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White Horse Legend Gallops Into the Present on Talent Show
16 | Friday, May 7, 2021 HONG KONG EDITION | CHINA DAILY LIFE Still images (from left) of the espionage film Cliff Walkers featuring Liu Haocun, Zhu Yawen, Qin Hailu and Zhang Yi, who play four Communist Party agents. PHOTOS PROVIDED TO CHINA DAILY License to thrill Director and master storyteller conquers new genres as he continues to entertain audiences, Xu Fan reports. t the age of 71, Zhang international distribution. Yimou still relishes the Alex Yeung, vice-chairman of “lights, camera, action” Emperor Motion Pictures and the moment of his work. The movie’s co-executive producer, iconicA master of China’s celebrated recalls that his father Albert Yeung fifth-generation directors still met with director Zhang for the first enjoys his packed schedule, which time in June 2018. demands creativity and productiv- “They hit it off immediately. They ity. soon agreed to collaborate on a Five months after One Second, con- quality film that makes people shout sidered the auteur’s love letter to cine- ‘bravo’. In the same year, we further ma, received widespread acclaim, his developed this film and production latest offering Cliff Walkers hit local kicked off in 2019,” recalls Alex theaters on April 30 as one of 12 new Yeung. movie releases. On May 3, it deposed Datong in Shanxi province dou- My Love as the top grossing movie in bles as old-time Harbin, with recon- the country. structions of buildings and streets, In more good news for his diehard while snowy scenes were shot in fans, they will not have to wait too Xuexiang, or Snow Town, in Hei- long to enjoy the renowned film- longjiang province. -
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. -
2010 COMMEMORATIONS of the THEATRICAL CAREERS of CAO YU and LI YURU LI RURU University of Leeds
2010 COMMEMORATIONS OF THE THEATRICAL CAREERS OF CAO YU AND LI YURU LI RURU1 University of Leeds Baoyu 寶玉, “Precious Jade,” is the name of the protagonist in the novel The Dream of the Red Chamber (Honglou meng 紅樓夢). Coincidently, these two characters can also stand as an abbreviation of the names of a theatrical couple: playwright Wan Jiabao 萬家寶 (better known under his penname Cao Yu 曹禺) and Jingju 京劇 (also known as Beijing opera or Peking opera) actress Li Yuru 李玉茹. During the autumn and winter of 2010, China’s theatrical realm commemorated their respective contributions to Chinese theatre. Cao Yu (1910-1996), a penname whose two characters represent the radical and phonetic, respectively, of his family name, is recognised as “the most significant figure in the development of modern drama in China” (Rimmington 1997). Often compared to Shakespeare, Ibsen, Chekhov, and O’Neill, Cao Yu is credited with helping the non-indigenous “spoken drama” (huaju 話劇) reach a degree of maturity in both form and audience reception in the mid 1930s, and declares that his early plays gained canonical status due to their artistry and skilful fusion of contemporary political themes (Noble 2007, 78-80). The Cao Yu Centenary was marked by a series of events sponsored by the nation’s Ministry of Culture (Wenhua bu 文化部), the Federation of Chinese Literature and Arts (Zhongguo wenlian 中國文聯), and the municipal government of Beijing. Activities included symposia, lectures, two international conferences (one held in Tianjin 天津 and Beijing 北京, 1 I should disclose that Li Yuru is my mother and Cao Yu is my stepfather. -
2010 International Conference on E-Product E-Service and E-Entertainment (ICEEE 2010)
2010 International Conference on E-Product E-Service and E-Entertainment (ICEEE 2010) Henan, China 7 – 9 November 2010 Pages 1-866 IEEE Catalog Number: CFP1096J-PRT ISBN: 978-1-4244-7159-1 1/7 TABLE OF CONTENTS 3PL-BASED SYNERGY STRATEGY MODEL AND INFORMATION MANAGEMENT SYSTEM FOR INDUSTRY CLUSTER IN CHINA .................................................................................................................................................................1 Hong-Yan Li, Ye Xing, Jing Chen A CHOICE MODEL FOR BEST TRUSTWORTHY SUPPLIER--BTSM ................................................................................................5 Jun-Feng Tian, Hao Huang, Yong Wang A COMPARATIVE STUDY OF TOURISM ENGLISH ----BASED ON ENGLISH WEBSITES OF YELLOWSTONE NATIONAL PARK AND JIUZHAI VALLEY..............................................................................................................9 Lili Zhan A COMPARATIVE STUDY ON LEADERSHIP MECHANISM OF SINO-NORWEGIAN BI-CULTURAL TELEWORKING TEAMS .............................................................................................................................................................................13 Bin He, Baozhen Liu, Lili Li, Jing Sun, Siyue Wu A CONCEPTUAL MODEL OF THE RELATIONSHIP BETWEEN ENTREPRENEUR MECHANISMS AND ENTERPRISE PERFORMANCE IN TRANSITIONAL CHINA..............................................................................................................17 Yu Song, Wenjing Yan A CONTRASTIVE STUDY ON LEARNING MECHANISM OF SINO-NORWEGIAN BI-CULTURAL -
Replace This with the Actual Title Using All Caps
SIGNIFYING THE LOCAL: MEDIA PRODUCTIONS RENDERED IN LOCAL LANGUAGES IN MAINLAND CHINA SINCE 2000 A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Jin Liu August 2008 © 2008 Jin Liu SIGNIFYING THE LOCAL: MEDIA PRODUCTIONS RENDERED IN LOCAL LANGUAGES IN MAINLAND CHINA SINCE 2000 Jin Liu, Ph. D. Cornell University 2008 My dissertation examines recent cultural productions rendered in local languages in the fields of television, film, fiction, popular music, and the Internet in mainland China since 2000, when the new national language law prescribed the standard Putonghua Mandarin as the principal language for broadcast media and movies. My dissertation sets out to examine this unsettled tension and to explore the rhetorical use of local language in different fields of cultural production. In television, local language functions as a humorous and satirical mechanism to evoke laughter that can foster a sense of local community and assert the local as the site of distinctive cultural production. In film and fiction, local language serves as an important marker of marginality, allowing filmmakers and writers rhetorically to position themselves in the margins to criticize the center and to repudiate the ideologies of modernism. In popular music, increasingly mediated by the Internet, local language has been explored by the urban educated youth to articulate a distinct youth identity in their negotiation with a globalizing and cosmopolitan culture. Drawing on cultural and literary theories, media studies, sociolinguistics, and dialectology, my interdisciplinary research focuses its analysis on many important but overlooked issues. -
Gendered Usage of Sentence-Final Particles in Mandarin Chinese
Gendered Usage of Sentence-Final Particles in Mandarin Chinese James C. Wamsley Indiana University Abstract Linguists often reference the contextual features of an individual’s speech to investigate the ways in which they represent their identity. Previous research on the links between language and gender has found that differences in the speech of men and women primarily manifest themselves in terms of pragmatics as opposed to phonological features or the lexicon. Sentence-final particles are non-obligatory particles which are appended to the end of sentences to convey extra pragmatic information. Research on sentence-final particles in Japanese (Uyeno 1971) and Cantonese (Chan 1999) has found correlations between the gender identity of the speaker and their usage of sentence-final particles. This study uses data from four men and four women to examine the ways that sentence-final particles are utilized by native speakers of Mandarin Chinese. The results of this study show that overall, men and women use sentence-final particles at a comparable rate. However, the two groups differ in that men more frequently use ma, a particle which signals insistence that the addressee be committed to the state of affairs, while women more frequently use ba, a particle which signals that the speaker seeks to solicit agreement from the addressee. The results of this study provide further information on real-world usage of sentence-final particles and contribute to future research related to the links between language and gender. Keywords: Mandarin Chinese; Language and gender; Sentence-final particles 1. Introduction Just as language allows individuals to express their thoughts, it also allows them to express their identity. -
Storyteller's Manner.Pdf
VIBEKE BØRDAHL Nordic Institute of Asian Studies Copenhagen The Storyteller’s Manner in Chinese Storytelling Abstract This study examines the concept of “the storyteller’s manner” in the Chinese vernacular novel and short story from the perspective of contemporary and premodern storytelling in China. The episode of “Wu Song Fights the Tiger” from the Ming novel Shuihu zhuan is analysed with a view to its narrative form as exemplified in the novel, in oral per- formance by the famous Yangzhou storyteller Wang Shaotang (1889–1968) and his dis- ciples, in a book edition of Wang Shaotang’s repertoire, and in some selected examples of other oral-related storytelling genres in written form, so-called “tell-sing” (shuochang) literature. Against this background a set of narrative features is discussed, such as divi- sion into chapters, type of narrator, narrator’s comment and simulated dialogue with the audience, alternation of prose and verse, and stock phrases of introduction, connection, and conclusion. The author emphasizes the importance of studying the living oral tra- ditions as performed orally in order to develop our understanding of the interplay of oral and literary elements in the existing oral traditions as well as in the vernacular literature from the medieval to the modern period. Keywords: storytelling—storyteller’s manner—Chinese vernacular novel—Yangzhou storytelling—shuoshu—shuochang—Wang Shaotang—orality and literacy Asian Folklore Studies, Volume 62, 2003: 000–000 HE EARLY CHINESE NOVEL (zhanghui xiaoshuo Øn·‰) and short story (huaben Êû), handed down in printed editions from the Ming (1368–1644) and Qing (1644–1911) periods, are characterized T 1 by a narrative style, referred to as the “storytelling form” (shuoshuti ‰–î), the “storyteller’s manner,” the “simulacrum of the oral storyteller,” the “sto- ryteller’s rhetoric,” and so on. -
12 an Industry Versus Independents
12 Film An Industry versus Independents Chinese cinema is moving toward a large industry model; but we must face our shortcomings and challenges. (Huang Jianxin, film director and executive producer)1 “The huge contrast between large production numbers and few box-office revenues of middle and low budget films, is an important indication of the Chinese movie market’s abnormal configuration.” (Rao Shuguang, Bi Xiaoyu, film critic)2 Mainland China’s movie industry is growing rapidly but the independent filmmaking field is shrinking. In 2007 box-office revenues totaled 3.3 billion yuan (US$475 million). Movies made in China accounted for 54 percent of the income, the fifth consecutive year domestic films beat imported for- eign movies the majority of which were Hollywood big-budget blockbusters. For the 2007 New Year–Spring Festival season, China’s biggest holiday, box- office income was 500 million yuan (US$70 million), much more than the 300 million yuan (US$43 million) films earned in the same period in 2006.3 During this festival Chinese and English films are shown alongside each other as can be seen in Figure 12.1. China’s biggest film distribution com- pany, China Film Group (CFG), was considering a public stock offering to become the first Chinese film company listed on a stock market.4 An increasing number of private but larger film production and distribution companies are playing a stronger role in the Chinese film market. These companies include Huayi Brothers Films, Poly-bona Film Distribution, and Paige Media Investing Inc. They have handled most of the recent high-budget Chinese commercial movies and have also invested in some New Media for a New China Edited by James F. -
Festival Du Film Chinois : Programmation 2011Populaire
Gardes du corps & Assassins [ 137 min ] Film historique de Chen Delin Avec : Zhen Zidan, Wang Xueqi, Hu Jun, Li Jiaxin, Le film a trusté 7 récompenses aux derniers Hong Kong Awards, dont celui du meilleur film et celui du meilleur réalisateur. Film spectaculaire, entre espionnage, arts martiaux et aventure, il raconte un épisode de la vie de Sun Yat-Sen, père de la révolution chinoise au début du XXème siècle. Génération 80 [ 106 min ] Société de Li Fangfang Avec : Liu Dong, Huang Ming, Tao Shuai L’histoire d’une jeune fille ayant perdu ses proches qui se bat courageusement pour trouver l’amour et la réussite sociale. C’est aussi le reflet de l’histoire de la Chine des années 1990 à aujourd’hui. « Le film a fait sensation dans les festivals où il est déjà passé, à commencer par celui de Tokyo, en octobre 2009, où il a été projeté et applaudi dans une salle de sept cents personnes pleine à craquer, mais aussi à Cannes, en mai dernier. » (Le blog du cinéma chinois) Confucius [ 125 min ] Récit historique de Hu Mei Avec : Chow Yun-Fat, Zhou Xun, Chen Jianbin Où le célèbre acteur Chow Yun-Fat campe le personnage de Confucius, le grand penseur chinois. Cette biographie du symbole majeur de la civilisation chinoise bénéficie du jeu inspiré de l’acteur, et d’une réalisation minutieuse servie par de superbes images et par une retranscription visuelle de l’époque de Confucius très intéressante et réaliste. La vengeance de Sophie [ 105 min ] Panorama Comédie de Yi Meng Avec : Zhang Ziyi, Fan Bingbing, He Rundong, Su Zhixie Une jolie brochette de jeunes vedettes du cinéma chinois, dont Zhang Ziyi et Fan Bingbing, pour cette comédie sympathique, bien dans l’air du temps, Organisé par l’AROC - l’Association des Commerçants du Zhejiang - Guan Di Réunion - Panthères Club - Qi Lin et pour tous les publics. -
Censoring the Silk Screen: China's Precarious Balance Between State
Censoring the Silk Screen: China’s Precarious Balance Between State Regulation and a Global Film Market Jeremy Geltzer* Time travel, ghosts, and smart-aleck superheroes may sow the seeds of rebellion—or so the Chinese Communist Party fears. Motion pictures from Ghostbusters to Deadpool to Back to the Future have been banned in the People’s Republic for violating China’s opaque permitting process. Still, the promise of profit keeps Hollywood producers attempting to crack the censor’s code for a taste of box office lucre. As China increasingly influences Hollywood’s studio system, it is necessary to understand the largest Asian film market. From China’s centralized distribution and exhibition structure to the state-influenced regulation of content, recognizing the unique characteristics and aggravating triggers is essential for content producers world wide. China has long kept a tight reign on both traditional and new media to suppress potentially subversive messages that could challenge state authority. Since the beginning of the film industry, the Chinese government viewed imported motion pictures critically, concerned about the erosion of their national identity. Only a few years after the first public screenings in the West, filmmakers eagerly crisscrossed the globe, capturing exciting and exotic imagery and building bigger audiences. While European producers joined these film forces in the early days, the global reach of motion pictures has been associated with Americanism and the colonization of local cultures. Once the Chinese Communist Party (CCP) took control of the mainland in 1949, a curtain fell on Hollywood productions in the region. The People’s Republic of China (PRC) remained in self-imposed exile from the global * Geltzer is the author of DIRTY WORDS AND FILTHY PICTURES: FILM AND THE FIRST AMENDMENT (Univ. -
"Dialect and Modernity in 21St Century Sinophone Cinema" by Sheldon Lu 1/10/08 12:12 PM
"Dialect and modernity in 21st century Sinophone Cinema" by Sheldon Lu 1/10/08 12:12 PM JUMP CUT A REVIEW OF CONTEMPORARY MEDIA Dialect and modernity in 21st century Sinophone cinema by Sheldon Lu Just as China has the largest population in the world, its citizens speak a bewildering array of dialects City of Sadness employs (fangyan) and languages (yuyan). In modern times, a plurality of dialects new communication technologies such as radio and spoken in Taiwan at the film potentially promise to speak to the ears of all time ... citizens in the nation-state. But what language should be used as the standard for all citizens? As a modern and modernizing media, cinema could mold and unify the language of the nation. In this regard, unsurprisingly, language and dialect have been a particularly important issue in Chinese cinema from early twentieth century to the present time. Indeed, the use of a specific dialect in a film pertains to nothing less than the symbolic construction of the modern Chinese nation-state. As Chinese film historians well know, the Nationalist Party (Kuomintang, or Guomindang) in Nanjing established a film censorship board soon after its unification of China in 1927. The ... and thus contests the Republic of China stipulated that Mandarin be the formation of an official lingua franca of Chinese cinema and banned the use of Chinese language ... local dialects such as Cantonese. A unified China must have a unified Chinese language. As a result, Cantonese-language cinema could only be made outside the sovereignty of the Chinese nation, the http://www.ejumpcut.org/currentissue/Lu/index.html Page 1 of 17 "Dialect and modernity in 21st century Sinophone Cinema" by Sheldon Lu 1/10/08 12:12 PM island of Hong Kong.