Paper Number: 94 December 2009 Reconfiguring Chinese Diaspora
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Tibet in Debate: Narrative Construction and Misrepresentations in Seven Years in Tibet and Red River Valley
Transtext(e)s Transcultures 跨文本跨文化 Journal of Global Cultural Studies 5 | 2009 Varia Tibet in Debate: Narrative Construction and Misrepresentations in Seven Years in Tibet and Red River Valley Vanessa Frangville Electronic version URL: https://journals.openedition.org/transtexts/289 DOI: 10.4000/transtexts.289 ISSN: 2105-2549 Publisher Gregory B. Lee Printed version Date of publication: 1 June 2009 ISSN: 1771-2084 Electronic reference Vanessa Frangville, “Tibet in Debate: Narrative Construction and Misrepresentations in Seven Years in Tibet and Red River Valley”, Transtext(e)s Transcultures 跨文本跨文化 [Online], 5 | 2009, document 6, Online since 22 April 2010, connection on 21 September 2021. URL: http://journals.openedition.org/ transtexts/289 ; DOI: https://doi.org/10.4000/transtexts.289 © Tous droits réservés Journal of Global Cultural Studies 5 | 2009 : Varia (Re)Inventing "Realities" in China Tibet in Debate: Narrative Construction and Misrepresentations in Seven Years in Tibet and Red River Valley VANESSA FRANGVI E Résumés Cet article propose une analyse comparative de la construction des discours sur le Tibet et les Tib'tains en ( Occident * et en Chine. Il sugg.re /ue les films de propagande chinois comme les films holly0oodiens pro1tib'tains mettent en place des perceptions orientalistes et essentialistes d2un Tibet imagin' et id'alis', omettant ainsi la situation sociale, politi/ue, 'conomi/ue ou m4me 'cologi/ue telle /u2elle est v'cue par les Tib'tains en Chine. es repr'sentations cin'matographi/ues participant grandement 5 la formation des imaginaires modernes, cette analyse illustre ainsi le fait /ue la /uestion du Tibet n2est pas un vrai d'bat mais bien plus un champ de bataille politi/ue /ui m.ne 5 une impasse internationale et locale. -
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. -
Alai and I: a Belated Encounter
Alai and I: A Belated Encounter Patrizia Liberati (Italian Institute of Culture) Abstract: This paper attempts to analyze the reasons for the scanty presence in translation of Alai’s literary production. Probably the most important motive is that this author’s narrative does not correspond to the idealized Western idea of Tibet as Shangri-la, and of its people as noble savages. It will then make some observation on Alai’s pictorial “thangka style” of narration, his unique use of language and his poetic realism. Finally, it will identify cinematic productions as a successful medium to spread knowledge and deepen the understanding of contemporary Tibetan literature. Keywords: cultural misreading, inter-religious studies, poetic realism, Shangri-la, stereotypes, thangka, transcultural contact, visual culture. 1. A Western Collective Delusion: Alai’s Tibet is Not Shangri-la In November 2018, the Sichuan Writers Association invited me to the symposium “Borderline Books, Naturalis Historia and Epics”, an international occasion to study Alai’s works. This presented me with the long overdue occasion to reflect on the writer’s literary creation. I soon realized that the number of Alai’s works in translation—at least in the Western languages I am able to understand—compares very badly with the abundancy and richness of his creation. I found English, French and Italian translations of Cheng’ai luoding and English translations of Gesair Wang and Kong Shan. There are some short stories like Wind over the Grasslands; Three Grassworms; Aku Tonpa; The Hydroelectric Station and The Threshing Machine in English. Now I am pleased to add to the list the translation in Italian of Yueguang xia de yinjiang (L’argentiere sotto la luna, tr. -
Explorers China Exploration and Research Society Volume 17 No
A NEWSLETTER TO INFORM AND ACKNOWLEDGE CERS’ FRIENDS AND SUPPORTERS CHINA since 1986 EXPLORERS CHINA EXPLORATION AND RESEARCH SOCIETY VOLUME 17 NO. 2 SUMMER 2015 3 Last of the Pi Yao Minority People 30 Entering The Dinosaur’s Mouth 6 A Tang Dynasty Temple (circa 502 A.D.) 34 CERS in the Field 9 Avalanche! 35 News/Media & Lectures 12 Caught in Kathmandu 36 Thank You 15 Adventure to Dulongjiang Region: An Unspoiled place in Northwest Yunnan CLOCKWISE FROM TOP: 18 Blue Sky, White Peaks and Green Hills CERS and village cavers in Palawan 22 Shake-Down Cruise of HM Explorer 2 of the Philippines. A Yao elder lady. Earthquake news in Kathmandu. 26 Singing the Ocean Blues Suspension bridge across the Dulong Musings on fish and commitment while floating in the Sulu Sea River in Yunnan. CHINA EXPLORATION AND RESEARCH SOCIETY PAGE 1 A NEWSLETTER TO INFORM AND ACKNOWLEDGE CERS' FRIENDS AND SUPPORTERS Founder / President WONG HOW MAN CHINA Directors: BARRY LAM, CERS Chairman Chairman, Quanta Computer, Taiwan EXPLORERS JAMES CHEN CHINA EXPLORATION AND RESEARCH SOCIETY Managing Director, Legacy Advisors Ltd. HUANG ZHENG YU VOLUME 17 NO.2 SUMMER 2015 Entrepreneur CHRISTABEL LEE President’s Message Managing Director, Toppan Vite Limited DAVID MONG isk management is institutionalized into all big Chairman, Shun Hing Education and Charity Fund businesses today, perhaps with exception of rogue traders among leading banks. In life, risk WELLINGTON YEE management extends from practical measures BILLY YUNG to philosophical ones, from having multiple Group Chairman, Shell Electric Holdings Ltd. Ralternatives of partners, insurance and bank accounts, Advisory Council: education and degrees, to Plan Bs & Cs for zillions of CYNTHIA D’ANJOU BROWN activities, to religious options for those who want to Philanthropy Adviser manage their afterlife, just in case there is an afterlife. -
Stasiowski-Rev
TRANSMISSIONS: THE JOURNAL OF FILM AND MEDIA STUDIES 2018, VOL.3, NO. 1, PP. 100-104. Maciej Stasiowski Jagiellonian University Prayer Wheels for the Other: Haunted by the Images: the film works of Tian Zhuangzhuang book review There is a sequence in The Horse Thief (1986), in which an elderly Buddhist monk spins his prayer wheel, sitting in close proximity to a flock of Himalayan vultures feasting on a corpse. Seen separate at first, in the next shot both of these activities are filmed together. On the Tibetan plateau, balance is maintained – there is place for religious practice and for ravenous devouring. As another shot supersedes the scene, we take on Norbu’s perspective. Whether he beholds the spectacle from a distance is debatable. Is he really witnessing the non-event described above, or is he just blankly staring at the horizon, as he does so often? The director intends to keep his audience guessing, beguiling them into arranging images into a coherent narrative on their own and draw their own conclusions. Tian Zhuangzhuang’s cinema inhabits a niche that has been quite difficult to share with him. For all the facts, contexts, even story developments he decides to leave out, it offers sublime beauty that had drawn the attention of audiences worldwide, despite undergoing incredible hardships in the process of reaching them. The Blue Kite (1993), smuggled to Cannes, earned him not only a Grand Prix at the Tokyo International Film Festival in 1993, but a ten-year ban on making films. Nonetheless, in toto, his filmography – oscillating between arthouse “chamber pieces” and purely commercial ventures – remains confusing for critics and audiences alike, ever since his first “proper” films, from the robustly idiosyncratic On the Hunting Ground (1984), to his latest brash with heroic fantasy genre in The Warrior and the Wolf (2009). -
2018 International Conference on Multiculture and Education(ICME)
Table of Contents 2018 International Conference on Multiculture and Education Opening Remark ······························································································································· viii Welcoming Remark ····························································································································· x Program ············································································································································· xxii Keynote Speech Global modernity and its repercussion ····················································································· 3 Volker H. Schmidt(Singapore) Language education for marriage immigrant women and their families ························ 17 Seonjung Kim(Korea) Cultural Performance Session A-1 Research on transnational ethnic relations: World context and cases in Vietnam ···· 29 Vuong Xuan Tinh(Vietnam) Local cadres, corruption and villagers’ protests in a Red river Delta village, Vietnam ··· 50 Nguyen Van Suu(Vietnam) Young Korean Argentines in the Argentine garment industry and their social integration ······································································································································ 69 Jihye Kim(UK) In search of globally compassionate multicultural/intercultural education: Critical lessons learned from Rev. Theodore Hesburgh's vision and social activism during the civil rights movement and afterwards ···················································································· -
Tian Zhuangzhuang: an Author Haunted by the Images*
Szkice filmoznawcze Alicja Helman https://orcid.org/0000-0002-8266-6038 Wydział Zarządzania i Komunikacji Społecznej Uniwersytet Jagielloński Tian Zhuangzhuang: An Author Haunted by the Images* Key words: biopic, minority genre, ethnographic cinema, religion, ritual Słowa kluczowe: biografia filmowa, gatunek „minority”, kino etnograficzne, religia, rytuał Introduction The last film Tian Zhuangzhuang made was 2009’s The Warrior and the Wolf (Láng Zāi Jì). Not until 2015 has he participated, as one of three directors, in a blockbuster Lady of The Dynasty (Wángcháo de Nǚrén Yáng Guìfēi), where his contribution is difficult, if not impossible to isolate. As the aficionados of his talent had accurately predicted, the director never managed to put himself on the map again, amidst the transformations of China’s Film Industry that took a turn towards commercialization, conquest of foreign markets, and competition with Western production at home. Unable to find funds or producers, let alone audiences for his “cinematic project,” Tian did not only refuse to make films as forced upon him, but did not need to; most probably, he could not. His output proper – counting out student films – can be narrowed down to the period between the years 1985 (On the Hunting Ground [Lièchǎng zhā sā]) and 2006 (The Go Master [Wú Qīngyuán]), encompassing projects consistent with his views, temperament, and an idiosyncratic language of film art. However, even within this timeframe, we will find features from which Tian evidently distances himself. We ought to distinguish four feature films from the period 1987–1991, which Tian was attached to as director, rather than perceiving them as works of his own choosing. -
The New Chinese Documentary Film Movement for the Public Record
The New Chinese Documentary Film Movement For the Public Record Edited by Chris Berry, Lu Xinyu, and Lisa Rofel Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2010 Hong Kong University Press ISBN 978-988-8028-51-1 (Hardback) ISBN 978-988-8028-52-8 (Paperback) All rights reserved. No portion 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 publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 Printed and bound by CTPS Digiprints Limited in Hong Kong, China Table of Contents List of Illustrations vii List of Contributors xi Part I: Historical Overview 1 1. Introduction 3 Chris Berry and Lisa Rofel 2. Rethinking China’s New Documentary Movement: 15 Engagement with the Social Lu Xinyu, translated by Tan Jia and Lisa Rofel, edited by Lisa Rofel and Chris Berry 3. DV: Individual Filmmaking 49 Wu Wenguang, translated by Cathryn Clayton Part II: Documenting Marginalization, or Identities New and Old 55 4. West of the Tracks: History and Class-Consciousness 57 Lu Xinyu, translated by J. X. Zhang 5. Coming out of The Box, Marching as Dykes 77 Chao Shi-Yan Part III: Publics, Counter-Publics, and Alternative Publics 97 6. Blowup Beijing: The City as a Twilight Zone 99 Paola Voci vi Table of Contents 7. -
Preservation and Reconstruction of Folk Heritage Buildings in Yunnan Province, Prc
CONSTRUCTING PLACE: PRESERVATION AND RECONSTRUCTION OF FOLK HERITAGE BUILDINGS IN YUNNAN PROVINCE, PRC. MARIA ULRIKA LOFBLAD Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Modern Languages and Cultures (East Asia) March,2012 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. o Abstract This thesis is about preservation of traditional architecture and historical village environments in Yunnan Province, PRC. It asks the question why there has been a surge of interest in preserving and reconstructing historical structures in the reform era, particularly since the late 1990s. Answering this question involves looking at national-level discourse on cultural heritage, including legislation and ideological reasons for interest in preservation. It argues that state interest in tourism is the main factor motivating preservation, but this interest is also linked to ideology, mainly state ideology on patriotism, cultural inclusion, and creating an image of the PRC as a cultural entity where ethnic, cultural, and religious differences are allowed, but only as long as these differences are played out within the parameters set up by the state, and align themselves with the aspirations of the reform-era state, mainly economic development. Hence heritage preservation in Yunnan, a poor province of ethnic multitude, needs to be placed within the context of state and provincial interest in tourism, as a way of re-asserting local identity in the reform-era. -
Movie Talk and Chinese Pirate Film Consumption from the Mid-1980S to 2005
International Journal of Communication 6 (2012), 501–529 1932–8036/20120501 Broadening the Scope of Cultural Preferences: Movie Talk and Chinese Pirate Film Consumption from the Mid-1980s to 2005 ANGELA XIAO WU Northwestern University How do structural market conditions affect people’s media consumption over time? This article examines the evolution of Chinese pirate film consumption from the mid-1980s to 2005 as a structurational process, highlights its different mechanisms (as compared to those of legitimate cultural markets), and teases out an unconventional path to broadening the scope of societal tastes in culture. The research reveals that, in a structural context consisting of a giant piracy market, lacking advertising or aggregated consumer information, consumers developed “movie talk” from the grassroots. The media environment comprised solely of movie talk guides people’s consumption of films toward a heterogeneous choice pattern. The noncentralized, unquantifiable, and performative features of movie talk that may contribute to such an effect are discussed herein. Introduction Literatures in both cultural sociology and communication endeavor to explain cultural preferences. Current research concerns mainly cross-sectional studies with individuals as the unit of analysis (Griswold, Janssen, & Van Rees, 1999; Webster, 2009). The majority of extant theories focus on linking cultural consumption patterns to individual consumers’ psychological predispositions (Katz, Blumler, & Gurevitch, 1974) or socioeconomic statuses (Bourdieu, 1984; Van Rees & Van Eijck, 2003). However, chronological changes in the consumption patterns are relatively underexplored (Tepper & Hargittai, 2009, pp. 227–228). For instance, longitudinal research of the formative role of structured I am grateful to Joseph Man Chan, Jennifer Light, Eszter Hargittai, James Webster, Wendy Griswold, Janice Radway, and Elizabeth Lenaghan for their generous and helpful comments. -
SFU Thesis Template Files
Film gatekeepers corp. presents… So this is China? Chinese cinema(s) distribution and circulation: between global markets, capitalist art-houses, and informal venues of resistance. By Rebeca Lucia Galindo B.Sc., Universidad Autónoma de Bucaramanga, 2009 Extended Essay Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the School of Communication in Global Communication Faculty of Communication, Art and Technology Rebeca Lucia Galindo 2014 SIMON FRASER UNIVERSITY Summer 2014 Approval Name: Rebeca Lucia Galindo Degree: Master of Arts (Communication) Title: Film gatekeepers corp. presents… So this is China? Chinese cinema(s) distribution and circulation: between global markets, capitalist art-houses, and informal venues of resistance Supervisory Committee: Program Director: Yuezhi Zhao Professor Katherine Reilly Senior Supervisor Professor Sun Yingchun Supervisor Communication University of China Date Defended/Approved: August 8, 2014 ii Partial Copyright Licence iii Abstract This paper argues that our access of Chinese films is mediated by politicized cannons, non-transparent global distribution patterns, and the commodified need of cultural audiovisual references. To observe how global distribution and circulation of Chinese cinemas materialize an exploratory case study was used to analyze those Chinese films that have been distributed in important art-houses in Argentina, Mexico, Brazil, Chile, and Peru in recent years. The analysis shows how distribution for that part of the global south is translocal and problematically rooted in European and U.S. hegemonic media capitals. This has implications for how we think about China’s ideological projection. Este documento argumenta que el acceso a los filmes chinos está mediado por cánones politizados, patrones globales no-transparentes y la necesidad comodificada de referencias culturales audiovisuales. -
Nawiedzony Przez Obrazy. Twórczość Filmowa Tiana Zhuangzhuanga
NAWIEDZONY PRZEZ OBRAZY NAWIEDZONY PRZEZ OBRAZY TWÓRCZOŚĆ FILMOWA TIANA ZHUANGZHUANGA Alicja Helman Wydawnictwo Uniwersytetu Jagiellońskiego RECENZENT dr hab. Natasza Korczarowska PROJEKT OKŁADKI Paweł Sepielak Publikacja powstała w ramach grantu Narodowego Centrum Nauki przyznanego na podstawie decyzji 2012/05/B/HS2/04058. Numer projektu: K/PBO/000154 Publikacja dofinansowana przez Uniwersytet Jagielloński ze środków Wydziału Zarządzania i Komunikacji Społecznej oraz Instytutu Sztuk Audiowizualnych © Copyright by Alicja Helman & Wydawnictwo Uniwersytetu Jagiellońskiego Wydanie I, Kraków 2016 All rights reserved Niniejszy utwór ani żaden jego fragment nie może być reprodukowany, przetwarzany i roz- powszechniany w jakikolwiek sposób za pomocą urządzeń elektronicznych, mechanicznych, kopiujących, nagrywających i innych oraz nie może być przechowywany w żadnym systemie informatycznym bez uprzedniej pisemnej zgody Wydawcy ISBN 978-83-233-4165-9 ISBN 978-83-233-9519-5 (e-book) www.wuj.pl Wydawnictwo Uniwersytetu Jagiellońskiego Redakcja: ul. Michałowskiego 9/2, 31-126 Kraków tel. 12 663 23 80, tel./fax 12 663 23 83 Dystrybucja: tel. 12 631 01 97, tel./fax 12 631 01 98 tel. kom. 506 006 674, e-mail: [email protected] Konto: PEKAO SA, nr 80 1240 4722 1111 0000 4856 3325 Spis treści Od autorki 7 Lata nauki 9 Self-made genre 25 Dawno temu w Tybecie 47 Ludzie w drodze 71 Kobiety zawsze są ofiarami 89 Ideologia – subkultura – breakdance 95 Tajemnice Zakazanego Miasta 111 Pieśń o rodzinie 131 Powrót 165 Na Herbacianym Szlaku 191 Biografia duchowa 203 Wizualna fantazja 219 Jedna trzecia? 237 Zamiast zakończenia 249 Bibliografia 253 Filmografia 261 Indeks nazwisk 269 5 Od autorki Monografia Tiana Zhuangzhuanga jest moją trzecią książką poświęconą twórcom Piątej Generacji.