2017 Movie Line up Tulip Fever Alicia Vikander, Dane Dehaan
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1 Cycle Cinéma Chinois De L'écrit À L'écran 6Ème Saison
Institut Confucius de l'université Paris Diderot en collaboration avec le Centre de documentation sur le cinéma chinois de Paris Cycle cinéma chinois De l’écrit à l’écran 6ème saison Programme de l’année 2015-2016 Présentation Cette 6ème édition du cycle ‘De l’écrit à l’écran’ est placée sous le signe de la transmission du patrimoine culturel, thème du film de Wu Tianming en ouverture du programme : c’est également l’une des préoccupations qui anime ce cycle. La première partie du programme est consacrée, justement, à des grands films méconnus du patrimoine cinématographique chinois, en commençant par deux classiques rares des années 1950 et 1960 : - un film de 1956 qui revisite le grand roman de Ba Jin qu’est « Famille » ; - et un film de 1962 consacré à Li Shuangshuang, modeste mais enthousiaste héroïne du Grand Bond en avant. Toujours dans les années 1960, le programme met ensuite en valeur deux aspects de l’œuvre d’un cinéaste aussi brillant que prolifique dont on parle peu aujourd’hui, mais qui a exercé une énorme influence sur les réalisateurs chinois, de son temps et ultérieurs : Li Han-hsiang, dans la transcription usuelle de son nom. Le premier des deux films est en outre l’une des meilleures adaptations à cette heure d’un conte du Liaozhai, ce qui permettra d’aborder l’œuvre de Pu Songling. L’actualité nous fournira par ailleurs l’occasion de rendre hommage à l’une des grandes actrices du cinéma chinois des années 1950 et 1960 : Li Lihua. Un prix lui sera en effet décerné en novembre au festival du Golden Horse pour l’ensemble de sa carrière, et le CDCC, qui a des copies uniques de certains de ses films, est heureux de se joindre à cet hommage avec l’un de ses meilleurs rôles, dans un film qui est de surcroît l’une des nombreuses adaptations de la célèbre histoire de l’Orphelin des Zhao. -
Contemporary China: a Book List
PRINCETON UNIVERSITY: Woodrow Wilson School, Politics Department, East Asian Studies Program CONTEMPORARY CHINA: A BOOK LIST by Lubna Malik and Lynn White Winter 2007-2008 Edition This list is available on the web at: http://www.princeton.edu/~lynn/chinabib.pdf which can be viewed and printed with an Adobe Acrobat Reader. Variation of font sizes may cause pagination to differ slightly in the web and paper editions. No list of books can be totally up-to-date. Please surf to find further items. Also consult http://www.princeton.edu/~lynn/chinawebs.doc for clicable URLs. This list of items in English has several purposes: --to help advise students' course essays, junior papers, policy workshops, and senior theses about contemporary China; --to supplement the required reading lists of courses on "Chinese Development" and "Chinese Politics," for which students may find books to review in this list; --to provide graduate students with a list that may suggest books for paper topics and may slightly help their study for exams in Chinese politics; a few of the compiler's favorite books are starred on the list, but not much should be made of this because such books may be old or the subjects may not meet present interests; --to supplement a bibliography of all Asian serials in the Princeton Libraries that was compiled long ago by Frances Chen and Maureen Donovan; many of these are now available on the web,e.g., from “J-Stor”; --to suggest to book selectors in the Princeton libraries items that are suitable for acquisition; to provide a computerized list on which researchers can search for keywords of interests; and to provide a resource that many teachers at various other universities have also used. -
Chinese Film Industry Visit to Uk 2015
CHINESE FILM INDUSTRY VISIT TO UK 2015 ALIBABA PICTURES WEI ZHANG Ms. Wei Zhang is President of Alibaba Pictures and Senior Vice President of Alibaba Group. She joined Alibaba Group in 2008 to lead the Group’s investment and acquisition activities. She has also worked in the Group’s strategy department and led Alibaba corporate social responsibility efforts. Currently she is in charge of Alibaba Pictures’ international business and investment and acquisition activities. From 2005 to 2008, Ms. Zhang was the Chief Operating Officer of News Corporation STAR China, responsible for managing China operations, revenue, new media, and business development. From 2002 to 2005, Ms. Zhang was Managing Director of CNBC China, a division of General Electric Company, overseeing CNBC’s operations in China. She worked at News Corporation China from 2000 to 2002 in the role of Director of Business Development. Prior to that, Ms. Zhang was a Strategic Consultant at Bain & Company, and a Finance Specialistat General Electric Company and GE Capital. Company Profile Alibaba Pictures Group’s mission is to create happiness. Alibaba Pictures’ core businesses have been categorized into four main segments: film and television production centred on IP (intellectual property); internet-based promotion and distribution combining internet technologies and traditional off-line distribution; the building and operation of e-commerce platforms for entertainment as an extension of the Alibaba Group ecosystem and international operations that consolidate global resources, technologies and talents in order to participate in the global entertainment industry. www.alibabagroup.com BONA FILM GROUP LIMITED JEFFREY CHAN Jeffrey is currently the COO and a board member of Bona Film Group (NASDAQ: BONA). -
Writing a Code of Universal Empathy
GBA4 | GBAFOCUS Friday, June 11, 2021 HONG KONG EDITION | CHINA DAILY Jun Li’s first feature film, Tracey (2017), follows a middle-aged man transitioning into a woman. The film won multiple acting awards. Supporting actors Ben Yuen and Kara Wai won in their respective categories Cinema at the 37th Hong Kong Film Awards. Hong Kong director Jun Li turns his camera on the city’s homeless in his second feature, Drifting. Elizabeth Kerr reports. Jun Li’s directorial venture, Drifting (2021), features an ensemble cast of experienced theater Cinema veteran Francis Ng delivers a powerful performance as the dispossessed central professionals and emerging talents such as Cecilia Choi, Tse Kwan-ho and Will Or. character Fai in Drifting. meet Hong Kong writer- but by 2017, “I realized the whole he says. “Something that hits you fi nd a home. He runs into a friend, vision, what I wanted to do, right superfi cial. People fi ght because they director Jun Li in a vaguely atmosphere had changed. Before, hard then doesn’t now. I’ll admit I Master (Tse Kwan-ho), scores some away. He read the script and never feel compelled to, and in the end, my industrial shared workspace everyone was sleeping in the open, wasn’t prepared for the drug scene. heroin, shoots up on the street and asked ‘Why?’ when it came to the producer respected that. The collec- in Kennedy Town. He looks and then because of the clear- When I went back I wasn’t a jour- passes out. This is Fai’s life until the street sleepers.” tive action is the fi lm. -
Warriors As the Feminised Other
Warriors as the Feminised Other The study of male heroes in Chinese action cinema from 2000 to 2009 A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Chinese Studies at the University of Canterbury by Yunxiang Chen University of Canterbury 2011 i Abstract ―Flowery boys‖ (花样少年) – when this phrase is applied to attractive young men it is now often considered as a compliment. This research sets out to study the feminisation phenomena in the representation of warriors in Chinese language films from Hong Kong, Taiwan and Mainland China made in the first decade of the new millennium (2000-2009), as these three regions are now often packaged together as a pan-unity of the Chinese cultural realm. The foci of this study are on the investigations of the warriors as the feminised Other from two aspects: their bodies as spectacles and the manifestation of feminine characteristics in the male warriors. This study aims to detect what lies underneath the beautiful masquerade of the warriors as the Other through comprehensive analyses of the representations of feminised warriors and comparison with their female counterparts. It aims to test the hypothesis that gender identities are inventory categories transformed by and with changing historical context. Simultaneously, it is a project to study how Chinese traditional values and postmodern metrosexual culture interacted to formulate Chinese contemporary masculinity. It is also a project to search for a cultural nationalism presented in these films with the examination of gender politics hidden in these feminisation phenomena. With Laura Mulvey‘s theory of the gaze as a starting point, this research reconsiders the power relationship between the viewing subject and the spectacle to study the possibility of multiple gaze as well as the power of spectacle. -
Award-Winning Hong Kong Film Gallants to Premiere at Hong Kong
FOR IMMEDIATE RELEASE Award-winning Hong Kong film Gallants to premiere at Hong Kong Film Festival 2011 in Singapore One-week festival to feature a total of 10 titles including four new and four iconic 1990s Hong Kong films of action and romance comedy genres Singapore, 30 June 2011 – Movie-goers can look forward to a retro spin at the upcoming Hong Kong Film Festival 2011 (HKFF 2011) to be held from 14 to 20 July 2011 at Cathay Cineleisure Orchard. A winner of multiple awards at the Hong Kong Film Awards 2011, Gallants, will premiere at HKFF 2011. The action comedy film will take the audience down the memory lane of classic kung fu movies. Other new Hong Kong films to premiere at the festival include action drama Rebellion, youthful romance Breakup Club and Give Love. They are joined by retrospective titles - Swordsman II, Once Upon A Time in China II, A Chinese Odyssey: Pandora’s Box and All’s Well, Ends Well. Adding variety to the lineup is Quattro Hong Kong I and II, comprising a total of eight short films by renowned Hong Kong and Asian filmmakers commissioned by Brand Hong Kong and produced by the Hong Kong International Film Festival Society. The retrospective titles were selected in a voting exercise that took place via Facebook and SMS in May. Public were asked to select from a list of iconic 1990s Hong Kong films that they would like to catch on the big screen again. The list was nominated by three invited panelists, namely Randy Ang, local filmmaker; Wayne Lim, film reviewer for UW magazine; and Kenneth Kong, film reviewer for Radio 100.3. -
Distribution Agreement in Presenting This
Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: _____________________________ ______________ Tianyi Yao Date Crime and History Intersect: Films of Murder in Contemporary Chinese Wenyi Cinema By Tianyi Yao Master of Arts Film and Media Studies _________________________________________ Matthew Bernstein Advisor _________________________________________ Tanine Allison Committee Member _________________________________________ Timothy Holland Committee Member _________________________________________ Michele Schreiber Committee Member Accepted: _________________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date Crime and History Intersect: Films of Murder in Contemporary Chinese Wenyi Cinema By Tianyi Yao B.A., Trinity College, 2015 Advisor: Matthew Bernstein, M.F.A., Ph.D. An abstract of -
FOR IMMEDIATE RELEASE Media Contact: Nicole Bae Asian Cinevision [email protected] Asian American International Film Fe
FOR IMMEDIATE RELEASE Media contact: Nicole Bae Asian CineVision [email protected] Asian American International Film Festival 2016 Presents A Special Preview Screening of HAPPINESS The 39th Asian American International Film Festival (AAIFF), presented by Asian CineVision, is thrilled to present a special screening of HAPPINESS with the Hong Kong Economic and Trade Office, as well as Q&A session with the award winning actors, Kara Wai (MY YOUNG AUNTIE, THE EIGHT DIAGRAM POLE FIGHTER, AT THE END OF DAYBREAK) and Carlos Chan (DRINK DRANK DRUNK, TO THE FORE, WHEN C GOES WITH G7). Directed by Andy Lo, this film is a about a true friendship that transcends a generation gap, as well as heartbreaks and other obstacles. After his mother died, Chan Kai Yuk, played by Carlos Chan, goes to Hong Kong looking for his father. Unfortunately for him, his father created a new family and doesn’t want to take care of his can. In Hong Kong, Yuk, a depressed heart, meets two lonely souls, Tse Yuen Fan, played by Kara Wai, who is suffering from Alzheimer’s disease, and Yu Yue, who just experienced a failed love. Fortunately, reality is cold but love is warm. Yuk, Fan, and Yue support each other so happiness is not far away. HAPPINESS has an acclaimed director and cast. Andy Lo’s works, CRAZY N’ THE CITY and THE NAME IS FAME, have been nominated for Best Screenplay at the 25th and 26th Hong Kong Film Awards. Recently, Hong Kong natives Kara Wai, who has acted in over 138 films and is well known for her action films, won the Best Actress award and Carlos Chan won Best Supporting Actor at the 7th Macau International Move Festival. -
TAIWAN BIENNIAL FILM FESTIVAL 2019 FILM INFORMATION/TIMELINE October 18, 2019 7:30 Pm
TAIWAN BIENNIAL FILM FESTIVAL 2019 FILM INFORMATION/TIMELINE October 18, 2019 7:30 pm – Opening Film HEAVY CRAVING Billy Wilder Theater In a special celebration, UCLA Film & Television Archive and Taiwan Academy in Los Angeles are excited to accompany the North American premiere of the film with a guest appearance by the film’s acclaimed Director/Screenwriter Hsieh Pei-ju, who will participate in a post-screening Q&A. HEAVY CRAVING (2019) Synopsis: a talented chef for a preschool run by her demanding mother, Ying-juan earns praise for her culinary creations but scorn for her weight. Even the children she feeds have dubbed her “Ms. Dinosaur” for her size. Joining a popular weight loss program seems like an answer but it’s the unlikely allies she finds outside the program—and the obstacles she faces in it—that help her find a truer path to happiness. Writer-director Hsieh Pei-ju doesn’t shy away from the darker sides of self-discovery in what ultimately proves a rousing feature debut, winner of the Audience’s Choice award at this year’s Taipei Film Festival. Director/Screenwriter: Hsieh Pei-ju. Cast: Tsai Jia-yin, Yao Chang, Samantha Ko. October 19, 2019 3:00 pm – “Focus on Taiwan” Panel Billy Wilder Theater Admission: Free With the ‘Focus on Taiwan’ panel UCLA Film & Television Archive and Taiwan Academy in Los Angeles are thrilled to present a curated afternoon of timely conversations about issues facing the Taiwan film industry at home and abroad, including gender equality and inclusion of women and the LGBTQ community on screen and behind the camera, the challenges of marketing Taiwanese productions internationally and more. -
Aaiff40-Sponsorship
“This chameleon of an event not only retains its eclectic nature, it builds upon it as needed. In this city titles in some major festivals can be too predictable. This is not the case in this refreshing mélange.” Howard Feinstein, Filmmaker Magazine THEN AND NOW: IN 1975 ASIAN CINEVISION WAS FOUNDED AS CCTV (CHINESE CABLE TELEVISION) PRODUCING A WEEKLY 30 MINUTE COMMUNITY AFFAIRS TV SHOW AIRING ON THE WARNER AMEX CABLE NETWORK. THE FIRST ASIAN AMERICAN INTERNATIONAL FILM FESTIVAL SCREENED JUST 42 FILMS IN 1978. TODAY 40 YEARS LATER AAIFF SCREENS CLOSE TO 100 TITLES FROM NEARLY 30 COUNTRIES OVER TEN DAYS IN JULY. PHOTOS COURTESY OF (L) CORKY LEE AND (R) LIA CHANG. THE ANNUAL ASIAN AMERICAN INTERNATIONAL FILM FESTIVAL (AAIFF) is New York’s leading showcase for the Asian American and Asian independent cinema. Presented by Asian CineVision (ACV), the AAIFF is the first and longest-running festival in the U.S. to showcase the moving image work by artists of Asian descent and about the Asian American experience. AAIFF premiered in the seminal summer of 1978 at the Henry Street Settlement in New York City. Ed Koch had been elected mayor, the first cellular mobile phone is introduced, serial killer David Berkowitz, “Son of Sam,” is convicted of murder, GREASE, SATURDAY NIGHT FEVER, and CLOSE ENCOUNTERS were the blockbusters of their day. Forty years later, the AAIFF has grown to include films and video from more than 30 coun- tries, answering a growing need for social understanding, cultural diversity in American life, and independent cinema. AAIFF has played a vital role in discovering and nurturing such acclaimed talent as Oscar Award winners Ang Lee, Jessica Yu, Steven Okazaki, Ruby Yang and Chris Tashima; Os- car Award nominees Christine Choy and Rene Tajima-Pena, Frieda Lee Mock, Arthur Dong, Zhang Yimou; and mainstream entertainment directors Wayne Wang, Mira Nair, and Justin Lin. -
Bleeding Steel to Be Released in Imax® Theatres Across China on December 22
BLEEDING STEEL TO BE RELEASED IN IMAX® THEATRES ACROSS CHINA ON DECEMBER 22 Beijing-December 11, 2017- IMAX China Holding, Inc. (HKSE:1970) today announced that Bleeding Steel will be digitally remastered into the IMAX 3D format and released in IMAX® theatres across China on December 22. The film is produced by Heyi Pictures Co.,Ltd and distributed by Alibaba Pictures. Bleeding Steel is also Jackie Chan’s sixth film on IMAX screens. Directed by Zhang Lijia, Bleeding Steel stars Jackie Chan and a list of Chinese and western talents, including Show Lo, Nana Ouyang, Yunshan Xiahou, Callan Mulvey, Tess Haubrich, Damien Garvey. It is the sixth Jackie Chan’s film presented in IMAX® theaters. The film is an action thriller with sci-fi elements, and it tells the story of a special policeman’s endeavor of rescuing his daughter from multiple dark forces, who are interested in the mysterious material injected into the girl’s heart as a way to save her life when she was little. The film will not only offer amazing action scenes by Jackie Chan on the roof of Sydney Opera House, but also features fierce gunfight and explosion scenes produced by top post production teams. On December 22, the audience will be able to join the heroic journey of Bleeding Steel in IMAX® theatres across China. The IMAX 3D release of Bleeding Steel will be digitally re-mastered into the image and sound quality of The IMAX Experience® with proprietary IMAX DMR® (Digital Re-mastering) technology. The crystal- clear images, coupled with IMAX's customized theatre geometry and powerful digital audio, create a unique environment that will make audiences feel as if they are in the movie. -
Unesco Creative Cities Membership Monitoring Report 2015-17 MEMBERSHIP MONITORING REPORT
unesco creative cities membership monitoring report 2015-17 MEMBERSHIP MONITORING REPORT GENERAL INFORMATION. CONTRIBUTION TO THE NETWORK’S GLOBAL MANAGEMENT. MAJOR INITIATIVES IMPLEMENTED AT LOCAL LEVEL. MAJOR INITIATIVES IMPLEMENTED THROUGH INTER-CITY COOPERATION. PROPOSED ACTION PLAN. ANGELINA JOLIE AT THE SYDNEY PREMIER OF UNBROKEN CONTENTS. 2015-17 MEMBERSHIP MONITORING REPORT With support from the NSW Government, the City of Sydney, and key screen industry stakeholders, Sydney was awarded the UNESCO City of Film designation in December 2010. The existing screen infrastructure in Sydney and the diversity and value of film culture of Sydney was a major reason for the success of Sydney’s bid. It placed Sydney as the second City of Film in the UCCN. As the specialist agency in screen matters, management of the status of the City of Film was given to the former agency Screen NSW, with the agreement of the City of Sydney and the support of the NSW Government and former Minister for the Arts. The UNESCO Creative City designation is consistent with the aims of the NSW Creative Industries Action Plan, which seeks to ensure that NSW, through Sydney, is recognised as a global creative centre and leader in creative industries. Sydney and its surrounds continue to be the location for high levels of both international and local production and post-production, as well as many Australian TV dramas. NSW is the dominant state for screen production in Australia with more than 60% of Australian production and post-production businesses located in here. With a suite of funding opportunities for the professional production sector, from early development to production finance and a range of industry development programs, the organization supports the continued growth and development of a creative sector that returns significant economic benefits, large numbers of jobs and high cultural and social returns to the community.