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Chinese Cinema Semester 1,2010

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Chinese Cinema Study Kit Copied pursuant to Part VB of the Copyright Act (1968) as amended Semester 1,2010 COORDINATOR: Jon Eugene von Kowallis Nrll l :li 1;K r [g I t}t] li I : nllTl;z'4:i3 / 4;f"N Nt4.1 .t.l I I .i.l 'r.. lil C iln'[l!g*{,"",|lu o Hf,'r"r' Sre.$0 All original material in this reader ® Jon Eugene von Kowallis First published in Massachusetts, USA 1992-1996 and Melbourne, AU 1996-8 CHIN 2302IGENT 0421 Chinese Cinema Course Convenor: Dr Jon Eugene von Kowallis Session I ' Week 1 - Film in the 1930s: Urban Shanghai 1 KOWALLIS, Jon Eugene von, Malu tianshi (Street Angel) (( E5 E5 I ii) p1 -6 (1935) -- Summary. p1-6. 2 XIAO, Zhiwei, "Chinese Cinema", in Encyclopedia of Chinese Film, ed., p7-35 ZHANG, Yingjin and Zhiwei XIAO et al. (London & New York: Routledge, 1998) p3-30. Week 2 - Film in the 1940s: The End of the Civil War 3 KOWALLIS, Jon Eugene von, Wuya yu maque (Crows and Sparrows) (( -"=3; E5 p36-39 5 $ E) (1949) -- Summary. p1-4. 4 KOWALLIS, Jon Eugene von, Review Article (for Encyclopedia of Chinese p40-45 Film), in Journal ofthe Oriental Society ofAustralia vol. 31 (1999): 104-110. Week 3 - Film in the 1950s: Representing Lu Xun 5 KOWALLIS, Jon Eugene von, Zhufu (lit. Benediction; usu. trans. "The New p46—49 Year Sacrifice") (( 1=R¥E‘-3)) (1956) -- Summary. p1-4. 6 LU Xun, Zhufu (The New Year Sacrifice) (( iifi #5)) in Selected Works of Lu p50-61 Xun, trans. YANG Xianyi and Gladys YANG, vol. 1 (Beijing: Foreign Languages Press, 1980) p168-188. Week 4 - Film in the 1960s: Reassessing the Revolution 7 KOWALLIS, Jon Eugene von, Zaochun eryue (Early Spring in the Second p62-64 [Lunar] Month; usu. trans. "February") (( 5 % I FD) (1963) -- Summary. p1-3. Week 5 - Film in the 1960s: Resituating Chinese Cinema 8 KOWALLIS, Jon Eugene von, Wutaijiemei (Stage Sisters) (( % ta‘ ilfl 9%)) p65-66 (1965) -- Summary. p1-2. 9 MARCHETTl, Gina, "Wutai Jiemei" (Two Stage Sisters) in international p67-68 Dictionary of Films and Filmakers vol. 1 (2nd edition, Chicago & London: St James Press, 1990) p989-990. Week 6 - Films from the Cultural Revolution Period and its Aftermath 10 KOWALLIS, Jon Eugene von, Qing gong yuan (injustice in the Qing Palace) p69 ((5% ‘B’ E) (1962) - Summary. p1 11 KOWALLIS, Jon Eugene von, Dongfang hong (The East is Red) (( 3]? 75 ZI>> p70 (1965) - Summary. p1. 12 KOWALLlS, Jon Eugene von, Baimao nu (The White Haired Girl) (( E-I % p71 it) (1972) -- Summary. p1. 13 KOWALLIS, Jon Eugene von, Jue Lie (Breaking with Old ideas) (( JR -9%)) p72-73 (1975) -- Summary. p1-2. 14 KOWALLIS, Jon Eugene von, Muma ren (The Herdsman) K ii E5 L) p74-75 (1982) -- Summary. p1 -2. Week 7 - Film in the 1980s: Reassessing the Cultural Revolution 15 KOWALLIS, Jon Eugene von, Furong zhen (lit. Hibiscus Town; also trans. as: p76-77 A Small Town Called Hibiscus) (( 9'5 % ii» (1986) -- Summary. p1-2. Week 8 - Chinese Film Enters the World Stage 16 KOWALLIS, Jon Eugene von, Huang tu di (Yellow Earth) (E :t till» (1984) p78-80 -- Summary. p1-3. 17 BARME, Geremie & John MINFORD, ed., "Yellow Earth: an Unweicome p81 -93 Guest" in Seeds ofFire: Chinese Voices of Conscience (Newcastle upon Tyne: Bloodaxe Books, 1989) p251-269. Week 9 - Chinese Science Fiction 18 KOWALLIS, Jon Eugene von, Cuowei (Displacement; also trans. as p94-96 Dislocation) ((€’§ iii) (1987) -- Summary. p1-3. Week 10 - The Roots Movement 19 KOWALLIS, Jon Eugene von, Hong gaoliang (Red Sorghum) (( ZI E fit p97-98 (1987) -- Summary. p1-2. 20 KOWALLIS, Jon Eugene von, Ju Dou (( § E) (1989) -- Summary. p1-2. p99-100 Week 11 - Gender, Revolution and 1989 _ 21 KOWALLIS, Jon Eugene von, Da hong denglong gaogao gua (Raise the Red p101-103 Lantern) (( it £1 l1T % E %' El) (1991) -- Summary. p1-3. 22 LU Xun, Nahan zixu (Preface to Call to Arms) (( l1|1] lllili 5 l$)) in Selected p104-108 Works of Lu Xun, trans. YANG Xianyi and Gladys YANG, vol. 1 (Beijing: Foreign Languages Press, 1980) p33-38. 23 CHOW, Rey, "The Force of Surfaces: Defiance in Zhang Yimou's Films" in p109-125 Primitive Passions, ed., BELTON, John (New York: Columbia University Press, 1995) p142-172. 24 BERRY, Chris, "Writing as a Foreigner" UTS Review vol. 2, no.2 (Nov, 1996): p126-132 181-190. ~ Week 12 - Taiwan and the Diaspora 25 KOWALLIS, Jon Eugene von, An lian tao hua yuan (Secret Love: The Peach p133 Blossom Land) (( H15 liili T5 5%)) (1993) -- Summary. p1. 26 KOWALLlS, Jon Eugene von, "The Diaspora in Postmodem Taiwan and p134-153 Hong Kong Film Framing Stan Lai's The Peach Blossom Land with Allen Fong's Ah Ying" in Transnational Chinese Cinema, ed., LU, Hsiao-peng Sheldon (Hawaii: University of Hawaii Press, 1996) p169-186. Week 13 - Whither China? 27 KOWALLIS, Jon Eugene von, Huo zhe (To Live) (( ii fill (1994) -- p154-155 Summary. p1-2. 28 CHOW, Rey, "We Endure, Therefore We Are: Survival, Governance, and p156-167 Zhang Yimou's To Live" in Ethics After Idealism (Bloomington & Indianapolis: lndiana University Press, 1998) p1 15-132. 29 ZHANG, Yingjin, "Screening China: Recent Studies of Chinese Cinema in p168-176 English" Bulletin of Concerned Asian Scholars vol. 29, no. 3 (Jul-Sep, 1997): 59-66. Additional Sources 30 ZHANG, Yingjin, and Jean J. SU, "Bibliography" in Encyclopedia of Chinese p177-184 Film, ed., ZHANG, Yingjin and Zhiwei XIAO et al. (London & New York: Routledge, 1998) p397-411 31 SU, Jean J., "Select Internet Web Sites on Chinese Cinema" in Encyclopedia p185 of Chinese Film, ed., ZHANG, Yingjin and Zhiwei XIAO et al. (London & New York: Routledge, 1998) p412 32 "T\rv\Q3§\ot\Qle_ cs": \"\o&-<5”-'\ Q,\'\'§/\¢See '\\Cr\~or~.‘ V. \?>(r \°lZ l Maluvs tianshi.- ‘.’ (Street Angel) _ i7-—— /\' Ti \\\\as85% \ date: 1937 director: Yuan Muzhi lyricist: Tian Han starring: Zhao Dan (male) and Zhou Xuan (female) cast: Musician (Zhao Dan); Newspaper Vendor (Wei Helinq); Young Singing Girl (Zhou Xuan); Qin Player (Wang Jitinq); The Hooligan (Ma Zhicheng); The Parasite (Chen Yiting); Chief Barber (Qian Qianli); Barbershop Owner (Tang Guofu); Hawker (Shen Jun); Unemployed. Person (Qiu Yuanyuan); Young Widow (Yuan Shaomei); Street Walker (Zhao Huishen); The Procuress baomu (Liu Jinyu); Lawyer (Sun Jing); Man Fallen on Hard. Times (Xie Jun); Woman Fallen on Hard Times (Liu Liying); Policeman (Han Yun); Landlord (Li Tiaozhi); Playboy (Yao Ping); Chauffeur (Yuan Afa) ~k ‘k iv Zhao Dan and Zhou Xuan were probably the most famous movie stars of the 19305 and '40s. Zhao Dan, in addition to being an well—known actor was a political dissident against the Kuomintang or Nationalist government. Zhou Xuan, the heart—throb of a generation, is still widely known today for her singing, having acquired the nickname jin sangzi (golden throat). The film opens with the credits superimposed over real—life scenes of Shanghai in the 1930s, starting with the neon signs of various nightclubs and bars, some in English and some in Chinese, which suggest the cosmopolitan nature of what was then China's largest and most "developed" city. Next we are shown flashes of daylight scenes —— the impressive edifices, the foreign-style parks, and. the well—dressed ‘middle and. upper—class Chinese who frequented them. The traffic seems imposing at first, later out of control. Music becomes ominous. The crowd scenes become oppressive. They are, in turn, contrasted with the towering steeples of foreign churches, then the domes of banks, the customs house, and entertainment centers. The camera's eye then focuses on the top of one of Shanghai's newest and most impressive skyscrapers (motian dalou) and slowly moves its way down. In white characters, we are given the date: "AUTUMN, 1935". The words "AT THE SUBTERRANEAN LEVELS OF SHANGHAI" then appear on the screen and the story begins with a drum—roll. First we see Zhao Dan (called Xiao Chen), who plays a musician in a for—hire marching band, the type which abounded in treaty—port society and would be hired out by mid—level to well- to—do families for weddings and funeral processions. These bands l Z wore western—style uniforms and. played. western—style imusic. The hybrid nature of the wedding procession we see, embodying elements of both traditional Chinese convention (the bride is carried in a veiled sedan chair and. wears a traditional outfit, there are Buddhist monks, prayer flags and traditional musicians in the procession as well) reflects the schizophrenic nature of life in treaty—port society. Zhao rents a room in a slumelike apartment complex ironically called. Taiping li (Lane of Great Tranquility). His roommates, neighbors and associates are newspaper vendors, street hawkers and a shop full of lower—class barbers as well as the young singer (Xiao Hong), played by starlet Zhou Xuan. The singer has been sold in childhood to her owner, the Qin player and his wife the procuress (who also "owns" and older woman, Xiao Yun, whom she has forced into prostitution as a yeji or "street walker"). We see the Qin player and Xiao Hong perform in a teahouse. When first asked to sing by customers, she sings "A Song of the Four Seasons" (si ji ge), i.e. one which speaks of the times. The lyrics tell of a pair of mandarin ducks (symbolic of lovers) who are rent asunder by war (an allusion to the inpending Japanese invasion —— by l935 there had already been fighting in the north and around. Shanghai as well).
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  • Nora's Performance in China

    Nora's Performance in China

    Nora’s Performance in China (1914-2010): Inspiration, Communities and Political Theatre By Xiaofei Chen Master thesis Center for Ibsen Studies UNIVERSITETET I OSLO Spring semester, 2010 Acknowledgements I came to Oslo University by serendipity. When I was searching the resources for my thesis Nora’s rewriting in China(1914-1948), by accident the website of Ibsen Center jumped out. Then I came to Norway and studied at Ibsen Center. Whether in Norway or in China, many people asked me why I had chosen Ibsen studies and had come to Norway. I always said because I liked Ibsen’s plays and Norway has an Ibsen Center. It turned out that I had chosen correctly. At the Ibsen Center, professors and students from all over the world gave me lots of chances to access different ideas and insights into Ibsen studies, especially from theatre and performance aspects. I could access the original Ibsen’s texts and understand Norwegian society in Ibsen’s times, and I could watch Ibsen’s performances from different countries either in the National Theatre or through DVDs in class. Thanks to Ibsen Center for giving me the opportunity to study here, and I also want to show my appreciation for all the professors at the Ibsen Center: especially Frode Helland, Astrid Sæther, Jon Nygaard, Atle Kittang, Erika Fischer-Lichte and Nilu Kamaluddin, Julie Holledge, Knut Brynhildsvoll, who gave me the latest information about Ibsen studies through lectures and seminars. My special thanks for my professor, Jon Nygaard, who gave me the inspiration to write this topic with fresh insight.