这是一本关於东亚电影研究的书，内容汲取了几千年的书法理论和历史，并追朔书法艺术如何跨越历史和地域进入到电影世界，特别探讨那些出现在韩国丶日本丶台湾丶香港和中国等等的电影中的书法字词所代表的背後含义，其中也包括呈现在默片时代的插卡字幕丶电影字幕丶片头主题画面丶片尾标题丶电影道具等等上面的书法文字。

关於作者

Markus Nornes是密歇根大学亚洲电影学院教授。

书评

“In a study both erudite and contemplative, Nornes tracks the journey of the calligraphic arts across histories and regions into the world of cinema, where he uses them dexterously to disaggregate the monolithic object of film studies, finding other forms of screen life, other modes of cinematic existence, arising where cinematography encounters the figural force of calligraphy in an intermedial tremor of energy, and compels it to ask, ‘Who is the third who walks always beside you?’ It is a gesture well worth at least a thousand words.”

—Thomas Lamarre, University of Chicago

“Markus Nornes is a passionate pathfinder into the forest of affinities between cinema and calligraphy. He takes us deeper and deeper into that forest, analyzing beautiful brushed writing from Chinese, Japanese, and Korean cinema. The result is a revealing tour of the meaning—but also the physicality, almost the sensuality—of calligraphy. He quotes brilliantly from other scholars, and connects us back to the Western idea of the caméra-stylo, but mostly he is on exciting new ground. Myriad frame grabs enrich his tour, and—in sentences like ‘calligraphy sits in a place as undecidable as cinema’—we are close to poetry. A visual and intellectual delight.”
—Mark Cousins, filmmaker and critic

“When you see East Asian calligraphy in a film, you probably just want to know what it means. Brushed in Light asks us to look again. Calligraphy in Chinese, Japanese, and Korean cinema generates emotions and energies before you even know what it means. After you read this luxuriously illustrated revelation of a book, you will become conscious of calligraphy’s integral role in the design and storytelling of every East Asian film you watch. You will never let it slip by unnoticed again.”
—Chris Berry, King’s College London