Exploring China Through Documentaries & Film
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
China Perspectives, 55 | September - October 2004 Claire Shen Hsiu-Chen, L’Encre Et L’Ecran
China Perspectives 55 | september - october 2004 Varia Claire Shen Hsiu-chen, L’Encre et l’Ecran. A la recherche de la stylistique cinématographique chinoise, Hou Hsiao-hsien et Zhang Yimou (Ink and the Screen : In Search of Chinese Film Stylistics, Hou Hsiao- hsien and Zhang Yimou) Taipei, Ricci Institute in Taipei, Variétés sinologiques, New Series 91, 2002, 124 p. Bérénice Reynaud Édition électronique URL : http://journals.openedition.org/chinaperspectives/424 DOI : 10.4000/chinaperspectives.424 ISSN : 1996-4617 Éditeur Centre d'étude français sur la Chine contemporaine Édition imprimée Date de publication : 1 octobre 2004 ISSN : 2070-3449 Référence électronique Bérénice Reynaud, « Claire Shen Hsiu-chen, L’Encre et l’Ecran. A la recherche de la stylistique cinématographique chinoise, Hou Hsiao-hsien et Zhang Yimou (Ink and the Screen : In Search of Chinese Film Stylistics, Hou Hsiao-hsien and Zhang Yimou) », China Perspectives [En ligne], 55 | september - october 2004, mis en ligne le 28 novembre 2006, consulté le 24 septembre 2020. URL : http:// journals.openedition.org/chinaperspectives/424 ; DOI : https://doi.org/10.4000/chinaperspectives. 424 Ce document a été généré automatiquement le 24 septembre 2020. © All rights reserved Claire Shen Hsiu-chen, L’Encre et l’Ecran. A la recherche de la stylistique c... 1 Claire Shen Hsiu-chen, L’Encre et l’Ecran. A la recherche de la stylistique cinématographique chinoise, Hou Hsiao-hsien et Zhang Yimou (Ink and the Screen : In Search of Chinese Film Stylistics, Hou Hsiao-hsien and Zhang Yimou) Taipei, Ricci Institute in Taipei, Variétés sinologiques, New Series 91, 2002, 124 p. Bérénice Reynaud NOTE DE L’ÉDITEUR Translated from the French original by Michael Black 1 Reading Claire Shen Hsiu-chen gave me the impression several times of discovering a kindred spirit, so closely does the first part of her book confirm some of my analyses1. -
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). -
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. -
Inscriptional Records of the Western Zhou
INSCRIPTIONAL RECORDS OF THE WESTERN ZHOU Robert Eno Fall 2012 Note to Readers The translations in these pages cannot be considered scholarly. They were originally prepared in early 1988, under stringent time pressures, specifically for teaching use that term. Although I modified them sporadically between that time and 2012, my final year of teaching, their purpose as course materials, used in a week-long classroom exercise for undergraduate students in an early China history survey, did not warrant the type of robust academic apparatus that a scholarly edition would have required. Since no broad anthology of translations of bronze inscriptions was generally available, I have, since the late 1990s, made updated versions of this resource available online for use by teachers and students generally. As freely available materials, they may still be of use. However, as specialists have been aware all along, there are many imperfections in these translations, and I want to make sure that readers are aware that there is now a scholarly alternative, published last month: A Source Book of Ancient Chinese Bronze Inscriptions, edited by Constance Cook and Paul Goldin (Berkeley: Society for the Study of Early China, 2016). The “Source Book” includes translations of over one hundred inscriptions, prepared by ten contributors. I have chosen not to revise the materials here in light of this new resource, even in the case of a few items in the “Source Book” that were contributed by me, because a piecemeal revision seemed unhelpful, and I am now too distant from research on Western Zhou bronzes to undertake a more extensive one. -
Deepest Practice, Deepest Wisdom
“A magnificent gift for anyone interested in the deep, clear waters of Zen—its great foundational master coupled with one of its finest modern voices.” —JISHO WARNER, former president of the Soto Zen Buddhist Association FAMOUSLY INSIGHTFUL AND FAMOUSLY COMPLEX, Eihei Dōgen’s writings have been studied and puzzled over for hundreds of years. In Deepest Practice, Deepest Wisdom, Kshō Uchiyama, beloved twentieth-century Zen teacher, addresses himself head-on to unpacking Dōgen’s wisdom from three fascicles (or chapters) of his monumental Shōbōgenzō for a modern audience. The fascicles presented here from Shōbōgenzō, or Treasury of the True Dharma Eye, include “Shoaku Makusa” or “Refraining from Evil,” “Maka Hannya Haramitsu” or “Practicing Deepest Wisdom,” and “Uji” or “Living Time.” Daitsū Tom Wright and Shōhaku Okumura lovingly translate Dōgen’s penetrating words and Uchiyama’s thoughtful commentary on each piece. At turns poetic and funny, always insightful, this is Zen wisdom for the ages. KŌSHŌ UCHIYAMA was a preeminent Japanese Zen master instrumental in bringing Zen to America. The author of over twenty books, including Opening the Hand of Thought and The Zen Teaching of Homeless Kodo, he died in 1998. Contents Introduction by Tom Wright Part I. Practicing Deepest Wisdom 1. Maka Hannya Haramitsu 2. Commentary on “Maka Hannya Haramitsu” Part II. Refraining from Evil 3. Shoaku Makusa 4. Commentary on “Shoaku Makusa” Part III. Living Time 5. Uji 6. Commentary on “Uji” Part IV. Comments by the Translators 7. Connecting “Maka Hannya Haramitsu” to the Pāli Canon by Shōhaku Okumura 8. Looking into Good and Evil in “Shoaku Makusa” by Daitsū Tom Wright 9. -
Warriors As the Feminised Other
Warriors as the Feminised Other The study of male heroes in Chinese action cinema from 2000 to 2009 A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Chinese Studies at the University of Canterbury by Yunxiang Chen University of Canterbury 2011 i Abstract ―Flowery boys‖ (花样少年) – when this phrase is applied to attractive young men it is now often considered as a compliment. This research sets out to study the feminisation phenomena in the representation of warriors in Chinese language films from Hong Kong, Taiwan and Mainland China made in the first decade of the new millennium (2000-2009), as these three regions are now often packaged together as a pan-unity of the Chinese cultural realm. The foci of this study are on the investigations of the warriors as the feminised Other from two aspects: their bodies as spectacles and the manifestation of feminine characteristics in the male warriors. This study aims to detect what lies underneath the beautiful masquerade of the warriors as the Other through comprehensive analyses of the representations of feminised warriors and comparison with their female counterparts. It aims to test the hypothesis that gender identities are inventory categories transformed by and with changing historical context. Simultaneously, it is a project to study how Chinese traditional values and postmodern metrosexual culture interacted to formulate Chinese contemporary masculinity. It is also a project to search for a cultural nationalism presented in these films with the examination of gender politics hidden in these feminisation phenomena. With Laura Mulvey‘s theory of the gaze as a starting point, this research reconsiders the power relationship between the viewing subject and the spectacle to study the possibility of multiple gaze as well as the power of spectacle. -
Bibliography
BIBLIOGRAPHY An Jingfu (1994) The Pain of a Half Taoist: Taoist Principles, Chinese Landscape Painting, and King of the Children . In Linda C. Ehrlich and David Desser (eds.). Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan . Austin: University of Texas Press, 117–25. Anderson, Marston (1990) The Limits of Realism: Chinese Fiction in the Revolutionary Period . Berkeley: University of California Press. Anon (1937) “Yueyu pian zhengming yundong” [“Jyutpin zingming wandung” or Cantonese fi lm rectifi cation movement]. Lingxing [ Ling Sing ] 7, no. 15 (June 27, 1937): no page. Appelo, Tim (2014) ‘Wong Kar Wai Says His 108-Minute “The Grandmaster” Is Not “A Watered-Down Version”’, The Hollywood Reporter (6 January), http:// www.hollywoodreporter.com/news/wong-kar-wai-says-his-668633 . Aristotle (1996) Poetics , trans. Malcolm Heath (London: Penguin Books). Arroyo, José (2000) Introduction by José Arroyo (ed.) Action/Spectacle: A Sight and Sound Reader (London: BFI Publishing), vii-xv. Astruc, Alexandre (2009) ‘The Birth of a New Avant-Garde: La Caméra-Stylo ’ in Peter Graham with Ginette Vincendeau (eds.) The French New Wave: Critical Landmarks (London: BFI and Palgrave Macmillan), 31–7. Bao, Weihong (2015) Fiery Cinema: The Emergence of an Affective Medium in China, 1915–1945 (Minneapolis: University of Minnesota Press). Barthes, Roland (1968a) Elements of Semiology (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1968b) Writing Degree Zero (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1972) Mythologies (trans. Annette Lavers), New York: Hill and Wang. © The Editor(s) (if applicable) and The Author(s) 2016 203 G. -
Harmonious Cooperation, Essential for Myanmar Arts to Become
Established 1914 Volume XVIII, Number 245 1st Waning of Nadaw 1372 ME Wednesday, 22 December, 2010 Four political objectives Four economic objectives Four social objectives * Development of agriculture as the base and all-round develop- * Uplift of the morale and morality of the entire * Stability of the State, community peace and ment of other sectors of the economy as well nation tranquillity, prevalence of law and order * Proper evolution of the market-oriented economic system * Uplift of national prestige and integrity and * National reconsolidation * Development of the economy inviting participation in terms of preservation and safeguarding of cultural her- * Emergence of a new enduring State Constitu- technical know-how and investments from sources inside the itage and national character tion country and abroad * Uplift of dynamism of patriotic spirit * Building of a new modern developed nation in * The initiative to shape the national economy must be kept in the * Uplift of health, fitness and education stand- accord with the new State Constitution hands of the State and the national peoples ards of the entire nation Harmonious cooperation, essential for Myanmar arts to become popular worldwide Information Minister attends presenting of cash donations for 2nd ceremony to pay respects to old musicians YANGON, 21 Dec— music world and the music Myanmar music to become The presenting of cash do- community. Music popular worldwide as well Minister nations to organize the professionals not only as the need of preserving second ceremony to pay serve national interests and promoting tradition for Infor- respects to octogenarian hand in hand with the gov- and national culture. -
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. -
Mainstream Cinema As a Tool for China's Soft Power
Master’s Degree programme in Languages, Economics and Institutions of Asia and North Africa “Second Cycle (D.M. 270/2004)” Final Thesis Mainstream cinema as a tool for China’s soft power Supervisor Ch. Prof. Federico Alberto Greselin Assistant supervisor Ch. Prof. Tiziano Vescovi Graduand Alessia Forner Matriculation Number 846622 Academic Year 2017 / 2018 To the two stars that have guided me from above TABLE OF CONTENTS 1 Introduction 5 Chapter one: Soft power: a general overview and the beginning of China’s soft power era 7 1.1 Joseph Nye’s definition of soft power 7 1.2 Culture: the core of soft power 10 1.3 The entry of the concept of soft power in China and its translations 12 1.4 Hu Jintao’s speech at the 17th National Congress of the Communist Party of China and China’s first steps towards its soft power strategy 14 Chapter two: China’s focus on cultural soft power and the Chinese film industry 19 2.1 China’s investments in the film industry and films as a soft power resource 19 2.2 The situation of the Chinese film industry in the 1980s and 1990s: is Hollywood China’s lifeline? 26 2.3 Main melody films and the correlation with the China dream (( : taking the documentary Amazing China ()() and the film American Dreams in China (() as an example 32 2.4 Focus on the film Wolf Warrior II II) : a successful soft power strategy 56 Chapter three: Sino-US collaborations 65 3.1 Hollywood and China: same bed, different dreams 65 3.2 The different types of collaborations between China and Hollywood 69 3.3 Is China changing Hollywood? 78 -
Department of Film and Video Archive
Department of Film and Video archive, Title Department of Film and Video archive (fv001) Dates 1907-2009 [bulk 1970-2003] Creator Summary Quantity 200 linear feet of graphic material and textual records Restrictions on Access Language English Kate Barbera PDF Created January 20, 2016 Department of Film and Video archive, Page 2 of 65 Carnegie Museum of Art (CMOA) established the Film Section (subsequently, the Section of Film and Video and the Department of Film and Video) in 1970, making it one of the first museum-based film departments in the country. As part of the first wave of museums to celebrate moving image work, CMOA played a central role in legitimizing film as an art form, leading a movement that would eventually result in the integration of moving image artworks in museum collections worldwide. The department's active roster of programmingÐfeaturing historical screenings, director's retrospectives, and monthly appearances by experimental filmmakers from around the worldÐwas a leading factor in Pittsburgh's emergence in the 1970s as ªone of the most vibrant and exciting places in America for exploring cinema.º (Robert A. Haller, Crossroads: Avant-garde Film in Pittsburgh in the 1970s, 2005). The museum also served as a galvanizing force in the burgeoning field by increasing visibility and promoting the professionalization of moving image art through its publication of Film and Video Makers Travel Sheet (a monthly newsletter distributed to 2,000 subscribers worldwide) and the Film and Video Makers Directory (a listing of those involved in film and video production and exhibition) and by paying substantial honoraria to visiting filmmakers. -
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