Programmheft Des 3. Chinesischen Filmfestivals
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UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Beyond New Waves: Gender and Sexuality in Sinophone Women's Cinema from the 1980s to the 2000s Permalink https://escholarship.org/uc/item/4h13x81f Author Kang, Kai Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Beyond New Waves: Gender and Sexuality in Sinophone Women‘s Cinema from the 1980s to the 2000s A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Comparative Literature by Kai Kang March 2015 Dissertation Committee: Dr. Marguerite Waller, Chairperson Dr. Lan Duong Dr. Tamara Ho Copyright by Kai Kang 2015 The Dissertation of Kai Kang is approved: Committee Chairperson University of California, Riverside Acknowledgements My deepest gratitude is to my chair, Dr. Marguerite Waller who gave me freedom to explore my interested areas. Her advice and feedback helped me overcome many difficulties during the writing process. I am grateful to Dr. Lan Duong, who not only offered me much valuable feedback to my dissertation but also shared her job hunting experience with me. I would like to thank Dr Tamara Ho for her useful comments on my work. Finally, I would like to thank Dr. Mustafa Bal, the editor-in-chief of The Human, for having permitted me to use certain passages of my previously published article ―Inside/Outside the Nation-State: Screening Women and History in Song of the Exile and Woman, Demon, Human,‖ in my dissertation. iv ABSTRACT OF THE DISSERTATION Beyond New Waves: Gender and Sexuality in Sinophone Women‘s Cinema from the 1980s to the 2000s by Kai Kang Doctor of Philosophy, Graduate Program in Comparative Literature University of California, Riverside, March 2015 Dr. -
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 -
The Changing Face of Korean Cinema, 1960 to 2015 / Brian Yecies and Ae-Gyung Shim
The Changing Face of Korean Cinema The rapid development of Korean cinema during the decades of the 1960s and 2000s reveals a dynamic cinematic history that runs parallel to the nation’s politi- cal, social, economic, and cultural transformation during these formative periods. This book examines the ways in which South Korean cinema has undergone a transformation from an antiquated local industry in the 1960s into a thriving international cinema in the twenty-first century. It investigates the circumstances that allowed these two eras to emerge as creative watersheds and demonstrates the forces behind Korea’s positioning of itself as an important contributor to regional and global culture, especially its interplay with Japan, Greater China, and the United States. Beginning with an explanation of the understudied operations of the film industry during its 1960s take-off, it then offers insight into the challenges that producers, directors, and policy makers faced in the 1970s and 1980s during the most volatile part of Park Chung Hee’s authoritarian rule and the subsequent Chun Doo-hwan military government. It moves on to explore the film industry’s profes- sionalization in the 1990s and subsequent international expansion in the 2000s. In doing so, it explores the nexus and tensions of film policy, producing, directing, genres, and the internationalization of Korean cinema over half a century. By highlighting the recent transnational turn in national cinemas, this book underscores the impact of developments pioneered by Korean cinema on the transformation of “Planet Hallyuwood”. It will be of particular interest to students and scholars of Korean Studies and Film Studies. -
Copyright 2014 Meijiadai Bai
Copyright 2014 Meijiadai Bai COURTSHIP, RELATIONSHIP, MARRIAGE AND THE STATE: REGULATION OF CONTEMPORARY CHINESE POPULAR MEDIA BY MEIJIADAI BAI DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communications in the Graduate College of the University of Illinois at Urbana-Champaign, 2014 Urbana, Illinois Doctoral Committee: Professor Angharad N. Valdivia, Chair, Director of Research Professor Emerita John Nerone Professor Cameron McCarthy Assistant Professor Anita S. Chan ABSTRACT This dissertation explores the regulation of sex-related popular media text in contemporary China, across the expected lifespan of procreative heterosexual marriage. The three case studies encompass regulation of television programming, television drama, and film. The regulative actions vary from public notices to official prohibition of the media text. Following the Foucauldian tradition of studying media regulation, and borrowing from feminist, queer and class studies, this dissertation records the contradiction-rifle contemporary history of media regulation in post-socialist, neoliberal China. Under what appear to be conservative, theocratic-like regulations, I argue that nationalism, the Party’s localized socialist ideology, and hetero-patriarchy are intertwined to secure a legitimized but under-supervised party-state governance. However, it is through these very prohibitions that a space for text about women’s gender consciousness has opened. Key Words: Media Regulation, Media Censorship, Discursive Regulation, Private Topics in Public, Regulation of Sexual Content, Representation of Sexuality, If You Are the One, Feichengwurao, Dwelling Narrowness, Woju, Lost in Beijing, Pingguo ii To My Mother and Alice Liao iii ACKNOWLEDGEMENTS I have wanted to write about the discursive regulation of Chinese women’s sexuality since the day I entered the Institute of Communications Research (ICR) at University of Illinois at Urbana-Champaign. -
Introduction 1
Notes Introduction 1. For example, David Harvey, A Brief History of Neoliberalism (Oxford: Oxford University Press, 2005), 151. 2. See Edward Wong, “China’s President Lashes Out at Western Culture,” New York Times, January 3, 2012, http://www.nytimes.com/2012/01/04/world/asia/ chinas-president-pushes-back-against-western-culture.html (accessed March 23, 2012). 3. In their 1989 edited volume, the original Chinese term of unofficial is wu guan- fang 無官方 or fei zhengtong 非正統, and the three editors definepopular culture as any kind of culture, including any idea, belief, and practice that “has its origin in the social side of the tension between state and society” and has “origins at least partially independent of the state.” The topics discussed in the book are something that “the government has wanted to suppress or sought to discour- age . ., or pretended to ignore . ., or warily tried to co-opt.” See Perry Link, Richard Madsen, and Paul Pickowicz, eds., Unofficial China: Popular Culture and Thought in the People’s Republic (Boulder, CO: Westview Press, 1989), 5. In their 2002 edited volume, they once again belittle the state’s role in the production of popular culture and propose an emphasis on different aspects of globalization that they argue to have stronger centrality than the state in shaping tension in popular culture. This time they analyze “a variety of relatively uncensored forms of expression and communication” such as shunkouliu, which Perry Link and Kate Zhou claim contain popular thought and sentiment. Perry Link, Richard Madsen, and Paul Pickowicz, eds., Popular China: Unofficial Culture in a Glo- balizing Society (Lanham, MD: Rowman and Littlefield, 2002), 1, 3. -
Opinnäytteen Nimi
From underground to mainstream Female characters in the feature films of Li Yu Carla Pekander Master’s Thesis Area and Cultural Studies Faculty of Arts University of Helsinki January 2019 Tiedekunta/Osasto – Fakultet/Sektion – Faculty Laitos – Institution – Department Humanistinen tiedekunta Kulttuurien tutkimus Tekijä – Författare – Author Carla Pekander Työn nimi – Arbetets titel – Title Maan alta valtavirtaan: Li Yun elokuvien naishahmot From underground to mainstream: Female characters in the feature films of Li Yu Oppiaine – Läroämne – Subject Alue- ja kulttuurintutkimus, Aasian tutkimuksen linja Työn laji – Arbetets art – Level Aika – Datum – Month and year Sivumäärä– Sidoantal – Number of pages Pro gradu Tammikuu 2019 42 Tiivistelmä – Referat – Abstract Tarkastelen tutkielmassani Li Yun kuuden eri elokuvan naishahmoja psykoanalyysin ja diskurssianalyysin avulla. Li Yu on kiinalainen naisohjaaja, joka on aloittanut dokumenttielokuvien parissa 1990-luvulla. 2000-luvun alusta lähtien häneltä on valmistunut kuusi fiktioelokuvaa Fish & Elephant (2001), Dam Street (2005), Lost in Beijing (2007), Buddha Mountain (2010), Double Xposure (2012) ja Ever Since We Love (2015). Viimeisimmät kaksi ovat kaupallisia elokuvia, aiemmat olivat itsenäisiä tuotantoja. Yhteistä näille elokuville on traaginen naiskohtalo. Samalla elokuvat jatkumona kuvaavat kiinalaisen yhteiskunnan nopeaa kehitystä. Tutkimuksessa käytetty metodi on kolmiosainen: 1) alustava analyysi, 2) elokuvien yksittäisten ottojen luokittelu kategorioittain, 3) perusteellinen analyysi -
Gendered Self-Consciousness In
Gendered Self-Consciousness in China’s Sixth Generation Women’s Cinema: a social semiotic analysis of female consciousness and self-identity in films from the independent and commercial sector Noortje Schot s1017659 Hildebrandpad 103 2333 DE Leiden [email protected] [email protected] 0640214573 MA thesis Asian Studies 120 EC: China Studies Leiden University Supervisor: A.S. Keijser Hand-in date: July 1st 2017 Word count: 13.500 (excl. appendix) Gendered Self-Consciousness in China’s Sixth Generation Women’s Cinema: a social semiotic analysis of female consciousness and self-identity in films from the independent and commercial sector Table of Contents 1. Introduction ...................................................................................................................................... 3 2. Literature review .............................................................................................................................. 6 2.1 Gender discourse and self-identity (in modern China) ........................................................... 6 2.2 Female consciousness and self-identity (in cinema) .............................................................. 8 2.3 Chinese Sixth Generation (women’s) cinema ........................................................................ 9 2.4 Commercial vs. independent cinema in China ..................................................................... 11 3 Methodology ................................................................................................................................. -
1St China Onscreen Biennial
2012 1st China Onscreen Biennial LOS ANGELES 10.13 ~ 10.31 WASHINGTON, DC 10.26 ~ 11.11 Presented by UCLA Confucius Institute in partnership with Los Angeles 1st China Onscreen UCLA Film & Television Archive Academy of Motion Picture Arts and Sciences Biennial Film at REDCAT Pomona College 2012 Seeding cross-cultural dialogue through the art of film Washington, DC Freer and Sackler Galleries of the Smithsonian Institution Confucius Institute at George Mason University Confucius Institute at the University of Maryland Confucius Institute at Mason 乔治梅森大学 孔子学院 The 2012 inaugural COB has been made possible with generous support from the following Program Sponsors S tephen Lesser UCLA Center for Chinese Studies UCLA Center for Global Management (CGM) UCLA Center for Management of Enterprise in Media, Entertainment and Sports (MEMES) Shanghai Jiao Tong University Chinatown Business Improvement District Summit Western Limited Lois Lambert of the Lois Lambert Gallery and Corporate Sponsor E ast West Bank The COB is grateful to the China Film Archive for its cooperation Fu Hongxing Director and President Rao Shuguan Deputy Director and Deputy President Liu Dong Director, International Cooperation Division Zhao Jing Program Manager, International Cooperation Division www.confucius.ucla.edu/cob CONTENTS Welcome 2 Features 4 All Apologies Are We Really So Far from the Madhouse? Beijing Flickers — Pop-Up Photography Exhibition and Film The Cremator The Ditch Double Xposure Feng Shui Lacuna — Opening Night The Monkey King: Uproar in Heaven 3D Painted