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Hong Kong SAR
China Data Supplement November 2006 J People’s Republic of China J Hong Kong SAR J Macau SAR J Taiwan ISSN 0943-7533 China aktuell Data Supplement – PRC, Hong Kong SAR, Macau SAR, Taiwan 1 Contents The Main National Leadership of the PRC 2 LIU Jen-Kai The Main Provincial Leadership of the PRC 30 LIU Jen-Kai Data on Changes in PRC Main Leadership 37 LIU Jen-Kai PRC Agreements with Foreign Countries 47 LIU Jen-Kai PRC Laws and Regulations 50 LIU Jen-Kai Hong Kong SAR 54 Political, Social and Economic Data LIU Jen-Kai Macau SAR 61 Political, Social and Economic Data LIU Jen-Kai Taiwan 65 Political, Social and Economic Data LIU Jen-Kai ISSN 0943-7533 All information given here is derived from generally accessible sources. Publisher/Distributor: GIGA Institute of Asian Affairs Rothenbaumchaussee 32 20148 Hamburg Germany Phone: +49 (0 40) 42 88 74-0 Fax: +49 (040) 4107945 2 November 2006 The Main National Leadership of the PRC LIU Jen-Kai Abbreviations and Explanatory Notes CCP CC Chinese Communist Party Central Committee CCa Central Committee, alternate member CCm Central Committee, member CCSm Central Committee Secretariat, member PBa Politburo, alternate member PBm Politburo, member Cdr. Commander Chp. Chairperson CPPCC Chinese People’s Political Consultative Conference CYL Communist Youth League Dep. P.C. Deputy Political Commissar Dir. Director exec. executive f female Gen.Man. General Manager Gen.Sec. General Secretary Hon.Chp. Honorary Chairperson H.V.-Chp. Honorary Vice-Chairperson MPC Municipal People’s Congress NPC National People’s Congress PCC Political Consultative Conference PLA People’s Liberation Army Pol.Com. -
The Life Artistic: July / August 2016 Wes Anderson + Mark Mothersbaugh
11610 EUCLID AEUE, CLEELAD, 44106 THE LIFE ARTISTIC: JULY / AUGUST 2016 WES ANDERSON + MARK MOTHERSBAUGH July and August 2016 programming has been generously sponsored by TE LIFE AUATIC ... AUATIC TE LIFE 4 FILMS! ALL 35MM PRINTS! JULY 7-29, 2016 THE CLEVELAND INSTITUTE OF ART CINEMATHEQUE 11610 EUCLID AVENUE, UNIVERSITY CIRCLE, CLEVELAND OHIO 44106 The Cleveland Institute of Art Cinematheque is Cleveland’s alternative film theater. Founded in 1986, the Cinematheque presents movies in CIA’s Peter B. Lewis Theater at 11610 Euclid Avenue in the Uptown district of University Circle. This new, 300-seat theater is equipped with a 4K digital cinema projector, two 35mm film projectors, and 7.1 Dolby Digital sound. Free, lighted parking for filmgoers is currently available in two CIA lots located off E. 117th Street: Lot 73 and the Annex Lot. (Those requiring disability park- ing should use Lot 73.) Enter the building through Entrance C (which faces E. 117th) or Entrance E (which faces E. 115th). Unless noted, admission to each screening is $10; Cinematheque members, CIA and Cleveland State University I.D. holders, and those age 25 & under $7. A second film on LOCATION OF THE the same day generally costs $7. For further information, visit PETER B. LEWIS THEATER (PBL) cia.edu/cinematheque, call (216) 421-7450, or send an email BLACK IL to [email protected]. Smoking is not permitted in the Institute. TH EACH FILM $10 • MEMBERS, CIA, AGE 25 & UNDER $7 • ADDITIONAL FILM ON SAME DAY $7 OUR 30 ANNIVERSARY! FREE LIGHTED PARKING • TEL 216.421.7450 • CIA.EDU/CINEMATHEQUE BLOOD SIMPLE TIKKU INGTON TE LIFE ATISTIC: C I N E M A T A L K ES ADES AK TESBAU ul 72 (4 lms) obody creates cinematic universes like es Anderson. -
Phoenix Films 1999-2019/20 Sorted by Film Title 10
Phoenix Films 1999-2019/20 Sorted by Film Title Film Date Rating(%) 2046 1-Feb-2006 68 120BPM (Beats Per Minute) 24-Oct-2018 75 3 Coeurs 14-Jun-2017 64 35 Shots of Rum 13-Jan-2010 65 45 Years 20-Apr-2016 83 5 x 2 3-May-2006 65 A Bout de Souffle 23-May-2001 60 A Clockwork Orange 8-Nov-2000 81 A Fantastic Woman 3-Oct-2018 84 A Farewell to Arms 19-Nov-2014 70 A Highjacking 22-Jan-2014 92 A Late Quartet 15-Jan-2014 86 A Man Called Ove 8-Nov-2017 90 A Matter of Life and Death 7-Mar-2001 80 A One and A Two 23-Oct-2001 79 A Prairie Home Companion 19-Dec-2007 79 A Private War 15-May-2019 94 A Room and a Half 30-Mar-2011 75 A Royal Affair 3-Oct-2012 92 A Separation 21-Mar-2012 85 A Simple Life 8-May-2013 86 A Single Man 6-Oct-2010 79 A United Kingdom 22-Nov-2017 90 A Very Long Engagement 8-Jun-2005 80 A War 15-Feb-2017 91 A White Ribbon 21-Apr-2010 75 Abouna 3-Dec-2003 75 About Elly 26-Mar-2014 78 Accident 22-May-2002 72 After Love 14-Feb-2018 76 After the Storm 25-Oct-2017 77 After the Wedding 31-Oct-2007 86 Alice et Martin 10-May-2000 All About My Mother 11-Oct-2000 84 All the Wild Horses 22-May-2019 88 Almanya: Welcome To Germany 19-Oct-2016 88 Amal 14-Apr-2010 91 American Beauty 18-Oct-2000 83 American Honey 17-May-2017 67 American Splendor 9-Mar-2005 78 Amores Perros 7-Nov-2001 85 Amour 1-May-2013 85 Amy 8-Feb-2017 90 An Autumn Afternoon 2-Mar-2016 66 An Education 5-May-2010 86 Anna Karenina 17-Apr-2013 82 Another Year 2-Mar-2011 86 Apocalypse Now Redux 30-Jan-2002 77 Apollo 11 20-Nov-2019 95 Apostasy 6-Mar-2019 82 Aquarius 31-Jan-2018 73 -
A Reconsideration of Still Life Dai Jinhua Translated by Lennet Daigle
Temporality, Nature Morte, and the Filmmaker: A Reconsideration of Still Life Dai Jinhua Translated by Lennet Daigle In the world of contemporary Chinese cinema, Jia Zhangke is, in many respects, an exception to the rule: he is a director whose films almost without fail depict the lower classes or, the majority of society; a director who has continually, from the start, been dedicated to making art films; a director who has fulfilled his social responsibilities as an artist while developing an original mode of artistic expression; a director who has made the transition from independent underground films to commercial mainstream films without losing his vitality, and without suffering exclusion from western film festivals; a director famous for his autobiographical narratives who has finally “grown up”, and who has successfully drawn on his experiences to explore broader social issues. As long as China’s fifth generation filmmakers continue to make commercial compromises, and the sixth generation remains stuck – have grown but not matured in terms of style and modes of expression – Jia Zhangke will remain an exception, or even “one of a kind.” Actually, after the period in which Chen Kaige’s Yellow Earth and Zhang Yimou’s films had become synonymous with the moniker “Chinese cinema” and after Zhang Yuan’s nomination of “underground cinema” to refer to what Europeans think of as “Chinese cinema” – both post-Cold War but still Cold War-style designations, the release of Platform and the inverted portrait of Mao on the film poster unexpectedly heralded the arrival of the “Jia Zhangke era” of Chinese cinema in the new millenium’s international film world, as represented primarily by European film festivals and American film studies classes. -
Will You Still Love Me Tomorrow? a Film by Arvin Chen
Will You Still Love Me Tomorrow? A film by Arvin Chen “Poignant and heartening. Playfully channeling Woody Allen, Jacques Tati and Jacques Demy” - Maggie Lee, Variety “Wry and whimsical”- Jordan Mintzer, The Hollywood Reporter Taiwan / 2013 / Comedy / Mandarin with English subtitles 106 min. / 2.35:1 / Dolby Digital Film Movement Press Contact: Lisa Trifone | 109 W. 27th Street, Suite 9B | New York, NY 10001 tel: (212) 941-7744 x 209 | fax: (212) 941-7812 | [email protected] Film Movement Theatrical Contact: Rebeca Conget | 109 W. 27th Street, Suite 9B | New York, NY 10001 tel: (212) 941-7744 x 213 | fax: (212) 941-7812 | [email protected] FULL SYNOPSIS In this madcap and lighthearted comedic romp, introverted optometrist Weichung begins to question his marriage with his wife Feng upon learning of her desire to have another baby. At his sister’s engagement party, Weichung bumps into an old friend, Stephen, a wedding photographer who, though also married, is living the high life of a younger, single gay man. When Stephen teases Weichung for his newly straight-laced lifestyle, dormant emotions are awakened in Weichung, setting him off on a quest for true romance and desire. SHORT SYNOPSIS In this madcap and lighthearted comedic romp, introvert Weichung begins to question his marriage to Feng when she signals she’s ready to have another baby and an unexpected encounter with a friend from his past awakens long-dormant emotions. It all sets him off on a quest for true romance and desire. LOGLINE Introvert Weichung sets off to discover his true self in this lighthearted comedic romp. -
1,000 Films to See Before You Die Published in the Guardian, June 2007
1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation. -
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 -
Art, Politics, and Commerce in Chinese Cinema
Art, Politics, and Commerce in Chinese Cinema edited by Ying Zhu and Stanley Rosen Hong Kong University Press 14/F Hing Wai Centre, 7 Tin Wan Praya Road, Aberdeen, Hong Kong www.hkupress.org © Hong Kong University Press 2010 Hardcover ISBN 978-962-209-175-7 Paperback ISBN 978-962-209-176-4 All rights reserved. Copyright of extracts and photographs belongs to the original sources. No part of this publication may be reproduced or transmitted, in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the copyright owners. Printed and bound by XXXXX, Hong Kong, China Contents List of Tables vii Acknowledgements ix List of Contributors xiii Introduction 1 Ying Zhu and Stanley Rosen Part 1 Film Industry: Local and Global Markets 15 1. The Evolution of Chinese Film as an Industry 17 Ying Zhu and Seio Nakajima 2. Chinese Cinema’s International Market 35 Stanley Rosen 3. American Films in China Prior to 1950 55 Zhiwei Xiao 4. Piracy and the DVD/VCD Market: Contradictions and Paradoxes 71 Shujen Wang Part 2 Film Politics: Genre and Reception 85 5. The Triumph of Cinema: Chinese Film Culture 87 from the 1960s to the 1980s Paul Clark vi Contents 6. The Martial Arts Film in Chinese Cinema: Historicism and the National 99 Stephen Teo 7. Chinese Animation Film: From Experimentation to Digitalization 111 John A. Lent and Ying Xu 8. Of Institutional Supervision and Individual Subjectivity: 127 The History and Current State of Chinese Documentary Yingjin Zhang Part 3 Film Art: Style and Authorship 143 9. -
Option Et Spécialité Cinéma-Audiovisuel : Liste Non Exhaustive Des Films À Voir (Ou À Revoir) Pendant Les Vacances Scolaire
Option et spécialité Cinéma-audiovisuel : Liste non exhaustive des films à voir (ou à revoir) pendant les vacances scolaires Quelques chefs-d’œuvre du cinéma muet Naissance d’une Nation de D W Griffith (1915) Les Lumières de la Ville de Charles Chaplin (1931) Le Mécano de la Générale de Buster Keaton (1926) Le Cabinet du Docteur Caligari de Robert Wiene (1920) Metropolis de Fritz Lang (1927) Nosferatu le Vampire de F W Murnau (1922) La Roue de Abel Gance (1923) L’Aurore de F W Murnau (1927) Le Cuirassé Potemkine de Sergei Eisenstein (1925) La Mère de Vsevolod Poudovkine (1926) Un Chien Andalous de Luis Buñuel (1929) Le cinéma français d’entre-deux-guerres Marius de Alexandre Korda (1931) L’Atalante de Jean Vigo (1934) Quai des Brumes de Marcel Carné (1938) Le Jour se Lève de Marcel Carné (1939) La Belle Equipe de Julien Duvivier (1936) Pépé le Moko de Julien Duvivier (1937) La Grande Illusion de Jean Renoir (1937) La Règle du Jeu de Jean Renoir (1939) L’âge d’or des studios hollywoodiens Certains l’aiment chaud de Billy Wilder (1959) Chantons Sous la Pluie de Gene Kelly et Stanley Donen (1952) Gilda de Charles Vidor (1946) Citizen Kane d’Orson Welles (1941) La Dame de Shanghai d’Orson Welles (1947) La Nuit du Chasseur de Charles Laughton (1955) Vertigo d’Alfred Hitchcock (1958) Laura d’Otto Preminger (1944) Mirage de la Vie de Douglas Sirk (1959) La Vie est belle de Franck Capra (1946) L’âge d’or du cinéma japonais Rashomon d’Akira Kurosawa (1950) Les Sept Samouraïs d’Akira Kurosawa (1957) Voyage à Tokyo de Yasujiro Ozu (1953) Le Goût -
The Curious Case of Chinese Film Censorship: an Analysis of The
THE CURIOUS CASE OF CHINESE FILM CENSORSHIP: AN ANALYSIS OF THE FILM ADMINISTRATION REGULATIONS by SHUO XU A THESIS Presented to the School of Journalism and Communication and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts December 2017 THESIS APPROVAL PAGE Student: Shuo Xu Title: The Curious Case of Chinese Film Censorship: An Analysis of Film Administration Regulations This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the School of Journalism and Communication by: Gabriela Martínez Chairperson Chris Chávez Member Daniel Steinhart Member and Sara D. Hodges Interim Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2017 ii © 2017 Shuo Xu iii THESIS ABSTRACT Shuo Xu Master of Arts School of Journalism and Communication December 2017 Title: The Curious Case of Chinese Film Censorship: An Analysis of Film Administration Regulations The commercialization and global transformation of the Chinese film industry demonstrates that this industry has been experiencing drastic changes within the new social and economic environment of China in which film has become a commodity generating high revenues. However, the Chinese government still exerts control over the industry which is perceived as an ideological tool. They believe that the films display and contain beliefs and values of certain social groups as well as external constraints of politics, economy, culture, and ideology. This study will look at how such films are banned by the Chinese film censorship system through analyzing their essential cinematic elements, including narrative, filming, editing, sound, color, and sponsor and publisher. -
Making the Palace Machine Work Palace Machine the Making
11 ASIAN HISTORY Siebert, (eds) & Ko Chen Making the Machine Palace Work Edited by Martina Siebert, Kai Jun Chen, and Dorothy Ko Making the Palace Machine Work Mobilizing People, Objects, and Nature in the Qing Empire Making the Palace Machine Work Asian History The aim of the series is to offer a forum for writers of monographs and occasionally anthologies on Asian history. The series focuses on cultural and historical studies of politics and intellectual ideas and crosscuts the disciplines of history, political science, sociology and cultural studies. Series Editor Hans Hågerdal, Linnaeus University, Sweden Editorial Board Roger Greatrex, Lund University David Henley, Leiden University Ariel Lopez, University of the Philippines Angela Schottenhammer, University of Salzburg Deborah Sutton, Lancaster University Making the Palace Machine Work Mobilizing People, Objects, and Nature in the Qing Empire Edited by Martina Siebert, Kai Jun Chen, and Dorothy Ko Amsterdam University Press Cover illustration: Artful adaptation of a section of the 1750 Complete Map of Beijing of the Qianlong Era (Qianlong Beijing quantu 乾隆北京全圖) showing the Imperial Household Department by Martina Siebert based on the digital copy from the Digital Silk Road project (http://dsr.nii.ac.jp/toyobunko/II-11-D-802, vol. 8, leaf 7) Cover design: Coördesign, Leiden Lay-out: Crius Group, Hulshout isbn 978 94 6372 035 9 e-isbn 978 90 4855 322 8 (pdf) doi 10.5117/9789463720359 nur 692 Creative Commons License CC BY NC ND (http://creativecommons.org/licenses/by-nc-nd/3.0) The authors / Amsterdam University Press B.V., Amsterdam 2021 Some rights reserved. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise). -
1 Chinese Cinema Survey: 1980–Present Film S142 / Eall
CHINESE CINEMA SURVEY: 1980–PRESENT FILM S142 / EALL S258 Meeting Times: T,Th 1-2:50pm; Session B (July 12-August 13) Instructor: Xueli Wang Email: [email protected] Office Hours: by appointment Course Description: The past four decades have been extraordinarily fruitful for Chinese-language filmmaking. This course will survey key figures, movements, and trends in Sinophone cinema since 1980. Sessions will be structured around eleven films, each an entry point into a broader topic, such as the Fifth and Sixth Generation directors; the Hong Kong New Wave; New Taiwan Cinema; martial arts film; commercial blockbuster; and independent documentary. We will examine these films formally, through shot-by-shot analysis, as well as in relation to major social, political, and economic developments in recent Chinese history, such as the Cultural Revolution; Deng Xiaoping's economic reforms; the Hong Kong handover; the construction of the Three Gorges Dam; and the demolition and displacement of local communities. We will also consider pertinent questions of propaganda and censorship; aesthetics and politics; history and memory; transnational networks and audiences; and what constitutes "Chineseness" in a globalized world. Online Access: ● Seminars and in-class presentations will take place over Zoom. Our Zoom sessions will simulate a live classroom experience with everyone’s audio and video enabled. ● All assigned films will be available to watch remotely, either on Canvas or a streaming site. During some Zoom sessions, we will watch clips together alternating with discussion. ● All required readings and PowerPoint slides and film clips will be available on Canvas. ● Office hours will take place over Zoom, after class and by appointment.