Pathology in New Chinese Cinema
- 2 Gorgeous Three Gorges at Last Sight: Cinematic Remembrance and the Dialectic of Modernization
- 3 Submerged Ecology and Depth Psychology in <i>Wushan yunyu</i>: Aesthetic Insight into National Development
- 4 Floating Consciousness: The Cinematic Confluence of Ecological Aesthetics in <i>Suzhou River</i>
- 5 The Idea-Image: Conceptualizing Landscape in Recent Martial Arts Movies
- 6 Façades: The New Beijing and the Unsettled Ecology of Jia Zhangke’s <i>The World</i>
- 7 Ruins and Grassroots: Jia Zhangke’s Cinematic Discontents in the Age of Globalization
- 8 Of Humans and Nature in Documentary: The Logic of Capital in <i>West of the Tracks</i> and <i>Blind Shaft</i>
- 9 Toward a Hong Kong Ecocinema: The <i>Dis-appearance</i> of “Nature” in Three Films by Fruit Chan
- 10 A City of Disappearance: Trauma, Displacement, and Spectral Cityscape in Contemporary Chinese Cinema
- 11 In the Face of Developmental Ruins: Place Attachment and Its Ethical Claims
- 12 Ning Hao’s <i>Incense</i>: A Curious Tale of Earthly Buddhism
- 13 Putting Back the Animals: Woman-Animal Meme in Contemporary Taiwanese Ecofeminist Imagination
- 14 “Reconstructing the God-Fearing Community”: Filming Tibet in the Twenty-First Century
- Chinese Glossary
- Filmography
- Bibliography
- Index
Ning Hao’s Incense: A Curious Tale of Earthly Buddhism
Ning Hao’s Incense: A Curious Tale of Earthly Buddhism
- Chapter:
- (p.234) (p.235) 12 Ning Hao’s Incense: A Curious Tale of Earthly Buddhism
- Source:
- Chinese Ecocinema
- Author(s):
Xiaoping Lin
- Publisher:
- Hong Kong University Press
This chapter analyzes Ning Hao's film Incense, a heavy yet humorous film about the adventures of an impoverished Buddhist monk who tries to preserve his temple and etch out a living for himself in a modernizing secular world that has no use for religion. It examines Incense as a film text which deconstructs “earthly Buddhism,” especially its current efforts to adapt to China's economic reforms and capitalist globalization.
Keywords: Ning Hao, Incense, religion, Buddhism, economic reforms, globalization
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- Title Pages
- Acknowledgments
- Contributors
- Introduction
- 1 Framing Ambient <i>Unheimlich</i>: Ecoggedon, Ecological Unconscious, and Water Pathology in New Chinese Cinema
- 2 Gorgeous Three Gorges at Last Sight: Cinematic Remembrance and the Dialectic of Modernization
- 3 Submerged Ecology and Depth Psychology in <i>Wushan yunyu</i>: Aesthetic Insight into National Development
- 4 Floating Consciousness: The Cinematic Confluence of Ecological Aesthetics in <i>Suzhou River</i>
- 5 The Idea-Image: Conceptualizing Landscape in Recent Martial Arts Movies
- 6 Façades: The New Beijing and the Unsettled Ecology of Jia Zhangke’s <i>The World</i>
- 7 Ruins and Grassroots: Jia Zhangke’s Cinematic Discontents in the Age of Globalization
- 8 Of Humans and Nature in Documentary: The Logic of Capital in <i>West of the Tracks</i> and <i>Blind Shaft</i>
- 9 Toward a Hong Kong Ecocinema: The <i>Dis-appearance</i> of “Nature” in Three Films by Fruit Chan
- 10 A City of Disappearance: Trauma, Displacement, and Spectral Cityscape in Contemporary Chinese Cinema
- 11 In the Face of Developmental Ruins: Place Attachment and Its Ethical Claims
- 12 Ning Hao’s <i>Incense</i>: A Curious Tale of Earthly Buddhism
- 13 Putting Back the Animals: Woman-Animal Meme in Contemporary Taiwanese Ecofeminist Imagination
- 14 “Reconstructing the God-Fearing Community”: Filming Tibet in the Twenty-First Century
- Chinese Glossary
- Filmography
- Bibliography
- Index
