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Double-Edged Sword’
2 | Wednesday, August 25, 2021 HONG KONG EDITION | CHINA DAILY PAGE TWO Music: Internet a ‘double-edged sword’ Supporters attend a pop concert in Jianghan Road in downtown Wuhan, Hubei province, on Oct 31. Online reality shows play a key role in advancing a singer’s career. ZHAO JUN / FOR CHINA DAILY From page 1 theme song for the popular drama A Beijing Native in New York, in 1993, and Heroes’ Although the internet helps showcase Song for the 1997 TV series Shui Hu Zhuan new talent, which connects with fans (The Water Margin). through social media platforms, such plat- He also wrote and performed Asian forms can be a double-edged sword. Mighty Winds, the official theme song for Liu said figures suggest the music scene in the 1990 Asian Games in Beijing, and You China is booming. The 2021 International and Me, the theme song for the 2008 Bei- Federation of the Phonographic Industry jing Olympics, which he performed with annual Global Music Report ranked the British singer Sarah Brightman. nation as the seventh-largest music market It is not the first time that Liu has voiced last year. his concerns about the music scene. In 2019, According to the year-end report on Chi- when he appeared on Hunan Satellite TV’s na’s music market released by domestic reality show Singer, he said the pop music online music entertainment platform Ten- industry in China was in crisis and he called cent Music Entertainment Group, or TME, for domestic singer-songwriters to produce more than 748,000 new songs were written “good original music”. -
An Ideological Analysis of the Birth of Chinese Indie Music
REPHRASING MAINSTREAM AND ALTERNATIVES: AN IDEOLOGICAL ANALYSIS OF THE BIRTH OF CHINESE INDIE MUSIC Menghan Liu A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2012 Committee: Jeremy Wallach, Advisor Kristen Rudisill Esther Clinton © 2012 MENGHAN LIU All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This thesis project focuses on the birth and dissemination of Chinese indie music. Who produces indie? What is the ideology behind it? How can they realize their idealistic goals? Who participates in the indie community? What are the relationships among mainstream popular music, rock music and indie music? In this thesis, I study the production, circulation, and reception of Chinese indie music, with special attention paid to class, aesthetics, and the influence of the internet and globalization. Borrowing Stuart Hall’s theory of encoding/decoding, I propose that Chinese indie music production encodes ideologies into music. Pierre Bourdieu has noted that an individual’s preference, namely, tastes, corresponds to the individual’s profession, his/her highest educational degree, and his/her father’s profession. Whether indie audiences are able to decode the ideology correctly and how they decode it can be analyzed through Bourdieu’s taste and distinction theory, especially because Chinese indie music fans tend to come from a community of very distinctive, 20-to-30-year-old petite-bourgeois city dwellers. Overall, the thesis aims to illustrate how indie exists in between the incompatible poles of mainstream Chinese popular music and Chinese rock music, rephrasing mainstream and alternatives by mixing them in itself. -
Chinese Music Reality Shows: a Case Study
Chinese Music Reality Shows: A Case Study A Thesis Submitted to the Faculty of Drexel University by Zhengyuan Bi In partial fulfillment of the requirements for the degree of Master of Science in Television Management January 2017 ii © Copyright 2017 Zhengyuan Bi All Right Reserved. iii DEDICATION I dedicate this thesis to my family and my friends, with a special feeling of gratitude to my loving parents, my friends Queena Ai, Eileen Zhou and Lili Mao, and my former boss Kenny Lam. I will always appreciate their love and support! iv ACKNOWLEDGMENTS I would like to take this opportunity to thank my thesis advisor Philip Salas and Television Management Program Director Al Tedesco for their great support and guidance during my studies at Drexel University. I would also like to thank Katherine Houseman for her kind support and assistance. I truly appreciate their generous contribution to me and all the students. I would also like to thank all the faculty of Westphal College of Media Arts & Design, all the classmates that have studied with me for these two years. We are forever friends and the best wishes to each of you! v Table of Contents DEDICATION ………………………………………………………………………………..iii ACKNOWLEDGEMENTS…………………………………………………………………...iv ABSTRACT……………………………………………………………………………………vii Chapter 1: Introduction………………………………………………………………………..1 1.1 Introduction………………………………………………………………………………...3 1.2 Statement of the Problem…………………………………………….................................3 1.3 Background…………………………………………………………………………………4 1.4 Purpose of the study…………………………………………………………………….....5 -
Music-Based TV Talent Shows in China: Celebrity and Meritocracy in the Post-Reform Society
Music-Based TV Talent Shows in China: Celebrity and Meritocracy in the Post-Reform Society by Wei Huang B. A., Huaqiao University, 2013 Extended Essays Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the School of Communication (Dual Degree in Global Communication) Faculty of Communication, Art & Technology © Wei Huang 2015 SIMON FRASER UNIVERSITY Summer 2015 Approval Name: Wei Huang Degree: Master of Arts (Communication) Title: Music-Based TV Talent Shows in China: Celebrity and Meritocracy in the Post-Reform Society Examining Committee: Program Director: Yuezhi Zhao Professor Frederik Lesage Senior Supervisor Assistant Professor School of Communication Simon Fraser University Baohua Wang Supervisor Professor School of Communication Communication University of China Date Defended/Approved: August 31, 2015 ii Abstract Meritocracy refers to the idea that whatever our social position at birth, society should offer the means for those with the right “talent” to “rise to top.” In context of celebrity culture, it could refer to the idea that society should allow all of us to have an equal chance to become celebrities. This article argues that as a result of globalization and consumerism in the post-reform market economy, the genre of music-based TV talent shows has become one of the most popular TV genres in China and has at the same time become a vehicle of a neoliberal meritocratic ideology. The rise of the ideology of meritocracy accompanied the pace of market reform in post-1980s China and is influenced by the loss of social safety nets during China’s transition from a socialist to a market economy. -
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. -
WIN TOGETHER 32 His Keen Interest in Detecting Criminal Cases
WIN TOGETHER 32 his keen interest in detecting criminal cases. Hu Yuhai fleeing away "A family with coldness and warmness, a kind of worry and a after causing one dead in a group affray shocks Qu Erqun heavily. loyal heart, all of them light tens of thousands of households; Safety He begins to reflect profoundly and was determined to pay back of a place, devotion of a life and a bleeding heart, all of them bring the debt he owed to Xihu citizens by his practical actions of chasing the repay of tens of thousands of citizens…" The manly and virile, and and arresting Hu Yuhai. He walks into the masses and helps those in passionate and high-pitched theme song Good Policeman is sung by poverty or trouble, helping them out of worries and problems, and Han Lei for the first time; Tan Jing, a famous female singer expressed finally wins the trust and esteem of the people. While Hu Yuying, with deep emotions the internal monologue of one that is alone and who used to fight in cold wars with Qu Erqun is also touched by him helpless in the song entitled Have a Clear Conscious at the end of the at last and leads him to the far Northwest to search for her brother play: "Walking in the rain alone, and who can I lean against? Standing Hu Yuhai.The true image of a grassroots "local policeman" who is in the wind alone, and I am most in need of comfort tonight!Looking smart, patient, helpless, earnest and kind in serving the people is for youth alone, but the youth is always drenched by the rain and vividly displayed on the screen. -
Do You Love Me As I Love You (Mand) the Secrets We Keep
Golden Village Pictures 2020 Movie Line-up SEPTEMBER Do You Love Me As I Love You Cast: Director: Genre: (Mand) Tsao Yu Ning 曹佑寧, Yuu Chen 陳妤, Lin Ying Wei 林映唯 Chieh Shueh Bin 簡學彬 Romance 可不可以, 你也刚好喜欢我 Synopsis: 10 September 2020 Just when Tien Xiao-Xiang, who is a fan of Tarot cards and author Si-Yi, sees the perfect chance to confess her love to her childhood sweetheart Li Zhu-Hao, he instead professes his love to her best friend Song Yi-Jing. But first, in order to date Song, Li must fulfil the condition set by her, which is to help three unlikely couples to date. The first couple is Stone, an aloof art professor, and Liu Zhi- Liang, a lovesick gym owner; the second couple is Ah-Yu, the school's most unpopular weirdo, and campus hunk Danny Lo; the final couple is philosophy student Ah-Shan and mob boss lady Yu. Even though Tien is heartbroken, she agrees to help Li when he turns to her for help, reluctantly helping him with mixed feelings. The Secrets We Keep Cast: Director: Genre: 17 September 2020 Noomi Rapace, Joel Kinnaman, Chris Messina, Amy Seimetz Yuval Adler Drama, Thriller Synopsis: In post-WWII America, a woman (Noomi Rapace), rebuilding her life in the suburbs with her husband (Chris Messina), kidnaps her neighbor (Joel Kinnaman) and seeks vengeance for the heinous war crimes she believes he committed against her. Directed by Yuval Adler from a script by Ryan Covington and Yuval Adler. Last updated on 7 September 2020 Golden Village Pictures 2020 Movie Line-up SEPTEMBER Beauty Water (Kor) Cast: Director: Genre: 整容液 Moon Nam sook, Jang Min hyuk, Cho Hyun jung, Kim Bo young Cho Kyung hun Horror, Thriller 17 September 2020 Synopsis: Yaeji, who is neglected by the world because of her looks is always unhappy. -
China Pop Love, Patriotism and the State in China’S Music Sphere
115 CHINA POP LOVE, PATRIOTISM AND THE STATE IN CHINA’S MUSIC SPHERE ANDREAS STEEN Popular culture in China is highly dynamic, involving individuals and private companies, both local and international, as well as state-governed institutions. The mass media and new communication technologies naturally play an impor- tant role in production, selection and dissemination, while also increasing in- teraction with international trends and standards. Sheldon H. Lu underscores popular culture’s importance in today’s China by emphasizing that it is “a dein- ing characteristic of Chinese postmodernity”.1 To him, three factors are crucial, namely it’s potential to undermine the censorship and “hard-line” cultural he- gemony of the Chinese Communist Party (CCP), its rise as a “major player in the commodiication process,” and “its sugar-coated apoliticism, [which] paciies the masses and represses the memory of China’s political reality” (ibid.). Popular cul- ture, therefore, is the battleground of various ideologies, forces and interests. Its ambivalent and complex entanglement with politics, society and the musical in- dustry is also addressed in the work of other scholars, such as Kevin Latham, who expresses that “understanding Chinese popular culture very often requires care- ful attention to how precisely the state is involved in and related to forms of social and cultural activity and practices. Popular culture does not exist outside of or in contrast to the state but very often in a constant and evolving dialogue with it.”2 This article looks at both conlicts and dialogue in the realm of popular music and attempts to lay out the main contours of China’s current popular music scene. -
Title the Cultural Politics of Introducing Popular Music Into China's
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by HKU Scholars Hub The cultural politics of introducing popular music into China's Title music education Author(s) Ho, WC; Law, WW Citation Popular Music And Society, 2012, v. 35 n. 3, p. 399-425 Issued Date 2012 URL http://hdl.handle.net/10722/175532 This is an electronic version of an article published in Popular Music And Society, 2012, v. 35 n. 3, p. 399-425. The Journal Rights article is available online at: http://www.tandfonline.com/doi/abs/10.1080/03007766.2011.5679 16 1 The Cultural Politics of Introducing Popular Music into China’s Music Education The Cultural Politics of Introducing Popular Music into China’s Music Education Wai-Chung Ho and Wing-Wah Law Since embarking on its course of economic reform and opening up to the world in the late 1970s, China has moved from a planned economy to a socialist-market economy; the resultant social and cultural changes have been many, and are reflected in the country’s school music curriculum. This paper first introduces the historical background of popular music in the community and in school music in China in the twentieth century. Second, it explores the reform of music education that has, from the turn of the millennium, included popular music in school music education. This is followed by a discussion of the integration of popular music into the school curriculum in terms of how music education and cultural politics are shaped by the social and political relationships between: (i) contemporary cultural and social values and traditional Chinese ideologies; (ii) collectivism and individualism; and (iii) nationalism and globalism. -
玄门早课xuan Men Zao Ke Mysterious Gate Morning Scriptures
玄门早课 Xuan Men Zao Ke Mysterious Gate Morning Scriptures 武当天马峰五仙庙 Wudang Heavenly Horse Peak Five Immortals Temple 澄清韵 Cheng Qing Yun 天无氛秽 琳琅振响 tian wu fen hui lin lang zhen xiang ⼗⽅肃清 地无妖尘 shi fang su qing di wu yao chen 河海静默 he hai jing mo 冥慧洞清 ming hui dong qing 山岳吞烟 shan yue tun yan ⼤量宣宣也 da liang xuan xuan ye 万灵镇伏 wan ling zhen fu 招集群仙 zhao ji qun xian 举天尊 Ju Tian Zun 常清常静(x2)天尊 chang qing chang jing (x2) tian zun Page 1" 吊挂 ⾹供养 Diao Gua Xiang Gong Yang (only on 1st and 15th) 真⼼清静道为宗 zhen xin qing jing dao wei ⾹供养 zong Xiang gong yang 譬彼中天宝⽉同 常清常静(x2)天尊 bi pi zhong tian bao yue chang qing chang jing (x2) tong tian zun 净扫迷云无点翳 jing sao mi yun wu dian yi ⼀轮光满太虚空 提纲 yi lun guang man tai xu Ti Gang kong (only on 1st and 15th) 上药身中神⽓精 ⼀炷真⾹本⾃然 shang yao shen zhong shen yi zhu zhen xiang ben zi ran qi jing 黄庭炉内起祥烟 ⼈⼈具⾜匪亏盈 huang ting lu nei qi xiang ren ren ju zu fei kui ying yan 能知混合回风道 空中结就浮云篆 neng zhi hun he hui feng kong zhong jie jiu fu yun dao zhuan ⾦鼎黄芽⽇⽇⽣ 上祝当今寿万年 jin ding huang ya ri ri shang zhu dang jin shou sheng wan nian Page 2" 反八天 Fan Ba Tian 净⼼神咒 道场众等 Jing Xin Shen Zhou dao chang zhong deng 太上台星 ⼈各恭敬 tai shang tai xing ren ge gong jing 应变无停 恭对道前 ying bian wu ting gong dui dao qian 驱邪缚魅 诵经如发 qu xie fu mei song jing ru fa 保命护身 bao ming hu shen 提纲 Ti Gang 智慧明净 (only on 1st and 15th) zhi hui ming jing 群仙朝上帝 ⼼神安宁 qun xian chao shang di xin shen an ning 元始降洪恩 三魂永久 yuan shi jiang hong en san hun yong jiu ⼤众登宝殿 魄无丧倾 da zhong deng bao dian po wu sang qing 讽诵太上经 feng song tai shang jing Page 3" 净⼜神咒 思神炼液 Jing Kou Shen Zhou si shen lian -
Isolation and Identification of Components From
ISOLATION AND IDENTIFICATION OF COMPONENTS FROM IXERIS SONCHIFOLIA HANCE AS POTENTIAL ANTI-STROKE AGENTS ZHANG YAOCHUN B.Sc. (Pharm.), Shandong University M.Sc. (Pharm.), Peking Union Medical College A THESIS SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF PHARMACY NATIONAL UNIVERSITY OF SINGAPORE 2010 Acknowledgement I would like to express my sincere gratitude to my dear supervisor Dr Chew Eng-Hui for her continuous encouragement, wise advice and kind support. Her support, understanding, advice and mentoring have helped guide me through my doctoral program and my dissertation. Without her, none of this would have been possible. I know that I will continue to benefit from her advice and the skills that she has helped me achieve for the rest of my career. Deep appreciation also goes to my co-supervisor Dr Ng Ka-yun for his great help throughout the Ph.D project. Special thanks to Dr Chui Wai Keung for his kind agreement for me to use his HPLC equipment, and Dr Koh Hwee Ling for her kind agreement for me to use her Blood Coagulation Analyzer. Their expertise advice on equipment techniques and analyzing methods accelerated my research progress. A big thank-you owned to Dr Keith Rogers from Institute of Molecular and Cell Biology, who helped me process the tissue immunohistological staining. I would like to thank Dr Chan Lai Wah and Dr Go Mei Lin for their valuable guidelines on my Ph.D candidature and graduate study. Thanks to the department lab technicians namely, Ms Ng Sek Eng, Ms Ng Swee Eng, Mdm Oh Tang Booy, Ms Wong Meiyin, Ms Lye Peypey and Mr Goh Minwei. -
Final Results Announcement for the Year Ended 31 December 2019
Hong Kong Exchanges and Clearing Limited and The Stock Exchange of Hong Kong Limited take no responsibility for the contents of this announcement, make no representation as to its accuracy or completeness and expressly disclaim any liability whatsoever for any loss howsoever arising from or in reliance upon the whole or any part of the contents of this announcement. (Incorporated in Bermuda with limited liability) (Stock Code: 1003) FINAL RESULTS ANNOUNCEMENT FOR THE YEAR ENDED 31 DECEMBER 2019 The board of directors (the “Board”) of Huanxi Media Group Limited (the “Company”) announces the consolidated results of the Company and its subsidiaries (the “Group”) for the year ended 31 December 2019, together with comparative figures for the year ended 31 December 2018, as follows: CONSOLIDATED STATEMENT OF PROFIT OR LOSS AND OTHER COMPREHENSIVE INCOME For the year ended 31 December 2019 2019 2018 NOTE HK$’000 HK$’000 Revenue and film investment income 5 814,425 174,632 Cost of revenue 11 (470,915) (85,317) Gross profit 343,510 89,315 Other income 7 21,371 42 Other losses 8 (2,306) (346) Selling and distribution costs 11 (43,274) (25,958) Administrative expenses 11 (132,983) (203,521) Share-based payment for cooperation with a film director 22 – (270,000) Operating profit/(loss) 186,318 (410,468) * For identification purposes only 1 2019 2018 NOTE HK$’000 HK$’000 Finance income 9 3,036 701 Finance costs 9 (3,170) (16,497) Finance costs, net 9 (134) (15,796) Profit/(loss) before tax 186,184 (426,264) Income tax expense 10 (81,081) (18,429) Profit/(loss)