DOCSLIB.ORG

Chinese Cinema Semester 1,2010

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chinese Cinema Semester 1,2010 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).
Load more

Recommended publications
  • Turkish Journal of Computer and Mathematics Education Vol.12 No. 7 (2021), 2845-2852 Research Article Undermining Colonial Space in Cinematic Discourse
    Turkish Journal of Computer and Mathematics Education Vol.12 No. 7 (2021), 2845-2852 Research Article Undermining Colonial Space In Cinematic Discourse Dr. Ammar Ibrahim Mohammed Al-Yasri Television Arts specialization Ministry of Education / General Directorate of Holy Karbala Education [email protected] Article History: Received: 11 January 2021; Revised: 12 February 2021; Accepted: 27 March 2021; Published online: 16 April 2021 Abstract: There is no doubt that artistic races are the fertile factor in philosophy in all of its perceptions, so cinematic discourse witnessed from its early beginnings a relationship to philosophical thought in all of its proposals, and post-colonial philosophy used cinematic discourse as a weapon that undermined (colonial) discourse, for example cinema (Novo) ) And black cinema, Therefore, the title of the research came from the above introduction under the title (undermining the colonial space in cinematic discourse) and from it the researcher put the problem of his research tagged (What are the methods for undermining the colonial space in cinematic discourse?) And also the first chapter included the research goal and its importance and limitations, while the second chapter witnessed the theoretical framework It included two topics, the first was under the title (post-colonialism .. the conflict of the center and the margin) and the second was under the title (post-colonialism between cinematic types and aspects of the visual form) and the chapter concludes with a set of indicators, while the third chapter included research procedures, methodology, society, sample and analysis of samples, While the fourth chapter included the results and conclusions, and from the results obtained, the research sample witnessed the use of undermining the (colonial) act, which was embodied in the face of violence with violence and violence with culture, to end the research with the sources.
    [Show full text]
  • National Gallery of Art Fall 2014 Film Program
    Film Fall 2014 Film Fall 2014 National Gallery of Art with American University School of Communication American Film Institute Goethe-Institut, Washington National Archives National Portrait Gallery Introduction 5 Schedule 7 Special Events 11 Suso Cecchi d’Amico: Homage at 100 15 Viewing China 19 American Originals Now: Jodie Mack 22 Morality and Beauty: Marco Bellocchio 23 The Play’s the Thing: Václav Havel, Art and Politics 28 Also Like Life: Hou Hsiao-hsien 30 Athens Today 32 Index 36 Standing Aside, Watching p34 Cover: Moon Over Home Village p19 During the fall of 2014, with the ongoing renovations in the East Building, a number of National Gallery of Art screen- ings are moving to various sites in Washington, DC; please note the temporary locations on the following pages. We are grateful this season for the cooperation of many other institutions, including the National Portrait Gallery, National Archives, American University, Goethe-Institut Washington, and American Film Institute. The season opens with a tribute to the influential Italian screenwriter Suso Cecchi d’Amico on her one-hundredth birthday. During subsequent weeks there are other opportunities to view the rich legacy of Italian cin- ema, including a retrospective devoted to Marco Bellocchio. Viewing China, a program of non-fiction work from mainland China, relates aspects of rural and urban life and contrasts recent indie cinema with films made by the state-owned Cen- tral Newsreel and Documentary Studio. In December there is an opportunity to view the important oeuvre of Taiwanese filmmaker Hou Hsiao-hsien during a major retrospective tak- ing place at the Freer Gallery, the American Film Institute, and the Goethe-Institut, in partnership with the National Gallery of Art.
    [Show full text]
  • Fei Mu's Aesthetics of Desolation in Spring In
    CHAPTER FOUR BETWEEN FORGETTING AND THE REPETITIONS OF MEMORY: FEI MU’S AESTHETICS OF DESOLATION IN SPRING IN A SMALL TOWN Heroism has strength but no beauty and thus seems to lack humanity. Tragedy, however, resembles the matching of bright red with deep green: an intense and unequivocal contrast. And yet it is more exciting than truly revelatory. The reason desolation resonates far more profoundly is that it resembles the conjunction of scallion green with peach red, creating an equivocal contrast. I like writing by way of equivocal contrast because it is relatively true to life.1 Like wartime cartoonists, poets, dramatists, and other artists who traveled inland to promote the cause of resistance, the Chinese film industry was also displaced to the Nationalist interior during the War of Resistance. The Nationalist government-owned Central Film Studio (Zhongyang diangy- ing sheyingchang 中央电影摄影场) and China Motion Pictures Studio (Zhongguo dianying zhipianchang 中国电影制片厂) were relocated to Chongqing, where the government encouraged the production of docu- mentary and feature films to promote the war effort. However, political instability, inflation, supply problems, and inadequate means of distribu- tion made it difficult to create high-quality films, and both Central Film and China Motion Pictures were forced to suspend filmmaking activities between 1941 and 1943.2 Although film studios in “Orphan Island” (gudao 孤岛) Shanghai, Hong Kong, and Manchuria operated throughout most of the war, working under the watchful eye of Japanese censors, filmmakers in the occupied regions were unable to produce films that explored in depth the experiences of ordinary people in wartime. 1 Eileen Chang, “Writing of One’s Own,” p.
    [Show full text]
  • Mulan (1998), Mulan Joins the Army (1939), and a Millennium-Long Intertextual Metamorphosis
    arts Article Cultural “Authenticity” as a Conflict-Ridden Hypotext: Mulan (1998), Mulan Joins the Army (1939), and a Millennium-Long Intertextual Metamorphosis Zhuoyi Wang Department of East Asian Languages and Literatures, Hamilton College, Clinton, NY 13323, USA; [email protected] Received: 6 June 2020; Accepted: 7 July 2020; Published: 10 July 2020 Abstract: Disney’s Mulan (1998) has generated much scholarly interest in comparing the film with its hypotext: the Chinese legend of Mulan. While this comparison has produced meaningful criticism of the Orientalism inherent in Disney’s cultural appropriation, it often ironically perpetuates the Orientalist paradigm by reducing the legend into a unified, static entity of the “authentic” Chinese “original”. This paper argues that the Chinese hypotext is an accumulation of dramatically conflicting representations of Mulan with no clear point of origin. It analyzes the Republican-era film adaptation Mulan Joins the Army (1939) as a cultural palimpsest revealing attributes associated with different stages of the legendary figure’s millennium-long intertextual metamorphosis, including a possibly nomadic woman warrior outside China proper, a Confucian role model of loyalty and filial piety, a Sinitic deity in the Sino-Barbarian dichotomy, a focus of male sexual fantasy, a Neo-Confucian exemplar of chastity, and modern models for women established for antagonistic political agendas. Similar to the previous layers of adaptation constituting the hypotext, Disney’s Mulan is simply another hypertext continuing Mulan’s metamorphosis, and it by no means contains the most dramatic intertextual change. Productive criticism of Orientalist cultural appropriations, therefore, should move beyond the dichotomy of the static East versus the change-making West, taking full account of the immense hybridity and fluidity pulsing beneath the fallacy of a monolithic cultural “authenticity”.
    [Show full text]
  • Bibliography
    BIBLIOGRAPHY An Jingfu (1994) The Pain of a Half Taoist: Taoist Principles, Chinese Landscape Painting, and King of the Children . In Linda C. Ehrlich and David Desser (eds.). Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan . Austin: University of Texas Press, 117–25. Anderson, Marston (1990) The Limits of Realism: Chinese Fiction in the Revolutionary Period . Berkeley: University of California Press. Anon (1937) “Yueyu pian zhengming yundong” [“Jyutpin zingming wandung” or Cantonese fi lm rectifi cation movement]. Lingxing [ Ling Sing ] 7, no. 15 (June 27, 1937): no page. Appelo, Tim (2014) ‘Wong Kar Wai Says His 108-Minute “The Grandmaster” Is Not “A Watered-Down Version”’, The Hollywood Reporter (6 January), http:// www.hollywoodreporter.com/news/wong-kar-wai-says-his-668633 . Aristotle (1996) Poetics , trans. Malcolm Heath (London: Penguin Books). Arroyo, José (2000) Introduction by José Arroyo (ed.) Action/Spectacle: A Sight and Sound Reader (London: BFI Publishing), vii-xv. Astruc, Alexandre (2009) ‘The Birth of a New Avant-Garde: La Caméra-Stylo ’ in Peter Graham with Ginette Vincendeau (eds.) The French New Wave: Critical Landmarks (London: BFI and Palgrave Macmillan), 31–7. Bao, Weihong (2015) Fiery Cinema: The Emergence of an Affective Medium in China, 1915–1945 (Minneapolis: University of Minnesota Press). Barthes, Roland (1968a) Elements of Semiology (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1968b) Writing Degree Zero (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1972) Mythologies (trans. Annette Lavers), New York: Hill and Wang. © The Editor(s) (if applicable) and The Author(s) 2016 203 G.
    [Show full text]
  • HUMA 1210: Chinese Women on Screen
    HUMA 1210: Chinese Women on Screen Instructor: Daisy Yan Du Associate Professor Division of Humanities Office: Room 2369 (Lift 13-15), Academic Bldg Office phone: (852) 2358-7792 E-mail: [email protected] Office hours: by appointment only Teaching Assistant: Song HAN E-mail: [email protected] Office: Room 3001 (Lift 4), Academic Bldg Office hours: by appointment only Time & Classroom: Time: 12-14:50pm, Friday, Spring 2019 Room: LTH Required Readings: • All available online at “Files,” Canvas Course Description: This course examines Chinese women as both historical and fictional figures to unravel the convoluted relationship between history and visual representations. It follows a chronological order, beginning with women in Republican China and ending with contemporary female immigrants in the age of globalization. The changing images of women on screen go hand in hand with major cinematic movements in history, including the leftist turn in the 1930s, the rise of animation in wartime Shanghai, socialist filmmaking during the Seventeen Years (1949-1966), the birth of model opera film during the Cultural Revolution (1966-1976), post-1989 underground/independent filmmaking, and the globalization of cinema in contemporary China. Approaches of film analyses and gender/sexuality theories will be introduced throughout the course. All reading materials, lectures, classroom discussions, and exams are in English. Course Objectives: By the end of this semester students should be able to: • track the changing images of women in history • track
    [Show full text]
  • EAF3506 | University of Exeter
    09/24/21 EAF3506 | University of Exeter EAF3506 View Online Taiwan New Cinema and Beyond: Authorship, Transnationality, Historiography 1. Yeh, Emilie Yueh-yu, Davis, Darrell William: Taiwan film directors: a treasure island. Columbia University Press, Chichester (2005). 2. Berry, Chris, Lu, Feii: Island on the edge: Taiwan new cinema and after. Hong Kong University Press, Hong Kong (2005). 3. Berry, Michael: Speaking in images: interviews with contemporary Chinese filmmakers. Columbia University Press, Chichester (2005). 4. Davis, Darrell William, Chen, Ruxiu: Cinema Taiwan: politics, popularity and state of the arts. Routledge, London (2007). 5. Hong, Gou-Juin: Taiwan cinema: a contested nation on screen. Palgrave Macmillan, New York (2011). 6. Lu, Tonglin: Confronting modernity in the cinemas of Taiwan and Mainland China. Cambridge University Press, Cambridge (2002). 1/21 09/24/21 EAF3506 | University of Exeter 7. Yip, June Chun: Envisioning Taiwan: fiction, cinema, and the nation in the cultural imaginary. Duke University Press, Durham (2004). 8. • MCLC (Modern Chinese Literature and Culture) Resource Centre . 9. •Taiwan Government Information Office‘s (GIO) ’Taiwan Cinema” . 10. Eng, R.: Taiwan: An Annotated Directory of Internet Resources. 11. Taiwan Ministry of Culture. 12. Ching, Leo T. S.: Becoming ‘Japanese’: colonial Taiwan and the politics of identity formation. University of California Press, Berkeley, Calif (2001). 13. Liao, Binghui, Wang, Dewei: Taiwan under Japanese colonial rule, 1895-1945: history, culture, memory. Columbia University Press, New York (2006). 14. Roy, Denny: Taiwan: a political history. Cornell University Press, Ithaca, N.Y. (2003). 2/21 09/24/21 EAF3506 | University of Exeter 15. Rubinstein, Murray A.: Taiwan: a new history.
    [Show full text]
  • (500) Days of Summer 2009
    (500) Days of Summer 2009 (Sökarna) 1993 [Rec] 2007 ¡Que Viva Mexico! - Leve Mexiko 1979 <---> 1969 …And Justice for All - …och rättvisa åt alla 1979 …tick…tick…tick… - Sheriff i het stad 1970 10 - Blåst på konfekten 1979 10, 000 BC 2008 10 Rillington Place - Stryparen på Rillington Place 1971 101 Dalmatians - 101 dalmatiner 1996 12 Angry Men - 12 edsvurna män 1957 127 Hours 2010 13 Rue Madeleine 1947 1492: Conquest of Paradise - 1492 - Den stora upptäckten 1992 1900 - Novecento 1976 1941 - 1941 - ursäkta, var är Hollywood? 1979 2 Days in Paris - 2 dagar i Paris 2007 20 Million Miles to Earth - 20 miljoner mil till jorden 1957 20,000 Leagues Under the Sea - En världsomsegling under havet 1954 2001: A Space Odyssey - År 2001 - ett rymdäventyr 1968 2010 - Year We Make Contact, The - 2010 - året då vi får kontakt 1984 2012 2009 2046 2004 21 grams - 21 gram 2003 25th Hour 2002 28 Days Later - 28 dagar senare 2002 28 Weeks Later - 28 veckor senare 2007 3 Bad Men - 3 dåliga män 1926 3 Godfathers - Flykt genom öknen 1948 3 Idiots 2009 3 Men and a Baby - Tre män och en baby 1987 3:10 to Yuma 2007 3:10 to Yuma - 3:10 till Yuma 1957 300 2006 36th Chamber of Shaolin - Shaolin Master Killer - Shao Lin san shi liu fang 1978 39 Steps, The - De 39 stegen 1935 4 månader, 3 veckor och 2 dagar - 4 Months, 3 Weeks and 2 Days 2007 4: Rise of the Silver Surfer - Fantastiska fyran och silversurfaren 2007 42nd Street - 42:a gatan 1933 48 Hrs.
    [Show full text]
  • Kering and the Festival De Cannes Will Present the Fifth Women in Motion Award to Actress Gong Li
    Kering and the Festival de Cannes will present the fifth Women In Motion Award to actress Gong Li The Young Talents Award will be presented to director Eva Trobisch François-Henri Pinault, Chairman and CEO of Kering, Pierre Lescure, President of the Festival de Cannes, and Thierry Frémaux, Festival General Delegate, will present the Awards at the official Women In Motion dinner on Sunday May 19, 2019. Hai Feng © Gong Li, an iconic figure of Chinese cinema, has gained truly global renown during a remarkable, most singular career. She is the first Chinese actress to have achieved success at the major international festivals, such as Berlin, Venice and Cannes, where her performances have won great critical acclaim. Her prominence in the movie industry and her strong personality have also led to her presiding at many of the world’s film festivals. She has played central leading roles, bringing life and success to the works of famous directors such as Zhang Yimou, Chen Kaige and Michael Mann, among others. Her name will be forever linked to the Festival de Cannes, especially for her unforgettable performances in Zhang Yimou’s Grand Prix winner To Live and Chen Kaige’s Palme d’Or, Farewell My Concubine. Renowned for her great independence of mind, Gong Li constantly frees herself from stereotypes and only accepts the roles of very strong women. When she refused the role of James Bond girl in Tomorrow Never Dies, she declared: "The presentation of the female character was not complex enough to give me the material to fully express myself.
    [Show full text]
  • Marco Bellocchio (Writer-Director) Feature Filmography
    Massimo’s idyllic childhood was shattered by the mysterious death of his mother. As he prepares to sell his parents’ apartment, he is haunted by his traumatic past. Compassionate doctor Elisa could help tormented Massimo open up and confront his childhood wounds… Synopsis Turin, 1969. Nine-year-old Massimo’s idyllic childhood is shattered by the mysterious death of his mother. The young boy refuses to accept this brutal loss, even if the priest says she is now in Heaven. Years later in the 90s, adult Massimo has become an accomplished journalist. After reporting on the war in Sarajevo, he begins to suffer from panic attacks. As he prepares to sell his parents’ apartment, Massimo is forced to relive his traumatic past. Compassionate doctor Elisa could help tormented Massimo open up and confront his childhood wounds… Marco Bellocchio (writer-director) Feature Filmography 2016 – FAI BEI SOGNI (SWEET DREAMS) 2015 – SANGUE DEL MIO SANGUE (BLOOD OF MY BLOOD) From teenage rebellion to religious From the 80s on, Bellocchio’s films 2012 – BELLA ADDORMENTATA (DORMANT BEAUTY) institutions to political subversion, have often focused on coming to 2010 – SORELLE MAI (THE MAI SISTERS) the films of Italian director Marco terms with a personally and politi- 2009 – VINCERE Bellocchio have explored the social cally turbulent past. He has ques- 2006 – IL REGISTA DI MATRIMONI (THE WEDDING DIRECTOR) and political contradictions of his tioned ideologies and moral issues 2003 – BUONGIORNO, NOTTE (GOOD MORNING, NIGHT) country. His prolific 50-year career and fought to make sense of his 2002 – L‘ORA DI RELIGIONE (aka IL SORRISO DI MIA MADRE - MY MOTHER‘S SMILE) has been closely intertwined with characters’ motives.
    [Show full text]
  • List of Films Considered the Best
    Create account Log in Article Talk Read View source View history Search List of films considered the best From Wikipedia, the free encyclopedia Main page This list needs additional citations for verification. Please Contents help improve this article by adding citations to reliable sources. Featured content Current events Unsourced material may be challenged and removed. (November Random article 2008) Donate to Wikipedia Wikimedia Shop While there is no general agreement upon the greatest film, many publications and organizations have tried to determine the films considered the best. Each film listed here has been mentioned Interaction in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources Help About Wikipedia focus on American films or were polls of English-speaking film-goers, but those considered the Community portal greatest within their respective countries are also included here. Many films are widely considered Recent changes among the best ever made, whether they appear at number one on each list or not. For example, Contact page many believe that Orson Welles' Citizen Kane is the best movie ever made, and it appears as #1 Tools on AFI's Best Movies list, whereas The Shawshank Redemption is #1 on the IMDB Top 250, whilst What links here Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. Related changes None of the surveys that produced these citations should be viewed as a scientific measure of the Upload file Special pages film-watching world. Each may suffer the effects of vote stacking or skewed demographics.
    [Show full text]
  • 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.
    [Show full text]