Yimeng Jin, Writer/Director One Night Surprise and Sophie's Revenge

Total Page：16

File Type：pdf, Size：1020Kb

Yimeng Jin, Writer/Director One Night Surprise and Sophie’s Revenge Yimeng Jin (aka Eva Jin), born in China, is writer/director of several feature films. Her most recent feature film One Night Surprise (2013), a romantic comedy starring Fan Bingbing, Aarif Rahman, Daniel Henney, and Jiang Jinfu, grossed over 170M RMB ($28M USD) and was the leading film on Chinese Valentine’s Day (Aug 13) in 2013. Her previous feature film Sophie's Revenge (2009), a romantic comedy starring Zhang Ziyi, Peter Ho, So Ji-seob, and Fan Bingbing, earned 100M RMB ($15M USD) in China, making her the first female director to break the symbolic 100M RMB box office barrier and the first filmmaker to prove a romantic comedy could be a large scale commercial success in China. Previously, she wrote and directed Sailfish (2008), a sports drama set during the Cultural Revolution that was made for release during the Beijing Olympic Games. Her short film, The 17th Man (2004), won third place at the 2004 Student Emmy Awards, Best Director, Best Script and Best Art Direction at the 2004 Fearless Tale Film Festival, Best Lounge Short at Sonoma film festival, and was an Official Selection in Cannes Film Festival (2004). She was also a pop music singer and cartoonist who published three cartoon books in 2001 and 2009 with the Beijing Publishing House. She graduated with a bachelor's degree in Italian Opera at the China Conservancy of Music, and a Master's in Filmmaking from Florida State University's Film School. .

Copy Link

Recommended publications

Chen Man Fearless & Fabulous 9 December–4 March 2018
Press release 1/2 Chen Man Fearless & Fabulous 9 December–4 March 2018 The title says it all: Fearless & Fabulous. It takes both courage and magnetic For images, please contact attraction to achieve the position held by Chinese photographer Chen Man. And Fotografiska’s Head of Communications Margita Ingwall +46 (0)70 456 14 61 her success is a significant (Chinese) sign of the time. Chen Man is undoubtedly [email protected] the pioneer of China’s fashion photographer. Throughout the years, Chen Man has firmly established herself as the most sought-after and certainly the highest paid fashion and portrait photographer in China. Her works have featured across a range of leading publications, including Vogue, Elle, Harper’s Bazaar, Cosmopolitan and i.D. Her vigorously retouched images comprise several layers of narrative and in her pictorial world the current image of China is interpreted and reinterpreted. In a country in convulsions between the old and the new, Chen Man may be regarded as a representative of her generation – the Generation Y, as in »why«. In her photographs, Chen Man stages fusions between the past and the present, east and west, tradition and renewal, questioning and reformulating norms and beauty ideals. Film stars and captains of industry all want to be photographed by her. Her megastar status defies description, as she moves in the most varied of social circles of the Chinese elite. China’s No.1 leading actress Fan Bingbing will only be photographed by Chen Man, international superstars such as Rihanna, Keanu Reeves and Nicole Kidman come to China to be portrayed by Chen Man.
[Show full text]
1St China Onscreen Biennial
2012 1st China Onscreen Biennial LOS ANGELES 10.13 ~ 10.31 WASHINGTON, DC 10.26 ~ 11.11 Presented by CONTENTS Welcome 2 UCLA Confucius Institute in partnership with Features 4 Los Angeles 1st China Onscreen UCLA Film & Television Archive All Apologies Biennial Academy of Motion Picture Arts and Sciences Are We Really So Far from the Madhouse? Film at REDCAT Pomona College 2012 Beijing Flickers — Pop-Up Photography Exhibition and Film Seeding cross-cultural The Cremator dialogue through the The Ditch art of film Double Xposure Washington, DC Feng Shui Freer and Sackler Galleries of the Smithsonian Institution Confucius Institute at George Mason University Lacuna — Opening Night Confucius Institute at the University of Maryland The Monkey King: Uproar in Heaven 3D Confucius Institute Painted Skin: The Resurrection at Mason 乔治梅森大学孔子学院 Sauna on Moon Three Sisters The 2012 inaugural COB has been made possible with Shorts 17 generous support from the following Program Sponsors Stephen Lesser The People’s Secretary UCLA Center for Chinese Studies Shanghai Strangers — Opening Night UCLA Center for Global Management (CGM) UCLA Center for Management of Enterprise in Media, Entertainment and Sports (MEMES) Some Actions Which Haven’t Been Defined Yet in the Revolution Shanghai Jiao Tong University Chinatown Business Improvement District Mandarin Plaza Panel Discussion 18 Lois Lambert of the Lois Lambert Gallery Film As Culture | Culture in Film Queer China Onscreen 19 Our Story: 10 Years of Guerrilla Warfare of the Beijing Queer Film Festival and
[Show full text]
Early Mandarin Literacy in a Class-Created Reading Library
Early Mandarin Literacy in a Class-created Reading Library Reed Riggs University of Hawai‘i at Mānoa Abstract This article explores methods for creating an extensive reading (ER) library during the first weeks of language instruction, illustrated here in a college Mandarin course. Data include student-created texts, video transcripts of students reading in groups, field notes, and a student perceptions survey. Taken together the data provide a snapshot of how students in a beginning-level university Mandarin course can utilize Internet resources to create and use a personalized ER library. ER has been shown in previous research to enrich known words (Waring & Takaki, 2003), and provide opportunities for early literacy in languages that use nonalphabetic scripts like Japanese (Hitosugi & Day, 2004). Mandarin texts feature Chinese characters, which exhibit a low reliability in sound-meaning-visual associations, effectively blocking learners from sounding out unfamiliar words and clearly identifying meaning (Everson et al., 2016). The data here show how learners were able to connect prior knowledge from their own culture to new communicative situations in the form of printed comic books to read in class in small groups. Learners were found to connect understandings between their own culture and the target culture, focusing particularly on cultural similarities. Keywords: reading, library, culture, Mandarin Chinese, technology 210 Riggs 1. Introduction Building on ACTFL's World Readiness Standards for Learning Languages (2013) of Communication,
[Show full text]
贺敬德 EN-Updated Dec-第二版
WU STAR MEDIA (INTERNATIONAL) LIMITED FOUNDER Jaden He （贺敬德） Wushu World Cup Champion Instructed by Wu Bin (Jet Li’s and Wu Jing’s master) Gender: Male Height: 1.66 meters Weight: 62 kg Languages: Mandarin, English Occupation: Action Director, Stage Director, Actor, Coach Athletic Awards: Hong Kong Chief Executive’s Commendation for Community Service (2011), Bank of China Hong Kong- Hong Kong Sports Stars Award (2010), 16th Asian Games Leader of the Year- Sports Category (2010) Asian Olympic Games- Silver medal for Nanquan, Nangun (2010) Tenth World Wushu Championships- Gold medal for Nangun, Silver for Nanquan, Bronze for Nandao (2010) East Asian Games- Gold medal for Nanquan, Nangun (2009) Jaden (贺敬德) Film Work: “Saturday Fiction (兰心大剧院)” (2018)- Action Choreographer “The Teacher” (2018)- Action Director, Main Actor “Wu Ji” Adidas advertisement (2017)- Martial Arts Director “The One” (2017) “League of Gods” (2015)- Official Head Coach of fight scenes, Actor “Dun Di” Theatre Show: “Kung Fu Panda Spectacular Live show” (2019) - Martial Arts Choreographer The Sunac Dragone Wuxi Project – 太湖秀(2019) - Martial Arts Choreographer & Supervisor, From 1994 to 2001, Jaden trained under Mr. Wu Bin, the head coach of Beijing Wu Shu Team, and teacher of Jet Li and Wu Jing. During his time in the Beijing Wushu Team, Jaden has won gold at the National Wushu Championship multiple times for broadsword, staff, and double broadsword. In 2003, Jaden joined Cirque du Soleil’s KA Show at Las Vegas’ MGM Grand Hotel. There, he led as the main actor, stage martial arts coach, and choreographer. By combining eastern and western cultures onstage, Jaden gained new insights on traditional Wushu, choreographing, and acting.
[Show full text]
China Luxury Report 2019 How Young Chinese Consumers Are Reshaping Global Luxury
McKinsey Greater China’s Apparel, Fashion and Luxury Group China Luxury Report 2019 How young Chinese consumers are reshaping global luxury April 2019 Introduction This is the story of how a new At the high end, negative impacts Research for the 2019 McKinsey China generation of Chinese consumers are are evident in Hong Kong, where Luxury Report shows that the majority powering the global luxury market, and jewelry sales and imports of Swiss of these young consumers are fresh to the double-edged sword they present watches have slowed, but even in these market, presenting both a tantalizing to the world’s leading luxury brands. categories demand remains relatively opportunity and an implicit imperative strong on the mainland. for brands to stay current, or risk losing Set to be the engine of global out to more digitally savvy rivals. spending on high-end shoes, bags, Indeed, the luxury segment remains fashion, jewelry, and watches, China’s robust, amid a continuation of a trend What’s more, while some fashion affluent upper-middle class presents in premiumization that has seen sales houses excel at various aspects of an enticing prospect for the world’s of premium cars and premium beer, online marketing and commerce, even designer brands. as well as prestige beauty products, the most popular luxury brands have yet outperform the wider market. to establish a comprehensive presence Imbued with a confidence to spend across the digital ecosystem. underpinned by a lifetime watching new Young Chinese consumers view skyscrapers rise in tandem with their ownership and affiliation with designer Consequently, opportunity abounds as family incomes, these consumers are brands as a form of social capital; not brands seek to engage the attention of eager to tap luxury as a means of social just something to wear, but a lifestyle consumers in the world’s most lucrative advancement and self-differentiation.
[Show full text]
Exploring China Through Documentaries & Film
EEXXPPLLOORRIINNGG CCHHIINNAA TTHHRROOUUGGHH DDOOCCUUMMEENNTTAARRIIEESS && FFIILLMM National Consortium for Teaching about Asia East Asia Resource Center University of Washington Tese Wintz Neighbor Summer Institute 2014 EXPLORING CHINA THROUGH DOCUMENTARIES & FEATURE FILMS NOTE FROM TESE: If you do not have a decade or more to watch all of these movies(!) please check out this website from time to time for short documentaries from the Asia Society. Download free and use in your USING THIS RESOURCE GUIDE classroom. Note: The information regarding each film ASIA SOCIETY - CHINA GREEN has been excerpted directly from the http://sites.asiasociety.org/chinagreen/ website cited. Most of these sites include 1- China Green, a multimedia enterprise, documents 3 minute trailers. This is not a China’s environmental issues and strives to serve as a comprehensive list. Teacher guides are web forum where people “with an interest in China and available at a number of the documentary its environmental challenges can sites listed below and identified by the find interesting visual stories and Categories: share critical information about Air & Water resource icon. the most populous nation in the Energy & Climate Land & Urbanization world whose participation in the Life & Health There are different ways to access these solution to global environmental NGOs & Civil documentaries and films. Some can be Society problems, such as climate Tibetan Plateau downloaded directly from the web, some change, will be indispensable.” Wildlife can be found at local libraries, on Netflix, Pictures Talk Video Series or at the East Asia Resource Center. They http://sites.asiasociety.org/chinagreen/pictures-talk- can also be purchased directly from the video-series/ producer or from online stores.
[Show full text]
Download Article
Advances in Social Science, Education and Humanities Research (ASSEHR), volume 103 2017 International Conference on Culture, Education and Financial Development of Modern Society (ICCESE 2017) I'm not Madame Bovary The Dual Call of Law and Humanity Fei Dang Shaanxi Institute of International Trade & Commerce Xi’an, China Abstract—The film, I'm not Madame Bovary, is directed by her complaint can’t be heard by the chief justice and she finds Feng Xiaogang, a famous director. Fan Bingbing acts the leading the wrong place. Not reconciled and in a rage, she holds the role. This film tells the story of Li Xuelian, an ordinary peasant word of injustice in her hands and blocks the county head’s car. woman faking divorce in order to have an additional baby and However, Shi Weimin, the county lead, dodges the column and get the house distributed by her husband’s work unit. However, directly sneaks away. Then, she sits at the gate of provincial a false thing becomes true. Her husband takes advantage of the government and ends up in unprovoked several days of fake divorce and abandons her. What’s more, she is humiliated imprisonment. In the end, in a fit of anger, helpless Li Xuelian and called Madame Bovary by her husband in public. New and goes to Beijing to block the leading cadre’s car and tell her old hatred arouses Li Xuelian’s new fury and she starts her long grievance. The leading cadre gives an order and a large batch “suing” career. Superficially speaking, I'm not Madame Bovary of officers are punished, excluding Qin Yuhe.
[Show full text]
In Search of an Alternative Feminist Cinema: Gender, Crisis, and the Cultural Discourse of Nation Building in Chinese Independent Films’ (2017) 24(1), Pp
Article How to Cite: Li, J 2017 In Search of an Alternative Feminist Cinema: Gen- der, Crisis, and the Cultural Discourse of Nation Building in Chinese Inde- pendent Films. ASIANetwork Exchange, 24(1), pp. 86-111, DOI: https://doi. org/10.16995/ane.152 Published: 05 April 2017 Peer Review: This article has been peer reviewed through the double-blind process of ASIANetwork Exchange, which is a journal of the Open Library of Humanities. Copyright: © 2017 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distri- bution, and reproduction in any medium, provided the original author and source are credited. See http://creativecommons.org/licenses/by/4.0/. Open Access: ASIANetwork Exchange is a peer-reviewed open access journal. Digital Preservation: The Open Library of Humanities and all its journals are digitally preserved in the CLOCKSS scholarly archive service. The Open Library of Humanities is an open access non-profit publisher of scholarly articles and monographs. Jinhua Li ‘In Search of an Alternative Feminist Cinema: Gender, Crisis, and the Cultural Discourse of Nation Building in Chinese Independent Films’ (2017) 24(1), pp. 86-111 ASIANetwork Exchange, DOI: https://doi.org/10.16995/ane.152 ARTICLE In Search of an Alternative Feminist Cinema: Gender, Crisis, and the Cultural Discourse of Nation Building in Chinese Independent Films Jinhua Li University of North Carolina Asheville, US [email protected] Chinese feminist cinema in the postsocialist era is shaped by the grand nar- rative of nation building that glamorizes urban professional career women and their contributions to economic marketization and globalization.
[Show full text]
The Chinese Film Industry: Features and Trends, 2010-2016
THE CHINESE FILM INDUSTRY: FEATURES AND TRENDS, 2010-2016 Jinuo Diao A Thesis Submitted for the Degree of PhD at the University of St Andrews 2020 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/19497 This item is protected by original copyright The Chinese Film Industry: Features and Trends, 2010-2016 Jinuo Diao This thesis is submitted in partial fulfilment for the degree of Doctor of Philosophy (PhD) at the University of St Andrews December 2019 Candidate's declaration I, Jinuo Diao, do hereby certify that this thesis, submitted for the degree of PhD, which is approximately 80,000 words in length, has been written by me, and that it is the record of work carried out by me, or principally by myself in collaboration with others as acknowledged, and that it has not been submitted in any previous application for any degree. I was admitted as a research student at the University of St Andrews in September 2015. I received funding from an organisation or institution and have acknowledged the funder(s) in the full text of my thesis. Date 18 December 2019 Signature of candidate Supervisor's declaration I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of PhD in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree.
[Show full text]
Country Briefs 2011
Briefing Your Country ISP 2011 ASIA North Asia (The People’s Republic of) China (Cont.) “Delicious” in Mandarin Chinese: 好吃 (“fei chang hao chi”) or (The People’s Republic of) China 美味 (“mei wei”) Contributed by YangYi Food(s) and Drink(s): Dumplings (jiaozi); All kinds of dimsum; Cao, Haotian Wang, Spring rolls; Rice dumplings (zong zi); Fried rice; Rice cakes; Yang Zhang, Hongshan Congee; Peking duck; Green tea; Moon cakes; Soy milk; Fermented Liu, Li Guan, Yingtong and distilled alcoholic beverages; Hot pot; Steamed buns; Pork with Xie, Haisu Wang, soy sauce; Flower teas; Ginger tea; Huntun; Red pork; Steamed fish; Yangming Li, and Jian Black plum juice; White wine; Yuanxiao; Twice-cooked pork (hui Zhang guo rou); Ma po tofu; Beijing duck and Shandong pancakes in Capital: Beijing Northern China; Small steamed buns, Beef soup, Tangyuan, and Baozi in Southern China; Noodles Population: 1.3 billion Traditional Music: Chinese (i.e. Beijing, Sichuan) opera; Religion(s): Taoism; Buddhism; Christianity; Catholicism; Atheism Instrumental (i.e. bamboo flute, guzheng, erhu [a two-stringed Political Leader(s): Chairman/President Hu Jingtao; Xi Jingping; bowed instrument with a lower register than jinghu], dizi, pipa, Premier Wen Jiabao; Wu Bangguo yangqin); Kuaiban (快板); Revolutionary songs (all government workers are required to sing these songs on important Communist- Language(s): Mandarin Chinese; Cantonese; Other regional dialects party related days); Folk music; Ancient bell and drum music; The depending on the city Moon Over a Fountain; Mountain Stream; Saima (instructed by Erhu); Jasmine “Hello” in Mandarin Chinese: 你好 (“ni hao”) “Goodbye” in Mandarin Chinese: 再 (“zai jian”) 1 Briefing Your Country ISP 2011 (The People’s Republic of) China (Cont.) Hong Kong (Cont.) Sport(s): Table tennis (i.e.
[Show full text]
American Association for Chinese Studies （全美中国研究协会） • Taiwan Studies, Henry M
• American Association for Chinese Studies （全美中国研究协会） • Taiwan Studies, Henry M. China’s Use of Film in Jackson School of International Its Pursuit of Soft Studies Power: Structural • University of Washington and Self-Imposed • October 4-6, 2019 Limits in China’s Competition with Hollywood • Stanley Rosen • Professor of Political Science • University of Southern California, USA FILM NOT KEY ISSUE FOR CHINA’S SOFT POWER • China spends well over $10 billion a year on Soft Power projection, but until Donald Trump, has not been as successful as the U.S., which spends very little; Why? • In the age of Donald Trump and Xi Jinping, is Chinese Soft Power still weaker than America’s? Soft Power and Favorability ratings • In China’s hierarchy of values, INFLUENCING the behavior of other countries more important than Soft Power; Soft Power is sacrificed at times • Chinese Soft Power is often focused on the DOMESTIC AUDIENCE since political and social stability, as well as patriotism, are higher values to China • Enhancing Soft Power is a long-term goal; developing countries and Chinese diaspora currently a priority; Silk Road Schools and China Cultural Centers • Measuring Soft Power linked to continuation of “liberal international order” • Success of creative individual Chinese will be claimed as success of China • CONTRADICTIONS in Chinese policies; they want to do many things at the same time; contradictions in state-sanctioned (“socialist core values”) and individual VALUE SYSTEMS • Chinese and American DREAMS competing at home and abroad •
[Show full text]
China Movie Stars Own Multiple Companies
China Movie Stars Own Multiple Companies In the aftermath of the “yin-yang contract” scandal, netizens have unveiled from the companies registries of local Administration for Industry & Commerce that many film industry players, including Fan Bingbing, Zhang Ziyi, Zhao Wei, Huang Xiaoming, Chen Kun, Li Bingbing, Huang Bo and Feng Xiaogang, are owners, shareholders, legal persons or directors of multiple businesses. Topping the chart is Huang Xiaoming, who reportedly runs and funds as many as 45 businesses. Here are the top 3 of the stars who own major business empires: 1. Film star Huang Xiaoming is the legal person, director, executive director, shareholder and manager of 45 companies. 2. Singer Hu Haiquan is the corporate shareholder, director, executive director, shareholder, manager and supervisor of 35 companies. 3. Actor Ren Quan is the director, chairman of the board, executive director, director, legal representative, shareholder and manager of 23 companies. As for other acting talents and celebrity couples, Tong Dawei and Guan Yue together own 23 companies; Wang Yuelun and Li Xiang together own 23 companies; Zhang Ziyi owns 20 companies; Huang Lei owns 18 companies; Zhao Wei owns 17 companies; Huang Bo owns 17 companies; He Jiong, touted “the wealthiest television host”, owns 16 companies; Wang Feng, Chen Kun and Feng Xiaogang each owns 16 companies; Li Bingbing owns 15 companies. Fang Bingbing only owns 6 companies. These celebrities make it a priority to snag the title of CEO, director, executive director, legal representative and shareholder in their secondary gigs, which are mostly in the domains of film production, performance, cultural communication, artiste management, advertising, investment and food & beverage.
[Show full text]