Francisca Cho

Yong-un Han

Those who've read Rumi and want to know what's next will love Manhae. The happiness of meeting, the sadness of separation, the agony of longing and waiting, and the perfection of love in absence?Manhae's gift was to give these moments their due in terms both subtle and surprisingly evocative. Long a cultural hero in Korea, Manhae?whose work can be compared to that of Rumi and even Pablo Neruda?finally receives his proper audience in the West.

Manhae's Poems of Love and Longing

Everything Yearned For

Considers film as a form of Buddhist ritual and contemplative practice. In this important new contribution to Buddhist studies and Buddhist film criticism, Francisca Cho argues that films can do more than simply convey information about Buddhism. Films themselves can become a form of Buddhist ritual and contemplative practice that enables the viewer not only to see the Buddha, but to see like the Buddha. Drawing upon her extensive knowledge of both Buddhism and film studies, Cho examines the aesthetic vision of several Asian and Western films that explicitly or implicitly embody Buddhist teachings about karma, emptiness, illusion, and overcoming duality. Her wide-ranging analysis includes Spring, Summer, Fall, Winter and Spring (South Korea, 2003), Nang Nak (Thailand, 1999), Rashomon (Japan, 1950), Maborosi (Japan, 1995), and the films of American Terrence Malick.

Enlightenment through Film

Seeing Like the Buddha

Francisca Cho Bantly

Embracing Illusion is an interdisciplinary study of a classic Korean novel. It argues that a work of narrative fiction can be taken seriously as Buddhist philosophical discourse. The capacity of fiction to speak on behalf of Buddhist truths is set in the larger context of how the literary imagination approaches the exploration of reality.

Francisca Cho

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