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A Seville Pictures / New Yorker Films Release Sunflower
A Seville Pictures / New Yorker Films release Sunflower CREDITS Director ZHANG YANG Screenplay ZHANG YANG CAI SHANGJUN HUO XIN Producer PETER LOEHR Producer HAN SANPING Co-producers MICHAEL J. WERNER WOUTER BARENDRECHT Executive Producer YANG BUTING Co-executive Producer JIANG TAO Production Supervisor SHI DONGMING Production Management ZHAO HAICHENG Line Producer ER YONG Production Manager ZHANG JIAKUN Director of Photography JONG LIN Editor YANG HONGYU Production Design AN BIN HUANG XINMING Music LIN HAI Music Production LIN HAI, EMOTION MUSIC STUDIO Music performed by ASIA PHILHARMONIC GROUP (STRINGS) HUANG LIJIE (LEAD VIOLIN) LIN HAI (SOLO PIANO) Music Recording & Mixing LOU WEI Sound Design WU LALA Sound Editors MAO SHUO ZHAO YING WANG GANG Foley Mixer CHENG XIAOLONG First Assistant Director LI HAIBIN For Fourth Production Company of China Film Group Corp and Ming Productions A Fortissimo Films presentation 2 CAST Zhang Gengnian (Father) SUN HAIYING Zhang Xiuqing (Mother) JOAN CHEN Lao Liu LIU ZIFENG Xiangyang (9 yrs old) ZHANG FAN Xiangyang (19 yrs old) GAO GE Xiangyang (32 yrs old) WANG HAIDI Chicken Droppings (9 yrs old) HONG YIHAO Chicken Droppings (19 yrs old) LI BIN Han Jing (Xiangyang’s wife) LIANG JING Yu Hong ZHANG YUE Horn Li LI YEPING www.NewYorkerFilms.com Press photos are available for download through http://www.newyorkerfilms.com/nyf/t_elements/sunflower/sunflower1_t.htm China, 2005 129 min., Color In Mandarin and English with English subtitles 1.85, Dolby SR 3 SYNOPSIS Sunflower spans the course of three decades - focusing on the years 1976, 1987 and 1999 - in the lives of Zhang Gengnian and his son, Xiangyang. -
Movie Museum JANUARY 2012 COMING ATTRACTIONS
Movie Museum JANUARY 2012 COMING ATTRACTIONS THURSDAY FRIDAY SATURDAY SUNDAY MONDAY 2 Hawaii Premieres! WATERBOYS PENGUINS IN THE SKY– CRADLE SONG 2 Hawaii Premieres! LATE BLOOMERS (2001-Japan) ASAHIYAMA ZOO aka Canción de cuna NOT WITHOUT YOU (2006-Switzerland) in Japanese with English (2008-Japan) (1994-Spain) aka Bu Neng Mei You Ni in Swiss German with English subtitles & in widescreen in Japanese with English in Spanish with English (2009-Taiwan) subtitles & in widescreen with Satoshi Tsumabuki, subtitles & in widescreen subtitles & in widescreen in Hakka/Mandarin w/English with Stephanie Glaser. Hiroshi Tamaki, Akifumi with Toshiyuki Nishida, 12:00 & 7:30pm only subtitles & in widescreen 12:00, 3:15 & 6:30pm only Miura, Naoto Takenaka, Yasuhi Nakamura, Ai Maeda, ---------------------------------- 12:00, 3:15 & 6:30pm only ---------------------------------- Koen Kondo, Kaori Manabe. Keiko Horiuchi, Zen Kajihara. I KNOW WHERE I'M ---------------------------------- NOT WITHOUT YOU GOING! (1945-British) LATE BLOOMERS aka Bu Neng Mei You Ni Directed and Co-written by Directed by with Wendy Hiller, Roger (2006-Switzerland) (2009-Taiwan) Shinobu Yaguchi. Masahiko Tsugawa. Livesey, Finlay Currie. in Swiss German with English in Hakka/Mandarin w/English Directed by Michael Powell subtitles & in widescreen subtitles & in widescreen 12:00, 1:45, 3:30, 5:15, 12:30, 2:30, 4:30, 6:30 and Emeric Pressburger. with Stephanie Glaser. 1:30, 4:45 & 8:00pm only 2:00, 3:45 & 5:30pm only 5 7:00 & 8:45pm 6 & 8:30pm 7 8 1:45, 5:00 & 8:15pm only 9 2 Hawaii Premieres! Martin Luther King Jr. Day Hawaii Premiere! Hawaii Premiere! MONEYBALL DISPATCH MONSIEUR BATIGNOLE THE LAST LIONS 2 Hawaii Premieres! (2011) THE FIRST GRADER (2011) (2002-France) in widescreen (2011-US/Botswana) in widescreen in French/German w/English in widescreen (2010-UK/US/Kenya) with Michael Bershad. -
Post-Cold War Experimental Theatre of China: Staging Globalisation and Its Resistance
Post-Cold War Experimental Theatre of China: Staging Globalisation and Its Resistance Zheyu Wei A thesis submitted for the degree of Doctor of Philosophy The School of Creative Arts The University of Dublin, Trinity College 2017 Declaration I declare that this thesis has not been submitted as an exercise for a degree at this or any other university and it is my own work. I agree to deposit this thesis in the University’s open access institutional repository or allow the library to do so on my behalf, subject to Irish Copyright Legislation and Trinity College Library Conditions of use and acknowledgement. ___________________ Zheyu Wei ii Summary This thesis is a study of Chinese experimental theatre from the year 1990 to the year 2014, to examine the involvement of Chinese theatre in the process of globalisation – the increasingly intensified relationship between places that are far away from one another but that are connected by the movement of flows on a global scale and the consciousness of the world as a whole. The central argument of this thesis is that Chinese post-Cold War experimental theatre has been greatly influenced by the trend of globalisation. This dissertation discusses the work of a number of representative figures in the “Little Theatre Movement” in mainland China since the 1980s, e.g. Lin Zhaohua, Meng Jinghui, Zhang Xian, etc., whose theatrical experiments have had a strong impact on the development of contemporary Chinese theatre, and inspired a younger generation of theatre practitioners. Through both close reading of literary and visual texts, and the inspection of secondary texts such as interviews and commentaries, an overview of performances mirroring the age-old Chinese culture’s struggle under the unprecedented modernising and globalising pressure in the post-Cold War period will be provided. -
Abstract Taiwanese Identity and Transnational Families
ABSTRACT TAIWANESE IDENTITY AND TRANSNATIONAL FAMILIES IN THE CINEMA OF ANG LEE Ting-Ting Chan, Ph.D. Department of English Northern Illinois University, 2017 Scott Balcerzak, Director This dissertation argues that acclaimed filmmaker Ang Lee should be regarded as a Taiwanese transnational filmmaker. Thus, to best understand his work, a Taiwanese sociopolitical context should be employed to consider his complicated national identity as it is reflected in his films across genres and cultures. Previous Ang Lee studies see him merely as a transnational Taiwanese-American or diasporic Chinese filmmaker and situate his works into a broader spectrum of either Asian-American culture or Chinese national cinema. In contrast, this dissertation argues his films are best understood through a direct reference to Taiwan’s history, politics, and society. The chapters examine eight of Lee’s films that best explain his Taiwanese national identity through different cultural considerations: Pushing Hands (1992) and Eat Drink Man Woman (1994) are about maternity; The Wedding Banquet (1993) and Brokeback Mountain (2005) consider homosexuality; The Ice Storm (1997) and Taking Woodstock (2009) represent a collective Taiwanese view of America; and Crouching Tiger, Hidden Dragon (2000) and Lust, Caution (2007) reflect and challenge traditions of Taiwan Cinema. The eight films share three central leitmotifs: family, a sympathetic view of cultural outsiders, and a sympathy for the losing side. Through portraying various domestic relations, Lee presents archetypal families based in filial piety, yet at the same time also gives possible challenges represented by a modern era of equal rights, liberalism, and individualism – which confront traditional Taiwanese-Chinese family views. -
SOUL on a STRING (PI SHENG SHANG DE HUN/皮绳上的魂) a Film by Zhang Yang
presents SOUL ON A STRING (PI SHENG SHANG DE HUN/皮绳上的魂) A film by Zhang Yang “Stunningly shot Tibetan western has a nicely laconic magical-realist flavor.” – Sino-Cinema China / 2016 / Drama / Tibetan with English Subtitles 142 min / 2.35:1 / Stereo 2.0 and 5.1 Surround Sound Film Movement Contacts: Press: Genevieve Villaflor | (212) 941-7744 x215 | [email protected] Theatrical: Clemence Taillandier | (212) 941-7715 | [email protected] Non- Theatrical and Festivals: Maxwell Wolkin | (212) 941-7744 x211 | [email protected] Assets: Official US Trailer: TBD Downloadable Hi-res Images: http://www.filmmovement.com/filmcatalog/index.asp?MerchandiseID=542 www.FilmMovement.com 1 SYNOPSIS After discovering a sacred stone in the mouth of a slain deer, Taibei, a young Tibetan cowboy, embarks on a mission to bring it back to the holy mountain of Buddha’s handprint. His journey proves to be long and difficult as black market traders seek the priceless artifact for themselves, and two brothers – Kodi and Guori – seek revenge for the murder of their father. An obstinate woman, Joan, and a psychic elf, Pu, soon decide to join him. The trio’s earthly conflict is suddenly thrown off course by strange and mystical events. SHORT SYNOPSIS After discovering a sacred stone in the mouth of a slain deer, Taibei, a young Tibetan cowboy, embarks on a mystical mission to bring it back to a holy mountain. His journey proves difficult, especially since he is on the run from two brothers, Kodi and Guori, who are seeking vengeance since their father was killed by Tabei's father. -
ANALISIS ASPEK NASIONALISME PADA FILM 1911 REVOLUTION (辛亥革命) 《辛亥革命》电影民族主义的分析《Xīnhài Gémìng》 Diànyǐng Mínzú Zhǔyì De Fēnxī
ANALISIS ASPEK NASIONALISME PADA FILM 1911 REVOLUTION (辛亥革命) 《辛亥革命》电影民族主义的分析《Xīnhài gémìng》 diànyǐng mínzú zhǔyì de fēnxī SKRIPSI LIANA DEVI SIBARANI 140710052 PROGRAM STUDI SASTRA CINA FAKULTAS ILMU BUDAYA UNIVERSITAS SUMATERA UTARA MEDAN 2018 UNIVERSITAS SUMATERA UTARA UNIVERSITAS SUMATERA UTARA LEMBAR PERNYATAAN ORISINALITAS PERNYATAAN ORISINALITAS Dengan ini saya menyatakan bahwa dalam skripsi ini tidak terdapat karya yang pernah diajukan untuk memperoleh gelar kesarjanaan di suatu Perguruan Tinggi dan sepanjang pengetahun saya juga tidak terdapat karya atau pendapat yang pernah ditulis atau diterbitkan oleh orang lain, kecuali yang secara tertulis diacu dalam naskah ini dan disebutkan dalam daftar pustaka. Medan, 18 Oktober 2018 Materai 6000 LIANA DEVI SIBARANI 140710052 UNIVERSITAS SUMATERA UTARA ANALISIS ASPEK NASIONALISME PADA FILM 1911 REVOLUTION (辛亥革命) OLEH : LIANA DEVI SIBARANI 140710052 ABSTRAK Penelitian ini berjudul Analisis Aspek Nasionalisme pada Film Xīnhài gémìng (辛亥革命). Latar belakang penelitian ini beranjak dari ketertarikan terhadap karya sastra yang berlatar tentang perjuangan kaum revolusioner untuk mencapai kemerdekaan. Dua hal yang menjadi rumusan masalah penelitian ini yaitu (1) apa saja aspek nasionalisme pada film Xinhai Geming (2) bagaimana faktor yang mempengaruhi nasionalisme pada film Xinhai Geming. Tujuan penelitian ini adalah mencari, mengungkapkan dan mendeskripsikan kedua rumusan masalah tersebut secara utuh dan terperinci. Metode penelitian yang digunakan dalam penelitian ini adalah metode deskriptif kualitatif. Teori yang digunakan dalam penelitian ini adalah teori sosiologi sastra menurut Wellek dan Warren dan teori nasionalisme menurut Boyd C Shafer. Sumber data yang digunakan dalam penelitian ini adalah film Xinhai Geming yang disutradarai oleh Zhang Li dan Jackie Chan yang berdurasi 125 menit dan dirilis oleh Shanghai Film Group pada tanggal 23 September 2011. -
Chinese Indie Films Across the Century and Metamorphic Micro Cinema School of Journalism, Fudan University
Chinese Indie Films across the Century and Metamorphic Micro Cinema School of Journalism, Fudan University Instructor: Yong Liu, Lecturer Office: Room 423, Office BLDG Phone: 8621-55664681, 86-13916198152 Email: [email protected] Class time: Office hours: Course Description This course will systematically introduce contemporary Chinese independent filmmaking from around the start of the 1990s, its 10-year “underground” status since then, and another 10 years of market-struggling status quo in China. The final bloc of the course will be focused on the emerging Chinese Micro Cinema mainly distributed through online, which is the transforming and evolving morph in the digitization era of its passing predecessor—Chinese Indie Films. In class, through analyzing and discussing clips of important representative works by Chinese independent filmmakers in different periods of time, students will have a chance to delve into these renown films and more importantly take a close look at the cultural, economic, and political transformations in Chinese society over the last two decades (1990s and 2000s). Also, by reviewing the currently popularizing representative works of Chinese Micro Cinema and comparing it with a prostrating predecessor, alongside the required textbook and articles, this course will shed some light on Chinese popular culture and ethos evolvement over the past 20 years. This will enable students a profound insight into the trajectory of this evolvement in the context of over 30 years of Chinese economic reform and nearly a decade of rapid development. Also, students will divide into groups and each group of 4-5 members will making a 15 minute digital micro cinema (short film) as the final term project. -
Masculinities in Transcultural Spaces–Negotiations of Masculinities in Ang Lee's Films
Masculinities in Transcultural Spaces – Negotiations of Masculinities in Ang Lee’s Films Dissertation zur Erlangung des akademischen Grades Doktorin der Philosophie (Dr. phil.) eingereicht an der Sprach- und Literaturwissenschaftliche Fakultät der Humboldt-Universität zu Berlin von Yumin Zhang Prof. Dr. –Ing. Dr. Sabine Kunst Prof. Dr. Ulrike Vedder Präsidentin Dekanin der Humboldt-Universität zu Berlin der Sprach- und literaturwissenschaftliche Fakultät Gutachterinnen und Gutachter: 1. PD Dr. Reinhard Isensee 2. Prof. Dr. Nicole Waller Datum der mündlichen Prüfung: 1.12.2017 TABLE OF CONTENTS ACKNOWLEDGEMENT ............................................................................................. 3 ABSTRACT ................................................................................................................... 4 INTRODUCTION ......................................................................................................... 5 1. LITERATURE REVIEW AND THEORETICAL FRAMEWORK ....................... 18 1. 1 Previous Studies on Ang Lee and His Films .................................................... 18 1.1.1 Bicultural Identity and Cultural Translation ............................................... 19 1.1.2 Orientalism? ................................................................................................ 21 1.1.3 A Gender Perspective: Homosexuality and Femininity .............................. 22 1.2 Theoretical Framework ..................................................................................... -
SFU Thesis Template Files
Film gatekeepers corp. presents… So this is China? Chinese cinema(s) distribution and circulation: between global markets, capitalist art-houses, and informal venues of resistance. By Rebeca Lucia Galindo B.Sc., Universidad Autónoma de Bucaramanga, 2009 Extended Essay Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the School of Communication in Global Communication Faculty of Communication, Art and Technology Rebeca Lucia Galindo 2014 SIMON FRASER UNIVERSITY Summer 2014 Approval Name: Rebeca Lucia Galindo Degree: Master of Arts (Communication) Title: Film gatekeepers corp. presents… So this is China? Chinese cinema(s) distribution and circulation: between global markets, capitalist art-houses, and informal venues of resistance Supervisory Committee: Program Director: Yuezhi Zhao Professor Katherine Reilly Senior Supervisor Professor Sun Yingchun Supervisor Communication University of China Date Defended/Approved: August 8, 2014 ii Partial Copyright Licence iii Abstract This paper argues that our access of Chinese films is mediated by politicized cannons, non-transparent global distribution patterns, and the commodified need of cultural audiovisual references. To observe how global distribution and circulation of Chinese cinemas materialize an exploratory case study was used to analyze those Chinese films that have been distributed in important art-houses in Argentina, Mexico, Brazil, Chile, and Peru in recent years. The analysis shows how distribution for that part of the global south is translocal and problematically rooted in European and U.S. hegemonic media capitals. This has implications for how we think about China’s ideological projection. Este documento argumenta que el acceso a los filmes chinos está mediado por cánones politizados, patrones globales no-transparentes y la necesidad comodificada de referencias culturales audiovisuales. -
Institut Confucius De L'université Paris Diderot En Collaboration Avec Le Centre De Documentation Sur Le Cinéma Chinois De Paris (Cdccparis)
Institut Confucius de l'université Paris Diderot en collaboration avec le Centre de documentation sur le cinéma chinois de Paris (cdccparis) De l'écrit à l'écran 3ème saison Notre cycle « De l’écrit à l’écran » en arrive à sa troisième saison. Cette année, nous vous proposons non seulement des adaptations d’œuvres littéraires et de pièces de théâtre (théâtre moderne et opéra traditionnel), mais aussi de scénarios qui, en Chine, ont souvent une qualité propre qui leur vaut d’être parfois publiés comme des œuvres littéraires à part entière. C’est un aspect original du cinéma chinois qui remonte à sa relation étroite, dès les années 1920 mais surtout 1930, avec les intellectuels issus du mouvement du 4 mai dont un grand nombre, férus de littérature et de théâtre, voyaient dans le cinéma un moyen de s’ouvrir à la modernité. Rédigés dans un style littéraire, les scénarios écrits dans ce contexte furent d’ailleurs appelés « scénarios littéraires » (电影文学剧本 diànyǐng wénxué jùběn) et souvent publiés dans des revues cinématographiques. Les scénarios des écrivains, par la suite, ont été publiés au même titre que leurs romans. Il s’agit, indirectement, de rendre hommage à cette tradition à une époque où l’on accorde bien peu d’importance au scénariste, en oubliant combien, en Chine, les liens particulièrement étroits entre intellectuels et cinéastes ont favorisé les réflexions en miroir que le cinéma et la littérature se renvoient depuis toujours, en enrichissant et l’un et l’autre. 1. 天伦 / Tianlun / The Soul of China (scénario de ZHONG Shigen). FEI Mu, 1935. -
China on Screen
Chris Berry and Mary Farquhar China on Screen CINEMA AND NATION ~ll!"<i\tl:K!iii'" HONG KONG UNIVERSITY PRESS Hong Kong University Press 14/F Hing Wai Centre 7 Tin Wan Praya Road Aberdeen Hong Kong Copyright© Christopher Berry and Mary Farqhuar 2006 fSBN-rr 978-962-209-806-0 ISBN-ro: 962-209-806-1 This edition published by Hong Kong University Press is available in East and Sollth-East Asia. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, withollt prior written permission from the publisher. Printed and bound in the United St.ates. Cover and title page photo: From Hero (2002 / 2004), directed by Zhang Yimoll, visual effects by Animal Logic © EDKO Film. Used with permission. Special thanks to /et Li, Elite Group Enterprises, and Animal Logic. Contents List of Illustrations vii Acknowledgments ix A Note on Translation and Romanization xiii 1 Introduction: Cinema and the National r 2 Time and the National: History, Historiology, Haunting 17 3 Operatic Modes: Opera Film, Martial Arts, and Cultural Nationalism 47 4 Realist Modes: Melodrama, Modernity, and Home 75 5 How Should a Chinese Woman Look? Woman and Nation w8 6 How Should Chinese Men Act? Ordering the Nation 135 7 Where Do You Draw the Line? Ethnicity in Chinese Cinemas 169 8 The National in the Transnational 195 Chronology 223 Notes 233 European-language Bibliography 265 Chinese-language Bibliography 287 Film List 293 Index 301 List of Illustrations FIGURES 2.1 a-2.1d. -
Can You Date Your Friend's Ex and Keep Your Friend?
Can You Date Your Friend’s Ex And Keep Your Friend? By Jane Greer, Ph.D. for GalTime.com Supermodel Naomi Campbell is one of the most well-known faces in the fashion industry and the creator of the model-search reality show The Face. It was on the show that Campbell met and began a mentorship with the aspiring model and former Miss Universe China, Luo Zilin. Luo was the runner up on the show and the last model standing on Naomi’s “team.” She has a long history of modeling successes around the world. But this week it was reported that her contract with MIX Model Management NYC was abruptly terminated. The agency cited an “unacceptable work ethic” and “unprofessional conduct.” The firing comes just a few weeks after Luo was photographed on vacation with Russian billionaire Vladimir Doronin who happens to be Naomi’s ex, leaving many to speculate that Naomi was somehow behind the firing. Naomi and Vladimir broke up earlier this year after dating since 2010. Related: Celebrity Couple Sarah Michelle Gellar and Freddie Prinze Jr.: How Does A Couple Cope With Illness? Naomi is known for her temper — she was charged with assault in 2006 for throwing a phone at her assistant— and rumors abound that it was she who made sure Luo was punished for liaising with her ex. This raises the question that many face: is it ever OK to date the former flame of a friend or mentor? And if that opportunity comes up, what is the best way to handle it? This goes to the very core of friendship or mentoring — so much is freely given and exchanged in those relationships that the lines can become blurred as to what is realistic to expect to be mutual.