阿肯色大学 University of Arkansas 中文 3103 课程大纲 2014 年秋季
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Electric Shadows PK
ELECTRIC SHADOWS A Film by Xiao Jiang 95 Minutes, Color, 2004 35mm, 1:1.85, Dolby SR In Mandarin w/English Subtitles FIRST RUN FEATURES The Film Center Building 630 Ninth Ave. #1213 New York, NY 10036 (212) 243-0600 Fax (212) 989-7649 Website: www.firstrunfeatures.com Email: [email protected] ELECTRIC SHADOWS A film by Xiao Jiang Short Synopsis: From one of China's newest voices in cinema and new wave of young female directors comes this charming and heartwarming tale of a small town cinema and the lifelong influence it had on a young boy and young girl who grew up with the big screen in that small town...and years later meet by chance under unusual circumstances in Beijing. Long Synopsis: Beijing, present. Mao Dabing (‘Great Soldier’ Mao) has a job delivering bottled water but lives for his nights at the movies. One sunny evening after work he’s racing to the movie theatre on his bike when he crashes into a pile of bricks in an alleyway. As he’s picking himself up, a young woman who saw the incident picks up a brick and hits him on the head... He awakens in the hospital with his head bandaged. The police tell him that he’s lost his job, and that his ex-boss expects him to pay for the wrecked bicycle. By chance he sees the young woman who hit him and angrily remonstrates with her. But she seems not to hear him, and hands him her apartment keys and a note asking him to feed her fish. -
China, Hollywood and Split Screens
CHINA, HOLLYWOOD AND SPLIT SCREENS Qian Ying 钱颖 HE FILM MARKET in China is imported films from cinemas from Tflourishing. Whereas in 2002, time to time to create breathing space Chinese cinemas sold US$133 million for new domestic features. In June worth of tickets, total box office reve- 2014, Transformers opening date was nues in 2013 amounted to US$3.6 bil- pushed to exactly one day after that of lion. In 2014, China’s box office had the Chinese-produced romantic com- reached US$1.6 billion by 21 May, just edy Break-up Guru 分手大师, and the 141 days into the year. Both imported head of the State Film Bureau, Zhang and Chinese films were doing well. Hongsen 张宏森, ordered cinema own- Among the twenty-four films that had ers not to pull domestic features in made over US$16 million, half were favour of the more lucrative imported categorised as ‘domestic’ films, gener- blockbusters. Despite such policies, ating a total revenue of US$670 million. China has already surpassed Japan to The other half were foreign, mainly become Hollywood’s largest interna- Hollywood films, earning US$630 mil- tional market. lion. Protectionist policies might have There are hopes for further contributed to the box office success of growth: among the Hollywood stars domestic films: the government only who made publicity trips to China in allows thirty-four foreign films to be 2014 were Brad Pitt, Angelina Jolie and imported annually, and the authori- Johnny Depp. Increasingly, Hollywood ties have reportedly pulled successful films feature China-friendly plots and 188 vious Australian film and more than 189 three times as much as Happy Feet 2. -
A World Without Thieves: Film Magic and Utopian Fantasies
A World without Thieves: Film Magic and Utopian Fantasies Rujie Wang, College of Wooster Should we get serious about A World without Thieves (tian xia wu zei), with two highly skilled pickpockets, Wang Bo (played by Liu Dehua) and Wang Li (Liu Ruoying), risking their lives to protect both the innocence and the hard-earned money of an orphan and idiot who does not believe there are thieves in the world? The answer is yes, not because this film is a success in the popular entertainment industry but in spite of it. To Feng Xiaogang’s credit, the film allows the viewer to feel the pulse of contemporary Chinese cultural life and to express a deep anxiety about modernization. In other words, this production by Feng Xiaogang to ring in the year of the roster merits our critical attention because of its function as art to compensate for the harsh reality of a capitalist market economy driven by money, profit, greed, and individual entrepreneurial spirit, things of little value in the old ethical and religious traditions. The title is almost sinisterly ironic, considering the national problem of corruption and crime that often threatens to derail economic reform in China, although it may ring true for those optimists clinging tenaciously to the old moral ideals, from Confucians to communists, who have always cherished the utopia of a world without thieves. Even during the communist revolutions that redistributed wealth and property by violence and coercion, that utopian fantasy was never out of favor or discouraged; during the Cultural Revolution, people invented and bought whole-heartedly into the myth of Lei Feng (directed by Dong Yaoqi, 1963), a selfless PLA soldier and a paragon of socialist virtues, who wears socks with holes but manages to donate all his savings to the flood victims in a people’s commune. -
Wu Ren Qu No Man’S Land
WETTBEWERB WU REN QU NO MAN’S LAND Ning Hao „Das ist eine Geschichte über Tiere“, kündigt der Held des Films an, der Volksrepublik China 2013 aus der Großstadt stammende Rechtsanwalt Pan Xiao. Tatsächlich rü- 117 Min. · DCP · Farbe cken als nächstes zwei stolze Falken ins Bild, die in der Xinjiang-Wüs- te illegal gefangen wurden. Sie sollen eine Menge Bares einbringen, Regie Ning Hao Recht und Gesetz spielen dabei keine Rolle. So wird die Gier nach Geld Buch Ning Hao, Shu Ping, Xing Aina Kamera Du Jie zum Treibmittel für die Story. Und Pan Xiao, der für seinen nächsten Schnitt Cheung Yuan Prozess rund 500 Kilometer durch das felsenreiche Niemandsland der Musik Nathan Wong Wüste reisen muss, zum getriebenen Protagonisten: gepeinigt von Injo Film Foto: Sound Design Wang Gang ebenso grotesken wie hochgefährlichen Zufallsbekanntschaften und Ton Wang Yanwei Geboren 1977 in der Provinz Shanxi, mysteriösen Wegbegleitern, die vor Gewalt nicht zurückschrecken. Re- Production Design Hao Yi China. Studierte zunächst Ausstattung an gisseur Ning Hao, der 2005 im Forum der Berlinale MONGOLIAN PING Art Director Hao Yi der Shanxi Taiyuan Film School, später an PONG zeigte, präsentiert mit NO MAN’S LAND eine bildgewaltige phi- Kostüm Liu Qian der Kunstakademie der Beijing Normal losophische Parabel auf eine aus allen Fugen geratene Gesellschaft, Maske Yang Hong University. 2003 schloss er mit dem Kurzfilm Regieassistenz Kuerbanjiang THURSDAY, WEDNESDAY sein Studium an der in der im Kampf um Reichtum und Macht keine moralischen Skrupel mehr gelten. Inszeniert als Hommage an die Italowestern eines Sergio Casting Lian Zhang Filmakademie Peking im Fach Kamera ab. -
The Iafor Journal of Media, Communication & Film
the iafor journal of media, communication & film Volume 3 – Issue 1 – Spring 2016 Editor: James Rowlins ISSN: 2187-0667 The IAFOR Journal of Media, Communication & Film Volume 3 – Issue – I IAFOR Publications Executive Editor: Joseph Haldane The International Academic Forum IAFOR Journal of Media, Communication & Film Editor: James Rowlins, Singapore University of Technology and Design, Singapore Associate Editor: Celia Lam, University of Notre Dame Australia, Australia Assistant Editor: Anna Krivoruchko, Singapore University of Technology and Design, Singapore Advisory Editor: Jecheol Park, National University of Singapore, Singapore Published by The International Academic Forum (IAFOR), Japan Executive Editor: Joseph Haldane Editorial Assistance: Rachel Dyer IAFOR Publications. Sakae 1-16-26-201, Naka-ward, Aichi, Japan 460-0008 IAFOR Journal of Media, Communication & Film Volume 3 – Issue 1 – Spring 2016 IAFOR Publications © Copyright 2016 ISSN: 2187-0667 Online: JOMCF.iafor.org Cover photograph: Harajuku, James Rowlins IAFOR Journal of Media, Communication & Film Volume 3 – Issue 1 – Spring 2016 Edited by James Rowlins Table of Contents Notes on Contributors 1 Introduction 3 Editor, James Rowlins Interview with Martin Wood: A Filmmaker’s Journey into Research 5 Questions by James Rowlins Theorizing Subjectivity and Community Through Film 15 Jakub Morawski Sinophone Queerness and Female Auteurship in Zero Chou’s Drifting Flowers 22 Zoran Lee Pecic On Using Machinima as “Found” in Animation Production 36 Jifeng Huang A Story in the Making: Storytelling in the Digital Marketing of 53 Independent Films Nico Meissner Film Festivals and Cinematic Events Bridging the Gap between the Individual 63 and the Community: Cinema and Social Function in Conflict Resolution Elisa Costa Villaverde Semiotic Approach to Media Language 77 Michael Ejstrup and Bjarne le Fevre Jakobsen Revitalising Indigenous Resistance and Dissent through Online Media 90 Elizabeth Burrows IAFOR Journal of Media, Communicaion & Film Volume 3 – Issue 1 – Spring 2016 Notes on Contributors Dr. -
Planet China
1 Talking Point 6 Week in 60 Seconds 7 Banking and Finance Week in China 8 Economy 9 Auto Industry 11 Internet and Tech 13 Energy and Resources 14 Society and Culture 2 October 2015 17 And Finally Issue 298 18 The Back Page www.weekinchina.com Red guest at the White House m o c . n i e t s p e a t i n e b . w w w Xi visits Obama in Washington, but was his US trip overshadowed by the Pope’s? Brought to you by Week in China Talking Point 2 October 2015 Pontiff pips president Xi Jinping plays second fiddle to Pope Francis on American tour China’s president grabs his moment in the spotlight with tech executives in California last week oth hold sway over more than Catholic: “We have the propaganda The Pope’s trip to the US was Ba billion people. And both got department and you have the evan - rare – it was only the tenth Papal the top job after closed-door elec - gelicals. We have the organisation visit. Even rarer was a speech in tions that remain well nigh impos - department and you have the Col - Congress, as well as another on the sible for outsiders to figure out. lege of Cardinals. What’s the differ - White House lawn (delivered in They are, of course, Xi Jinping and ence, then?” English, and ending with the crowd- Pope Francis. Adding to the sense of mystery pleasing line “God Bless America”). Some of the similarities in the or - surrounding the two organisations Inevitably this raises the ques - ganisations that the two men lead was a new one last week. -
Alibaba Pictures , Ruyi Films and Enlight Pictures' Once Upon a Time to Be
IMAX CORPORATION ALIBABA PICTURES , RUYI FILMS AND ENLIGHT PICTURES’ ONCE UPON A TIME TO BE RELEASED IN IMAX® THEATRES ACROSS CHINA SHANGHAI – July 20, 2017 – IMAX Corporation (NYSE:IMAX) and IMAX China Holding Inc. (HKSE: 1970) today announced that Enlight Pictures’, Ruyi Films’ and Alibaba Pictures Group’s much-anticipated fantasy flick, Once Upon a Time, will be digitally re-mastered in the immersive IMAX 3D format and released in approximately 420 IMAX® theatres in China, beginning Aug. 3. Directed by Zhao Xiaoding and Anthony LaMolinara, Once Upon a Time was adapted from the popular fantasy romance novel, illustrating the story of Bai Qian (Liu Yifei) and Ye Hua (Yang Yang). It is produced by well-known filmmaker Zhang Yibai, and stars Liu Yifei, Yang Yang, Luo Jin, Yan Yikuan, Lichun, Gu Xuan and Peng Zisu. Once Upon a Time marks the first Chinese local-language IMAX DMR film in partnership with Alibaba Pictures Group and Ruyi Films, and the second with Enlight Pictures, which released Lost in Hong Kong in 2015. “We are excited to team up with Alibaba Pictures, Ruyi Films and Enlight Pictures, and directors Zhao Xiaoding and Anthony LaMolinara to bring this beloved fantasy novel to life in IMAX,” said Greg Foster, CEO of IMAX Entertainment and Senior Executive Vice President, IMAX Corp. “The film's incredible visual effects showcase The IMAX Experience and create a powerful addition to our summer movie slate.” The IMAX 3D release of Once Upon a Time will be digitally re-mastered into the image and sound quality of The IMAX Experience® with proprietary IMAX DMR® (Digital Re-mastering) technology. -
China's Nationalism and Its Quest for Soft Power Through Cinema
Doctoral Thesis for PhD in International Studies China’s Nationalism and Its Quest for Soft Power through Cinema Frances (Xiao-Feng) Guo University of Technology, Sydney 2013 Acknowledgement To begin, I wish to express my great appreciation to my PhD supervisor Associate Professor Yingjie Guo. Yingjie has been instrumental in helping me shape the theoretical framework, sharpen the focus, and improve the structure and the flow of the thesis. He has spent a considerable amount of time reading many drafts and providing insightful comments. I wish to thank him for his confidence in this project, and for his invaluable support, guidance, and patience throughout my PhD program. I also wish to thank Professor Wanning Sun and Professor Louise Edwards for their valued support and advice. I am grateful for the Australian Postgraduate Award that I received via UTS over the three-and-half years during my candidature. The scholarship has afforded me the opportunity to take the time to fully concentrate on my PhD study. I am indebted to Yingjie Guo and Louise Edwards for their help with my scholarship application. I should also thank UTS China Research Centre, the Research Office of the Faculty of Arts and Social Sciences at UTS, and UTS Graduate Research School for their financial support for my fieldwork in China and the opportunities to present papers at national and international conferences during my doctoral candidature. Finally, my gratitude goes to my family, in particular my parents. Their unconditional love and their respect for education have inspired me to embark on this challenging and fulfilling journey. -
Out of This World
18 | Thursday, January 24, 2019 LIFE CHINA DAILY HONG KONG EDITION From left: Actors Shen Teng, Xu Zheng, Huang Bo and director Ning Hao during a Beijing promotional event of the upcoming scifi comedy Crazy Alien, which will debut across China on Feb 5. FENG YONGBIN / CHINA DAILY Out of this world Black comedy meets scifi in Ning Hao’s new film, Crazy Alien, which will be released during Spring Festival, Xu Fan reports. rom Crazy Stone to No 2001 short fictional story, The on reallife sets. Man’s Land to Dying to Rural Teacher, about the final wish Xu says he had to shoot a lot of Survive, most of the films of a village schoolteacher, who has facial expressions that were used to Ning Hao has directed or cancer, to teach his students about One of the most generate the green creature’s. Fproduced use black comedy to Newton’s laws of motion — an During the promotional event in important examine social issues. effort that unexpectedly ends up Beijing on Jan 17, Ning also So, many people were surprised saving humankind. functions of released a photo of a giant tear when the 42yearold director Ning read the story about nine cinema is to reflect dropshaped spaceship, inspired recently revealed he has been a sci years ago. by a mysterious facility depicted in fi fan since he was young. “I really like Liu’s novels,” he says. social issues and Liu’s celebrated novel, The Three Scifi content carried by once “I started to read them one by portray people Body Problem. -
Lü Cao Di Mongolian Ping Pong Regie: Ning Hao
Lü cao di Mongolian Ping Pong Regie: Ning Hao Land: China 2005. Produktion: Beijing Kunlun Xiongdi Production Co. Ltd., Beijing HOP Culture Co. Ltd. Regie, Schnitt: Ning Hao. Buch: Gao Jianguo, Xing Aina, Ning Hao. Kamera: Du Jie. Musik: Lu Jiajia. Ton: Wang Jianwei. Ausstattung: Zhang Xiaobing, Yang Min. Kostüme: Zhang Gengliang. Schnitt: Jiang Yong. Produzenten: Lu Bin, He Bu. Produktionsleitung: Lan Ruilong, Ning Hao. Darsteller: Hurzbileg (Bilgee), Dawaa (Dawaa), Geliban (Ergotov), Yadamnarbuu (Bilgees Vater), Badmaa (Bilgees Mutter), Jin Lao Wu (Sergelen), Urnaa (Bilgees Schwester), Bukhbileg (Dawaas Vater), Sarangua (Dawaas Mutter), Dugmaa (Bilgees Großmutter), Jurimu (buddhistischer Mönch). Format: 35mm (gedreht auf HD), 1:1.85, Farbe. Länge: 102 Minuten, 25 Bilder/Sek. Sprache: Mongolisch. Uraufführung: 15. Februar 2005, Internationales Forum, Berlin. Weltvertrieb: Bavaria Film International (a division of Bavaria Media GmbH), Thorsten Schau- mann, Bavariafilmplatz 8, 82031 Geiselgasteig, Deutschland. Tel.: (49-89) 6499 2686, Fax: (49-89) 6499 3720, e-mail: [email protected] Inhalt Synopsis Eines Tages findet Bilgee, ein mongolischer Junge, beim Spielen ei- An ordinary white pingpong ball floats down a creek and is nen Tischtennisball. found by Bilgee, a Mongolian boy. Bilgees Großmutter erzählt ihm, dass der kleine Ball eine glühende Bilgee’s grandmother tells him it is a glowing pearl from Perle ist, die vom Himmel gefallen ist. Bilgee glaubt ihr, und gemein- heaven. Believing this, Bilgee spends the whole night out 1 sam mit seinen beiden besten Freunden Ergotov – der zwar nicht on the grassland with his two best friends: Ergotov, who reiten, dafür aber Motorrad fahren kann – und dem kleinen Dawaa cannot ride a horse but can ride a motor bike, and Dawaa, verbringt er die ganze Nacht im Freien. -
Qt2sn1d3k6.Pdf
UC San Diego UC San Diego Electronic Theses and Dissertations Title The Chronotope of Ecocinema : Bakhtin's notions of environment and horizon as analytic tools for the study of film and the environment Permalink https://escholarship.org/uc/item/2sn1d3k6 Author Pesch, Katrin Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO The Chronotope of Ecocinema Bakhtin’s notions of environment and horizon as analytic tools for the study of film and the environment A Thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in Art History Theory and Criticism Katrin Pesch Committee in charge: Professor John Welchman, Chair Professor Lesley Stern, Co-Chair Professor Norman Bryson Professor Jean-Pierre Gorin Professor Amelia Glaser 2013 The Thesis of Katrin Pesch is approved and it is acceptable in quality and form for publication on microfilm and electronically: Co-Chair Chair University of California, San Diego 2013 iii TABLE OF CONTENTS SignaturePage …………………………………………………………………… iii Table of Contents ………………………………………………………………… iv Acknowledgements ……………………………………………………………… v Abstract …………………………………………………………………………… vi Introduction .………………………………………………………………………. 1 Chapter 1………………………………………………………………………….. 12 Chapter 2 …………………………………………………………………………. 32 References ……………………………………………………………………….. 48 iv ACKNOWLEDGEMENTS I would like to thank Professor Lesley Stern and Professor John Welchman for their support as the co-chairs of my committee. Their guidance in the past three years has been invaluable. I would also like to acknowledge the other members of my committee, Professor Norman Bryson, Professor Jean-Pierre Gorin, and Professor Amelia Glaser for their thoughtful comments on this thesis. Last but not least, I would like to recognize the help I received from the members of my writing group Orianna Caccione, Drew Snyder, and Tara Zepel; my colleague Sabine Horlitz; and Tim Ridlen. -
The Bombay the Terrorist Ti Koun .
644 CHAPTER 26 Beyond the Industrialized West 26.1 0 The Bandit Queen: Phoolan 26.1 1 Bombay's vision of a united India: as the parents are reunited with their Devi protects her wounded lover. children, hands drop weapons and stretch out in friendship. critical cinema. "In India, there is no salvation outside Yet local audiences remained loyal to the national the commercial cinema." 1 Also pursuing this path was product-which was now incorporating more sexuality Mani Rathnam, a Tamil filmmakerwho found great suc along with MTV dance styles (e.g., Trimurti, 1995). Juras cess with Nayakan ("Hero," 1986), an adaptation of The sic Park was unable to trump another 1994 release, the Godfather. Rathnam's Bombay (1994) denounces the traditional romantic comedy-drama Hum Aapke Hain bloody religious strife of the early 1990s. A Hindu jour Koun ... ! ("Who Am I to You? "). Filled with sparkling nalist marries a Muslim woman, and the couple and their studio-shot dance numbers (Color Plate 26.5), it became children are thrust into the middle of anti-Muslim riot the most popular filmof the decade. Even after restric ing. Bombay neighborhoods are spectacularly re-created tions were lifted, American imports claimed no more than in a Madras studio, riot scenes are shot and edited for 10 percent of the box office. In a country where nearly visceral force, hand-held cameras race through the half the population earned only a dollar a day, admission streets, and children watch as people trapped in cars are to a local filmran only about fifty cents while Hollywood burned alive.