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Xiaoping Lin, Children of Marx and Coca Cola, Honolulu, University of Hawai’I Press, 2010
Xiaoping Lin, Children of Marx and Coca Cola, Honolulu, University of Hawai’i Press, 2010 Paola Voci (University of Otago) Xiaoping Lin’s Children of Marx and Coca Cola offers an impressive display of scholarship that confidently moves from acute film analyses to insightful art criticism and in-depth examinations of the most recent theorizations of Chinese contemporary social and cultural changes. By focusing on a rich selection of visual texts chosen among the most representative works of both the Chinese avant-garde artists and independent cinema’s filmmakers, Lin provides a convincing overview of the main tropes that have characterized the artistic reflection on the transition from socialism to capitalism in China. Such transition, the author notes, is better understood via Slavoj Žižek’s notion of trauma (p. 23) as this transition was imposed to rather than chosen by the Chinese people and has resulted in painful contradictions and social inequalities. The book’s main appeal is indeed in Lin’s strong voice, which engages the reader at the same time in a rigorous academic exploration and a personal conversation. The writing style successfully combines critical reviews of relevant scholarship and the author’s own life experiences (including his first encounter with Andy Warhol as his translator when he visited China in 1982). Similarly, the discussion of the primary texts benefits not only from Lin’s first-hand knowledge of the various exhibits and artworks as well as his subtle “insider” understanding of both the on-screen and off-screen realities explored by independent cinema, but also from his references to the larger critical discourses in which they have been analyzed (by scholars such as Dai Jinhua, Geremie Barmé, Gao Minglu, Liu Kang and Zhang Zhen). -
Teaching Post-Mao China Not Connected
RESOURCES FILM REVIEW ESSAY documentary style with which filmmaker Zhang Yimou is normally Teaching Post-Mao China not connected. This style—long shots of city scenes filled with people Two Classic Films and a subdued color palette—contribute to the viewer’s understand - ing of life in China in the early 1990s. The village scenes could be By Melisa Holden from anytime in twentieth century China, as the extent of moderniza - tion is limited. For example, inside peasants’ homes, viewers see Introduction steam spewing from characters’ mouths because of the severe cold The Story of Qiu Ju and Beijing Bicycle are two films that have been and lack of central heating. However, when Qiu Ju travels to the ur - used in classrooms since they were produced (1992 and 2001, respec - banized areas, it becomes obvious that the setting is the late twentieth tively). Today, these films are still relevant to high school and under - century. The film was shot only a couple of years after the Tiananmen graduate students studying history, literature, and related courses Square massacre in 1989. Zhang’s previous two films ( Ju Dou and about China, as they offer a picture of the grand scale of societal Raise the Red Lantern ) had been banned in China, but with The Story change that has happened in China in recent decades. Both films il - of Qiu Ju , Zhang depicts government officials in a positive light, lustrate contemporary China and the dichotomy between urban and therefore earning the Chinese government’s endorsement. One feels rural life there. The human issues presented transcend cultural an underlying tension through Qiu Ju’s search for justice, as if it is not boundaries and, in the case of Beijing Bicycle , feature young charac - only justice for her husband’s injured body and psyche, but also jus - ters that are the age of US students, allowing them to further relate to tice supposedly found through democracy. -
Independent Cinema in the Chinese Film Industry
Independent cinema in the Chinese film industry Tingting Song A thesis submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy Faculty of Creative Industries Queensland University of Technology 2010 Abstract Chinese independent cinema has developed for more than twenty years. Two sorts of independent cinema exist in China. One is underground cinema, which is produced without official approvals and cannot be circulated in China, and the other are the films which are legally produced by small private film companies and circulated in the domestic film market. This sort of ‘within-system’ independent cinema has played a significant role in the development of Chinese cinema in terms of culture, economics and ideology. In contrast to the amount of comment on underground filmmaking in China, the significance of ‘within-system’ independent cinema has been underestimated by most scholars. This thesis is a study of how political management has determined the development of Chinese independent cinema and how Chinese independent cinema has developed during its various historical trajectories. This study takes media economics as the research approach, and its major methods utilise archive analysis and interviews. The thesis begins with a general review of the definition and business of American independent cinema. Then, after a literature review of Chinese independent cinema, it identifies significant gaps in previous studies and reviews issues of traditional definition and suggests a new definition. i After several case studies on the changes in the most famous Chinese directors’ careers, the thesis shows that state studios and private film companies are two essential domestic backers for filmmaking in China. -
Creative Spaces Within Which People, Ideas and Systems Interact with Uncertain Outcomes
GIMPEL, NIELSE GIMPEL, Explores new ways to understand the dynamics of change and mobility in ideas, people, organisations and cultural paradigms China is in flux but – as argued by the contributors to this volume – change is neither new to China nor is it unique to that country; similar patterns are found in other times and in other places. Indeed, Creative on the basis of concrete case studies (ranging from Confucius to the Vagina Monologues, from Protestant missionaries to the Chinese N & BAILEY avant-garde) and drawing on theoretical insights from different dis- ciplines, the contributors assert that change may be planned but the outcome can never be predicted with any confidence. Rather, there Spaces exist creative spaces within which people, ideas and systems interact with uncertain outcomes. As such, by identifying a more sophisticated Seeking the Dynamics of Change in China approach to the complex issues of change, cultural encounters and Spaces Creative so-called globalization, this volume not only offers new insights to scholars of other geo-cultural regions; it also throws light on the workings of our ‘global’ and ‘transnational’ lives today, in the past and in the future. Edited Denise Gimpel, Bent Nielsen by and Paul Bailey www.niaspress.dk Gimpel_pbk-cover.indd 1 20/11/2012 15:38 Creative Spaces Gimpel book.indb 1 07/11/2012 16:03 Gimpel book.indb 2 07/11/2012 16:03 CREATIVE SPACES Seeking the Dynamics of Change in China Edited by Denise Gimpel, Bent Nielsen and Paul J. Bailey Gimpel book.indb 3 07/11/2012 16:03 Creative Spaces: Seeking the Dynamics of Change in China Edited by Denise Gimpel, Bent Nielsen and Paul J. -
China Resource Links for the 1990 Institute Teacher Workshop 2014 - 2015
China Resource Links for the 1990 Institute Teacher Workshop 2014 - 2015 Films American Dreams in China - 2013 - 112 min. - three friends build a successful language school in China called “New Dream.” Back to 1942 - 2012 - 145 min. - a deadly drought takes its toll on Henan province during the war against Japan. Balzac and the Little Chinese Seamstress - 2002 - 110 min. - two youths are sent for re- education in the mountains of China. (also a novel) Black Snow - 1990 - 107 min. - a semi-literate person who was deprived of schooling during the Cultural Revolution is released from a prison camp. Beijing Bicycle - 2001 - 113 min. - a young man from the countryside works to pay off the company bicycle and make it on his own in the city. Blind Mountain - 2007 - 95 min. - a young woman is kidnapped and sold to a villager in the mountains. Blind Shaft - 2004 - 92 min. - a story about life in a mine shaft and a scam. An underground film from China. The Blue Kite - 1993 - 140 min. - the story of a family in Beijing in 1953. Illustrates the problems in China during the 1950s - 1970s. City of Life and Death - 2009 - 133 min. - The story of life in Nanking during the Japanese invasion. Crouching Tiger, Hidden Dragon - 2000 - 120 min. - the adventures of two warriors in pursuit of a stolen sword. Eat Drink Man Woman - 1994 - 129 min. - a senior chef lives with his three grown daughters, but unexpected events change their lives. Empire of the Sun - 1987 - 153 min. - an English boy struggles to survive in a prison camp during the Japanese occupation of China. -
This Is a List of the Titles and Classmarks of the Library's DVD Collection As of November 2018 for Quick Reference. the Colle
St John’s College Library DVD Collection This is a list of the titles and classmarks of the Library’s DVD collection as of November 2018 for quick reference. The collection can be browsed in the AV Room on the First Floor, and current availability can be found via the online catalogue. The collection is constantly being updated so for the most up to date titles, please search the online catalogue. The first section of this guide is organised alphabetically by title. The second section is organised by language/country. Title Call Number 8 1/2 DVD ITA.ott.fel 8 1/2 DVD ITA.ott.fel 36 DVD FRE.tre.mar 1871 DVD ENG.eig.mcm 1984 DVD ENG.nin.rad 2046 DVD CHI.twe.won 10 Cloverfield Lane DVD ENG.ten.tra 10 things I hate about you DVD ENG.ten.jun 1000 Dollari sul nero = Blood at Sundown DVD ITA.mil.sir 10000 dollari per un massacro = $10000 blood money DVD ITA.die.gue 12 years a slave DVD ENG.twe.mcq 20,000 days on Earth DVD ENG.twe.for 2001 : a space odyssey DVD ENG.two.kub 28 days later DVD ENG.twe.boy 2point4 children the complete series three DVD ENG.two.mar 3 godfathers DVD ENG.thr.for 45 years DVD ENG.for.hai 47 ronin DVD JAP.shi.ich 50 years of the Cuban revolution DVD SPA.fif.cub 50 years of the Cuban revolution DVD SPA.fif.cub 50 years of the Cuban revolution DVD SPA.fif.cub 50 years of the Cuban revolution DVD SPA.fif.cub 60s collection DVD FRE.god.god 8 women DVD FRE.hui.ozo A beautiful mind DVD ENG.bea.how A bit of Fry and Laurie the complete fourth series DVD ENG.bit.spi A bronx tale DVD ENG.bro.den A bullet for the general DVD ITA.qui.dam A Christmas tale a film by Arnaud Desplechin. -
21St Century Chinese Cinema in the Late 1960S and 70S, Red Ballets and Operas Dominated the Chinese Screen
21st century Chinese cinema In the late 1960s and 70s, red ballets and operas dominated the Chinese screen. Mao died in 1976: a new age of cinema emerged with the founding of the Beijing Film Academy in 1978. Expressing new confidence in both historical and contemporary themes, young film-makers like Zhang Yimou and Chen Kaige brought Chinese film to a global audience with masterpieces such as Red Sorghum (1987) and Farewell my Concubine (1993). Martin Scorsese named Tian Zhuangzhuang’s The Horse Thief (1986) as his favourite film of the 1990s (when it was released in the US). But many of these films encountered stigma at home. Growing commercialisation and globalisation since the 1980s and 90s have driven Chinese cinema to explore new modes of both cinematography and moneymaking, leading to exploratory films at home in Western arthouse cinemas, and entertaining movies that have drawn huge crowds in China. In this modest selection, we set the scene with a film that shaped the vision of China’s 21st century filmmakers. Tian Zhuangzhuang’s restrained criticism of 1950s and 60s state policies in The Blue Kite (1992) led to his blacklisting by the Party, but did not preclude him for mentoring the next generation of filmmakers. We then showcase a selection of remarkable 21st century films that have won world-wide acclaim for China’s talented directors and actors. Our selection finishes with a couple of rollicking tales that have attracted the popular domestic audience: a grand epic: Red Cliff (2008), known better for its cavalry charges than its character development, and Lost in Thailand (2012) that, airily suspending social comment and political tension, was the biggest ever box office success in China. -
Huanxi Media Signs Renowned Chinese Director Wang Xiaoshuai
[Immediate Release] Huanxi Media Signs Renowned Chinese Director Wang Xiaoshuai (Hong Kong, 24 February 2017) – Huanxi Media Group Limited (“Huanxi Media” or “the Group;” stock code: 1003) is pleased to announce that it has signed a cooperation agreement with prominent Chinese film director, Wang Xiaoshuai and Dongchun Films Co., Limited. Huanxi Media acquires priority investment rights in two productions (comprising film and internet series) directed or produced by Wang Xiaoshuai (“new productions”) in the coming six years, and also obtains global priority rights to distribute the new productions, and global exclusive distribution and resale rights on new media platform. As a pioneer in Chinese independent film and a chevalier of the Ordre des Arts et des Lettres appointed by the French Minister of Culture, Wang Xiaoshuai has directed 11 films and has been nominated 8 times in the “Big Three” international film festivals. His directorial debut, The Days, was included in the collection by the Museum of Modern Art in New York, and was recognized as one of the most significant and preliminary Chinese independent films. His representative work, Beijing Bicycle, won the Grand Jury Silver Bear Award at the 2001 Berlin International Film Festival; his other work, In Love We Trust, won the Silver Bear Award for the best screenplay in Berlin International Film Festival; another masterpiece, Shanghai Dreams, won the Jury Prize at the 58th Cannes Film Festival. - End - Page 1 Huanxi Media Group Limited (stock code: 1003) Signs Renowned Chinese Director Wang Xiaoshuai 24 February 2017 Profile of Director Director Wang Xiaoshuai Wang Xiaoshuai, born in 1966, is a film director and producer in China. -
Art and Visual Culture in Contemporary Beijing (1978-2012)
Infrastructures of Critique: Art and Visual Culture in Contemporary Beijing (1978-2012) by Elizabeth Chamberlin Parke A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of East Asian Studies University of Toronto © Copyright by Elizabeth Chamberlin Parke 2016 Infrastructures of Critique: Art and Visual Culture in Contemporary Beijing (1978-2012) Elizabeth Chamberlin Parke Doctor of Philosophy Department of East Asian Studies University of Toronto 2016 Abstract This dissertation is a story about relationships between artists, their work, and the physical infrastructure of Beijing. I argue that infrastructure’s utilitarianism has relegated it to a category of nothing to see, and that this tautology effectively shrouds other possible interpretations. My findings establish counter-narratives and critiques of Beijing, a city at once an immerging global capital city, and an urban space fraught with competing ways of seeing, those crafted by the state and those of artists. Statecraft in this dissertation is conceptualized as both the art of managing building projects that function to control Beijing’s public spaces, harnessing the thing-power of infrastructure, and the enforcement of everyday rituals that surround Beijinger’s interactions with the city’s infrastructure. From the spectacular architecture built to signify China’s neoliberal approaches to globalized urban spaces, to micro-modifications in how citizens sort their recycling depicted on neighborhood bulletin boards, the visuals of Chinese statecraft saturate the urban landscape of Beijing. I advocate for heterogeneous ways of seeing of infrastructure that releases its from being solely a function of statecraft, to a constitutive part of the artistic practices of: Song Dong (宋冬 b. -
CHT3241 – Chinese Film and Media
UCC1: New Course Transmittal Form Department Name and Number Recommended SCNS Course Identication Prex Level Course Number Lab Code Course Title (please limit to 21 characters) Eective Term and Year Rotating Topic yes no Amount of Credit Contact Hour: Base or Headcount S/U Only yes no Repeatable Credit yes no If yes, total repeatable credit allowed Variable Credit yes no If yes, minimum and maximum credits per semester Course Description (50 words or less) Prerequisites Co-requisites Degree Type (mark all that apply) Baccalaureate Graduate Professional Other Category of Instruction Introductory Intermediate Advanced Rationale and place in curriculum Department Contact Name Phone Email College Contact Name Phone Email Rev. 10/10 Chinese Film and Media Fall 2011 Instructor: Ying Xiao, [email protected] Class Meeting: Tuesday 8-9 (3:00-4:55pm), Thursday 9 (4:05-4:55pm) screenings Wednesday 9-11 (4:05-7:05pm) Office Hours: Tuesday and Thursday 1-2:30pm or by appointment Pugh Hall 306, 352-392-6539 Course Description Examination of Chinese cinema and other forms of media such as television, music, print culture in a broad sociopolitical and historical context from an interdisciplinary approach assisted by a wide diversity of readings and multimedia tools. Pedagogical Objective This course is designed as an Undergraduate class that will combine lecture and a considerable proportion of discussion. It will include a general survey on the theories of popular culture and mass media and a historical overview on the history of Chinese cinema and media in particular. While paying close attention to contemporary film practices and various cultural trends in mainland China, it will offer a comprehensive account and critical examination of Chinese film in association with different media (television, music, journalism, and etc) from the early twentieth century to the present. -
Films and Documentaries Catalog
University of Pittsburgh University Center for International Studies Asian Studies Center Video and DVD Collection of the Asian Studies Teaching Resource Library (revised July 2019) Video Borrowing Policy: We do mail videos to teachers upon written request (either JAPAN Japan - Feature Films Title Year Description Film-Maker Length Level All About Lily Chou-Chou (DVD) 2005 A junior-high student's obsession with a singer, Lily Chou-Chou, Shunji Iwai 146 min 10-16+ cannot protect him from the harsh reality of his life. Note: contains dark themes that may warrant an R rating. Big Bird in Japan (VHS) 1991 A musical adventure - Big Bird and Barkley the Dog traveling Children's 60 min K-12 through Japan. Television Workshop Black Rain (VHS) 1988 This is a Cannes Film Festival award-winning movie about Shohei Imamura 123 min 13-16+ humanity and survival after the 1945 atomic horror of Hiroshima. The film chronicles the shocked survivors as they struggle with radiation sickness and rebuild their shattered lives. It is based on the book by Ibuse Masujii, History: World War II and Hiroshima. The Burmese Harp (DVD) 1956 The action takes place in Burma, where the Japanese army is Kon Ichikawa 116 min 9-16+ collapsing at the end of World War II. A soldier who plays the Burmese harp, after being wounded and separated from his combat unit, is nursed back to health. Check It Out, Yo! (DVD) Please 2006 Four friends on the island of Okinawa become bored with their Miyamoto, Rieko 117 min note: our copy is a “Region 2” lives, until one day they meet a beautiful woman at a hip-hop DVD. -
Absences and Excesses in Cinematic Representations of Beijing
View metadata, citation and similar papers at core.ac.uk brought to you by CORE Absences and Excesses in Cinematic Representations of Beijing Yinghong Li “Reality is a mess in China”–Jia Zhangke Social reality of postsocialist China can only be described in polysemic terms bearing contradictory or at least conflicting connotations. The phantasmagoric na- ture and the immeasurable dimension of this historical condition make it an infinitely challenging object of study for anyone interested in any aspect of contem- porary China.1) The past three decades or so brought drastic changes to China that have fundamentally altered formations of the social structure and the individual’s position and function in this structure, forcing Chinese people to re-orient them- selves in the way they experience the world and interact with each other. The tri- umph of global capitalism at “the end of history” brings China an enormous explo- sion of energy with which the ordinary Chinese have marched forward toward accumulating greater amount of wealth and experiencing greater satisfactions of pleasure. It has also impacted essential moral, ethical standards and thinking hon- ored by conventional wisdom and habit, ushered in different sets of values, beliefs and practices, many of which are potentially more problematic than beneficial. In this paper I would like to examine postsocialist China from two important as- pects, namely the family in disintegration and the workings of the body politics that exploit the weak and encourage the return of many repressed desires of the previous regime. By using cinematic lens as a tool and Beijing as focus, this paper intends to ask pertinent questions regarding how the human subject struggles to re-define the meaning of moral agency and re-negotiate various power relations in order to make sense of a tumultuous and mundane interiority, and an equally devastating exterior formed in sharp contrast between polished, smooth industrial steel and concrete and pathetic, cast-away grey bricks.