DOCSLIB.ORG

American Family Entertainment and the Only Child Generation In

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

American Family Entertainment and the Only Child Generation in Contemporary Urban China Ting He Submitted for the degree of Doctor of Philosophy (PhD) University of East Anglia School of Film, Television & Media Studies Submitted April 2013 ©This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis, nor any information derived therefrom, may be published without the author's prior, written consent. Acknowledgements First and foremost, I would like to express my gratitude to my supervisor team, Mr Peter Kramer and Prof Mark Jancovich, for their always insightful suggestions and expert guidance. It has been a privilege and memorable experience to work with both of them. I am also grateful to Rayna Denison, who provided many comments and suggestions on my work during my upgrade panel. I would also like to thank Dr Melanie Williams and Dr Andrew Willis for their valuable feedback from the viva exam. My special thanks go to the PhD students of my school, Erin Giannini, Oliver Gruner, Antonella Palmieri, Seb Manley, Vincent Gaine, Derek Johnson, Rachel Mizsei Ward, Heather Wintle and everyone else involved in the PhD seminars over the past years for their comments and suggestions on the papers I have presented in these seminars. Lastly, but most of all, thanks to my parents, He Yuansheng and Pan Jie, my husaband, Zhang Yu, for their unconditional love and support, without which this thesis would have never come into being. Abstract As a result of the economic reform which took place three decades ago, imported American family entertainment had gradually become an important part of the everyday entertainment for Chinese consumers. During the same period, a particular group of Chinese people, generally referred to as the post-80s or the only child generation, had emerged, grown up and become the main contributors to China’s media consumption. In this thesis, a study of the only child generation and the American family entertainment will be presented. The study sees the only child generation as groups of audience exposed to American family entertainment as the media, and the focus of this study is to understand the audience-media relationship between the two. As they are two objects emerged within their own social and cultural boundaries, the thesis will first tackle how the connection between the audience and the media was established. Then, the only child generation will be approached as a social creation. Findings on their social sophistications that are able to influence their relationship to media will be presented. Four case studies form the reset of the thesis. Each of the case studies will focus on one significant aspect of the generation’s social characteristics and how it is connected to the group’s receptions to media texts. i Table of Contents Abstract ......................................................................................................................... i Table of Contents ......................................................................................................... ii Introduction .................................................................................................................. 1 Global Hollywood, American Family Film and China ............................................ 4 The Open Door Policy, Entertainment Import and Chinese Media ......................... 8 The Only Child Generation .................................................................................... 12 Methodologies and Resources ................................................................................ 18 Contributions .......................................................................................................... 23 Chapter 1 American Entertainment in Urban China since 1978 ................................ 25 Pre-1994: Television as the Window of the World ................................................ 26 1994-2001: Have you seen the “Dapian”? ............................................................. 34 Post-2001: Opened Door = Free Market? .............................................................. 42 Lessons for Hollywood .......................................................................................... 56 Chapter 2 Only Child Generation – A Mediation Model ........................................... 62 The Emergence and Rise of the Only Child Generation ........................................ 63 Entertainment for the OCG .................................................................................... 67 The Family as They Know It .................................................................................. 71 Tomboy, to Be or Not to Be ................................................................................... 76 Struggling in the Mass Production of Education .................................................... 82 Nostalgia: a Tribute to Childhood .......................................................................... 88 Chapter 3 Disney, The Lion King and China’s “Little Emperors” ............................ 94 Disney’s Image in China ........................................................................................ 94 Disney’s Journey in China...................................................................................... 99 Disney in Chinese Market .................................................................................... 107 The Lion King: a Legend of Disney in China ...................................................... 115 Chapter 4 Mulan: Disney’s Chinese Heroine .......................................................... 132 Disney’s Reconstruction of Mulan ....................................................................... 134 Who Is that Girl I See ........................................................................................... 142 Cultural Enrichment and its Implications in Reception ....................................... 151 Chapter 5 Harry Potter: Tailored Education vs. Mass Education ............................ 156 ii Reading Harry Potter in Urban China .................................................................. 157 Harry Potter Films in Chinese Market.................................................................. 165 Why Didn’t I Go to a School Like That? ............................................................. 175 Chapter 6 Transformers: the Power of Memories .................................................... 185 Transformers – from TV to the Cinema ............................................................... 186 Science Fiction in Chinese Cinema ...................................................................... 192 Transformers Toys: Memories and Self-Fashioned Identities ............................. 198 Memories, Nostalgia and Reception..................................................................... 202 Conclusions .............................................................................................................. 211 Appendix A. Imported American Films (Revenue-Sharing Basis) and Top 10 Chinese Domestic Films (1994-2001) ..................................................................... 218 Appendix B. Imported American Films and Top 10 Chinese Domestic Films (2002- 2010) ........................................................................................................................ 233 Appendix C. Disney Focus Group ........................................................................... 262 Appendix D. Transformers Focus Group ................................................................. 264 Bibliography ............................................................................................................. 265 Primary Sources: Newspapers, Magazines, Yearbooks and Websites ................. 265 Secondary Literature ............................................................................................ 266 iii Introduction It is not very surprising that, up until the end of 2008, the world record keeper Titanic (1997) was still the most commercially successful film that had ever been screened in China,1 but it may be unexpected to some that the second most successful film at the Chinese box office was Transformers (2007), the No. 30 in the table of all-time worldwide grosses at that time.2 Why does it appeal so much to Chinese audiences? A report from Beijing Review sheds some light on this, pointing out that “people who are crazy for this film are actually not the kids, but those who were born in the late 1970s or the early 1980s”.3 An article from Shanghai Daily goes a step deeper, claiming that “their memories of the cartoon TV series Transformers in the 1980s attracted them to the film”.4 It is believed that, starting from 1988, Transformer cartoons and related merchandise had been gradually burned into the childhood memories of nearly a generation of Chinese people.5 The success of Transformers demonstrates the power of a special group of audiences in urban China. They belong to the generation of people who were born right after the establishment of China’s “One Child Policy” in the late 1970s. Lu Taihong, a Chinese professor of marketing studies, defines this generation as the 1 Unless stated otherwise, China refers to Mainland China. 2 The box office data come from: Box Office Mojo, Worldwide Grosses, <http://www.boxofficemojo.com/alltime/world/> [accessed 13 Aug. 2008]. 3 Anon.,
Recommended publications
  • 9780367508234 Text.Pdf

    9780367508234 Text.Pdf

    Development of the Global Film Industry The global film industry has witnessed significant transformations in the past few years. Regions outside the USA have begun to prosper while non-traditional produc- tion companies such as Netflix have assumed a larger market share and online movies adapted from literature have continued to gain in popularity. How have these trends shaped the global film industry? This book answers this question by analyzing an increasingly globalized business through a global lens. Development of the Global Film Industry examines the recent history and current state of the business in all parts of the world. While many existing studies focus on the internal workings of the industry, such as production, distribution and screening, this study takes a “big picture” view, encompassing the transnational integration of the cultural and entertainment industry as a whole, and pays more attention to the coordinated develop- ment of the film industry in the light of influence from literature, television, animation, games and other sectors. This volume is a critical reference for students, scholars and the public to help them understand the major trends facing the global film industry in today’s world. Qiao Li is Associate Professor at Taylor’s University, Selangor, Malaysia, and Visiting Professor at the Université Paris 1 Panthéon- Sorbonne. He has a PhD in Film Studies from the University of Gloucestershire, UK, with expertise in Chinese- language cinema. He is a PhD supervisor, a film festival jury member, and an enthusiast of digital filmmaking with award- winning short films. He is the editor ofMigration and Memory: Arts and Cinemas of the Chinese Diaspora (Maison des Sciences et de l’Homme du Pacifique, 2019).
  • China's Youth in Transition

    China's Youth in Transition

    Teaching About Asia Through Youth Culture CONFUCIAN AND COOL China’s Youth in Transition By Robert Moore and James Rizor Kicking Bird could be considered Qingdao University’s first hippie, at least if one were to judge him by his appearance. He had shoulder-length hair and made a point of pub- licly protesting the university’s rules on grooming.1 That was 1994, and even though young Chinese who looked like Kicking Bird could be found in Beijing and Shanghai at that time, they were all but non-existent in provincial cities like Qingdao. In fact, given the conservative grooming of most young Chinese at the time, Kicking Bird’s appearance was striking to say the least. His inspiration came from Hollywood. He had seen the Kevin Costner film Dances with Wolves and, hav- ing been mightily impressed with a Sioux Indian character in that film, had dropped his Chinese name in favor of the character’s and let his hair grow to shoulder length. The university officials were aghast at his be- havior and told him that until he conformed to a more conservative appearance, he wouldn’t be allowed back on campus. Kicking Bird was saved by what might be called the parent-child bond of an enduring Con- fucian mindset—his parents stood up for him and forced the university to back down. We can regard young Kicking Bird as emblematic of the inroads that American popular culture began to make in China once the barriers to outside influences were brought down by the post-Mao reforms initiated in 1978.
  • CLONES, BONES and TWILIGHT ZONES: PROTECTING the DIGITAL PERSONA of the QUICK, the DEAD and the IMAGINARY by Josephj

    CLONES, BONES and TWILIGHT ZONES: PROTECTING the DIGITAL PERSONA of the QUICK, the DEAD and the IMAGINARY by Josephj

    CLONES, BONES AND TWILIGHT ZONES: PROTECTING THE DIGITAL PERSONA OF THE QUICK, THE DEAD AND THE IMAGINARY By JosephJ. Beard' ABSTRACT This article explores a developing technology-the creation of digi- tal replicas of individuals, both living and dead, as well as the creation of totally imaginary humans. The article examines the various laws, includ- ing copyright, sui generis, right of publicity and trademark, that may be employed to prevent the creation, duplication and exploitation of digital replicas of individuals as well as to prevent unauthorized alteration of ex- isting images of a person. With respect to totally imaginary digital hu- mans, the article addresses the issue of whether such virtual humans should be treated like real humans or simply as highly sophisticated forms of animated cartoon characters. TABLE OF CONTENTS I. IN TR O DU C T IO N ................................................................................................ 1166 II. CLONES: DIGITAL REPLICAS OF LIVING INDIVIDUALS ........................ 1171 A. Preventing the Unauthorized Creation or Duplication of a Digital Clone ...1171 1. PhysicalAppearance ............................................................................ 1172 a) The D irect A pproach ...................................................................... 1172 i) The T echnology ....................................................................... 1172 ii) Copyright ................................................................................. 1176 iii) Sui generis Protection
  • On the Rise and Decline of Wulitou 无厘头's Popularity in China

    On the Rise and Decline of Wulitou 无厘头's Popularity in China

    The Act of Seeing and the Narrative: On the Rise and Decline of Wulitou 无厘头’s Popularity in China Inaugural dissertation to complete the doctorate from the Faculty of Arts and Humanities of the University of Cologne in the subject Chinese Studies presented by Wen Zhang ACKNOWLEDGEMENTS My thanks go to my supervisors, Prof. Dr. Stefan Kramer, Prof. Dr. Weiping Huang, and Prof. Dr. Brigitte Weingart for their support and encouragement. Also to the Faculty of Arts and Humanities of the University of Cologne for providing me with the opportunity to undertake this research. Last but not least, I want to thank my friends Thorsten Krämer, James Pastouna and Hung-min Krämer for reviewing this dissertation and for their valuable comments. TABLE OF CONTENTS INTRODUCTION ...................................................................................................................................... 1 0.1 Wulitou as a Popular Style of Narrative in China ........................................................... 1 0.2 Story, Narrative and Schema ................................................................................................. 3 0.3 The Deconstruction of Schema in Wulitou Narratives ................................................... 5 0.4 The Act of Seeing and the Construction of Narrative .................................................... 7 0.5 The Rise of the Internet and Wulitou Narrative .............................................................. 8 0.6 Wulitou Narrative and Chinese Native Cultural Context ..........................................
  • Thesis Chinese Movies in 1990S

    Thesis Chinese Movies in 1990S

    Surname 1 Student’s Name Professor’s Name Course Date Chinese Movies in 1990s A case of “In the Heat of the Sun” and “Farewell My Concubine” In 1990s, different film masterpieces were created within China and other parts of the world. Increased innovation led to high-quality movies and the most famous and iconic work included “The Titanic.” At the same time, realist movies started dominating in the market, and phase was also marked by an increase of independent filmmakers. Under this atmosphere, movies, as a form of art, stepped into a new realm in terms of form and content (Silbergeld 2008). Many movies that were produced in 1990s had great effect as they deepened the thoughts of human beings, humanity, and social development. The paper will analyze Chinese movies that were produced in 1990s and use “In the Heat of the Sun” and “Farewell My Concubine” as my examples. In the 70s of last century, the Culture Revolution began in China and it resulted to low development of Chinese economy, culture, and industry, especially in the aspects of civilization and education. Different educators and artists were killed, and students began to undertake various activities in the countryside. China was civilized country with five thousand years history, but during this movement, it faced culture discontinuity which generated people’s fanatic ideas that drown everything. After damaging history relics, the deteriorating Chinese history and culture as well as the humiliated cultural workers were the main themes during the Culture Revolution that had been lasting for ten years (Silbergeld 2008). In the late 1970s, the Culture x-essays.com Surname 2 Revolution finally ended and the Chinese started to rectify the wrong thoughts and behaviors, and it was followed by Chinese reform and opening-up policy.
  • Karaoke Songs by Title

    Karaoke Songs by Title

    Songs by Title Title Artist Title Artist #9 Dream Lennon, John 1985 Bowling For Soup (Day Oh) The Banana Belefonte, Harry 1994 Aldean, Jason Boat Song 1999 Prince (I Would Do) Anything Meat Loaf 19th Nervous Rolling Stones, The For Love Breakdown (Kissed You) Gloriana 2 Become 1 Jewel Goodnight 2 Become 1 Spice Girls (Meet) The Flintstones B52's, The 2 Become 1 Spice Girls, The (Reach Up For The) Duran Duran 2 Faced Louise Sunrise 2 For The Show Trooper (Sitting On The) Dock Redding, Otis 2 Hearts Minogue, Kylie Of The Bay 2 In The Morning New Kids On The (There's Gotta Be) Orrico, Stacie Block More To Life 2 Step Dj Unk (Your Love Has Lifted Shelton, Ricky Van Me) Higher And 20 Good Reasons Thirsty Merc Higher 2001 Space Odyssey Presley, Elvis 03 Bonnie & Clyde Jay-Z & Beyonce 21 Questions 50 Cent & Nate Dogg 03 Bonnie And Clyde Jay-Z & Beyonce 24 Jem (M-F Mix) 24 7 Edmonds, Kevon 1 Thing Amerie 24 Hours At A Time Tucker, Marshall, 1, 2, 3, 4 (I Love You) Plain White T's Band 1,000 Faces Montana, Randy 24's Richgirl & Bun B 10,000 Promises Backstreet Boys 25 Miles Starr, Edwin 100 Years Five For Fighting 25 Or 6 To 4 Chicago 100% Pure Love Crystal Waters 26 Cents Wilkinsons, The 10th Ave Freeze Out Springsteen, Bruce 26 Miles Four Preps, The 123 Estefan, Gloria 3 Spears, Britney 1-2-3 Berry, Len 3 Dressed Up As A 9 Trooper 1-2-3 Estefan, Gloria 3 Libras Perfect Circle, A 1234 Feist 300 Am Matchbox 20 1251 Strokes, The 37 Stitches Drowning Pool 13 Is Uninvited Morissette, Alanis 4 Minutes Avant 15 Minutes Atkins, Rodney 4 Minutes Madonna & Justin 15 Minutes Of Shame Cook, Kristy Lee Timberlake 16 @ War Karina 4 Minutes Madonna & Justin Timberlake & 16th Avenue Dalton, Lacy J.
  • Written & Directed by and Starring Stephen Chow

    Written & Directed by and Starring Stephen Chow

    CJ7 Written & Directed by and Starring Stephen Chow East Coast Publicity West Coast Publicity Distributor IHOP Public Relations Block Korenbrot PR Sony Pictures Classics Jeff Hill Melody Korenbrot Carmelo Pirrone Jessica Uzzan Judy Chang Leila Guenancia 853 7th Ave, 3C 110 S. Fairfax Ave, #310 550 Madison Ave New York, NY 10019 Los Angeles, CA 90036 New York, NY 10022 212-265-4373 tel 323-634-7001 tel 212-833-8833 tel 212-247-2948 fax 323-634-7030 fax 212-833-8844 fax 1 Short Synopsis: From Stephen Chow, the director and star of Kung Fu Hustle, comes CJ7, a new comedy featuring Chow’s trademark slapstick antics. Ti (Stephen Chow) is a poor father who works all day, everyday at a construction site to make sure his son Dicky Chow (Xu Jian) can attend an elite private school. Despite his father’s good intentions to give his son the opportunities he never had, Dicky, with his dirty and tattered clothes and none of the “cool” toys stands out from his schoolmates like a sore thumb. Ti can’t afford to buy Dicky any expensive toys and goes to the best place he knows to get new stuff for Dicky – the junk yard! While out “shopping” for a new toy for his son, Ti finds a mysterious orb and brings it home for Dicky to play with. To his surprise and disbelief, the orb reveals itself to Dicky as a bizarre “pet” with extraordinary powers. Armed with his “CJ7” Dicky seizes this chance to overcome his poor background and shabby clothes and impress his fellow schoolmates for the first time in his life.
  • University of California Riverside

    University of California Riverside

    UNIVERSITY OF CALIFORNIA RIVERSIDE Uncertain Satire in Modern Chinese Fiction and Drama: 1930-1949 A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Comparative Literature by Xi Tian August 2014 Dissertation Committee: Dr. Perry Link, Chairperson Dr. Paul Pickowicz Dr. Yenna Wu Copyright by Xi Tian 2014 The Dissertation of Xi Tian is approved: Committee Chairperson University of California, Riverside ABSTRACT OF THE DISSERTATION Uncertain Satire in Modern Chinese Fiction and Drama: 1930-1949 by Xi Tian Doctor of Philosophy, Graduate Program in Comparative Literature University of California, Riverside, August 2014 Dr. Perry Link, Chairperson My dissertation rethinks satire and redefines our understanding of it through the examination of works from the 1930s and 1940s. I argue that the fluidity of satiric writing in the 1930s and 1940s undermines the certainties of the “satiric triangle” and gives rise to what I call, variously, self-satire, self-counteractive satire, empathetic satire and ambiguous satire. It has been standard in the study of satire to assume fixed and fairly stable relations among satirist, reader, and satirized object. This “satiric triangle” highlights the opposition of satirist and satirized object and has generally assumed an alignment by the reader with the satirist and the satirist’s judgments of the satirized object. Literary critics and theorists have usually shared these assumptions about the basis of satire. I argue, however, that beginning with late-Qing exposé fiction, satire in modern Chinese literature has shown an unprecedented uncertainty and fluidity in the relations among satirist, reader and satirized object.
  • Nr Kat Artysta Tytuł Title Supplement Nośnik Liczba Nośników Data

    Nr Kat Artysta Tytuł Title Supplement Nośnik Liczba Nośników Data

    nr kat artysta tytuł title nośnik liczba data supplement nośników premiery 9985841 '77 Nothing's Gonna Stop Us black LP+CD LP / Longplay 2 2015-10-30 9985848 '77 Nothing's Gonna Stop Us Ltd. Edition CD / Longplay 1 2015-10-30 88697636262 *NSYNC The Collection CD / Longplay 1 2010-02-01 88875025882 *NSYNC The Essential *NSYNC Essential Rebrand CD / Longplay 2 2014-11-11 88875143462 12 Cellisten der Hora Cero CD / Longplay 1 2016-06-10 88697919802 2CELLOSBerliner Phil 2CELLOS Three Language CD / Longplay 1 2011-07-04 88843087812 2CELLOS Celloverse Booklet Version CD / Longplay 1 2015-01-27 88875052342 2CELLOS Celloverse Deluxe Version CD / Longplay 2 2015-01-27 88725409442 2CELLOS In2ition CD / Longplay 1 2013-01-08 88883745419 2CELLOS Live at Arena Zagreb DVD-V / Video 1 2013-11-05 88985349122 2CELLOS Score CD / Longplay 1 2017-03-17 0506582 65daysofstatic Wild Light CD / Longplay 1 2013-09-13 0506588 65daysofstatic Wild Light Ltd. Edition CD / Longplay 1 2013-09-13 88985330932 9ELECTRIC The Damaged Ones CD Digipak CD / Longplay 1 2016-07-15 82876535732 A Flock Of Seagulls The Best Of CD / Longplay 1 2003-08-18 88883770552 A Great Big World Is There Anybody Out There? CD / Longplay 1 2014-01-28 88875138782 A Great Big World When the Morning Comes CD / Longplay 1 2015-11-13 82876535502 A Tribe Called Quest Midnight Marauders CD / Longplay 1 2003-08-18 82876535512 A Tribe Called Quest People's Instinctive Travels And CD / Longplay 1 2003-08-18 88875157852 A Tribe Called Quest People'sThe Paths Instinctive Of Rhythm Travels and the CD / Longplay 1 2015-11-20 82876535492 A Tribe Called Quest ThePaths Low of RhythmEnd Theory (25th Anniversary CD / Longplay 1 2003-08-18 88985377872 A Tribe Called Quest We got it from Here..
  • Festival Program 2019 3 About the Festival

    Festival Program 2019 3 About the Festival

    NINTH ANNUAL January 1-4, 2019 Waimea, Mauna Kea Resort + Fairmont Orchid, Hawai‘i January 5-9, 2019 Four Seasons Resort Hualālai Sponsors Contents + About Our Area INNER CIRCLE SPONSORS Contents 4 About the Festival 5 Letter from the Director 8 Host Venues and Map 10 Films 32 Waimea Schedule 36 Waimea Breakfast Talks 40 Four Seasons Schedule 42 Four Seasons Breakfast Talks 44 Guest Speakers and Presentations 74 Artists and Exhibits MEDIA AND LOCAL SPONSORS The Glow. Artwork by Christian Enns 90 Thank You to Our Contributors BIG ISLAND About Our Area TRAVELER The Island of Hawai‘i, known as The the world, inhabit these reefs, along Big Island to avoid confusion with the with Hawaiian Hawksbill turtles, state, was formed by five volcanoes to octopus, eel and smaller reef sharks. became one land mass. The still active Spinner dolphins come to rest in Kīlauea sits at the heart of Hawai‘i shallow bays during the day, before Volcanoes National Park, while Mauna returning to deeper water to hunt at Kea, Mauna Loa and Hualālai rise about night. Humpback whales can be seen the Kohala and Kona coastline, where along the coast during winter, when stark lava fields meet turquoise waters the ocean fills with the sound of their and multihued sand beaches. The beautiful song. gentle slopes of the Kohala Mountains, The town of Waimea, also known as now volcanically extinct, provide the Kamuela, sits in the saddle between backdrop to the town of Waimea and to the dry and green sides of the island, FOOD AND BEVERAGE SPONSORS northern Hawi and Kapa‘au.
  • MADE in HOLLYWOOD, CENSORED by BEIJING the U.S

    MADE in HOLLYWOOD, CENSORED by BEIJING the U.S

    MADE IN HOLLYWOOD, CENSORED BY BEIJING The U.S. Film Industry and Chinese Government Influence Made in Hollywood, Censored by Beijing: The U.S. Film Industry and Chinese Government Influence 1 MADE IN HOLLYWOOD, CENSORED BY BEIJING The U.S. Film Industry and Chinese Government Influence TABLE OF CONTENTS EXECUTIVE SUMMARY I. INTRODUCTION 1 REPORT METHODOLOGY 5 PART I: HOW (AND WHY) BEIJING IS 6 ABLE TO INFLUENCE HOLLYWOOD PART II: THE WAY THIS INFLUENCE PLAYS OUT 20 PART III: ENTERING THE CHINESE MARKET 33 PART IV: LOOKING TOWARD SOLUTIONS 43 RECOMMENDATIONS 47 ACKNOWLEDGEMENTS 53 ENDNOTES 54 Made in Hollywood, Censored by Beijing: The U.S. Film Industry and Chinese Government Influence MADE IN HOLLYWOOD, CENSORED BY BEIJING EXECUTIVE SUMMARY ade in Hollywood, Censored by Beijing system is inconsistent with international norms of Mdescribes the ways in which the Chinese artistic freedom. government and its ruling Chinese Communist There are countless stories to be told about China, Party successfully influence Hollywood films, and those that are non-controversial from Beijing’s warns how this type of influence has increasingly perspective are no less valid. But there are also become normalized in Hollywood, and explains stories to be told about the ongoing crimes against the implications of this influence on freedom of humanity in Xinjiang, the ongoing struggle of Tibetans expression and on the types of stories that global to maintain their language and culture in the face of audiences are exposed to on the big screen. both societal changes and government policy, the Hollywood is one of the world’s most significant prodemocracy movement in Hong Kong, and honest, storytelling centers, a cinematic powerhouse whose everyday stories about how government policies movies are watched by millions across the globe.
  • Insertion Sequences in the Script of Kungfu Hustle Movie.Pdf

    Insertion Sequences in the Script of Kungfu Hustle Movie.Pdf

    INSERTION SEQUENCES IN THE SCRIPT OF KUNGFU HUSTLE MOVIE SKRIPSI Submitted In Partial Fulfillment of the Requirements For the Degree of Sarjana Pendidikan (S.Pd) English Education Program By: DEFRIDA HANDAYANI NPM. 1302050334 FACULTY OF TEACHER TRAINING AND EDUCATION UNIVERSITY OF MUHAMMADIYAH SUMATERA UTARA MEDAN 2017 ABSTRACT Defrida, Handayani. 1302050334. Insertion sequences in the script of Kungfu Hustle movie. Skripsi. Medan. English Education Program of Faculty of Teacher Training and Education, University of Muhammadiyah Sumatera Utara (UMSU). Medan. 2017 This study deals with the insertion sequences in the script of Kungfu Hustle movie, the objectives of this study are to find out the types of insertion sequences in the script of Kungfu Hustle movie and to find out the most dominant type of insertion sequences in the script of Kungfu Hustle movie. The research designed as descriptive qualitatif method. The data taken from spoken utterances by the characters in the movie. The techniques of data collection were watching the Kungfu Hustle movie, transcript the script, reading the script to find out types of insertion sequences and the dominant types of insertion sequences in the Kungfu Hustle movie, and underlining the insertion sequences found in the script. Based on the result of the insertion sequences in the script of Kungfu Hustle movie, it was found that four types of insertion sequences in this research, they were question-question-answer 26 (51%), request-question-answer-acceptance 5 ( 9.8%), repair 11 (21.6%), and delay 9 (17.6%). Question-question-answer is most dominant type of insertion sequences in the script of Kungfu Hustle movie that was 51%.