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Zhang Yimou Interviews Edited by Frances Gateward
ZHANG YIMOU INTERVIEWS EDITED BY FRANCES GATEWARD Discussing Red Sorghum JIAO XIONGPING/1988 Winning Winning Credit for My Grandpa Could you discuss how you chose the novel for Red Sorghum? I didn't know Mo Yan; I first read his novel, Red Sorghum, really liked it, and then gave him a phone call. Mo Yan suggested that we meet once. It was April and I was still filming Old Well, but I rushed to Shandong-I was tanned very dark then and went just wearing tattered clothes. I entered the courtyard early in the morning and shouted at the top of my voice, "Mo Yan! Mo Yan!" A door on the second floor suddenly opened and a head peered out: "Zhang Yimou?" I was dark then, having just come back from living in the countryside; Mo Yan took one look at me and immediately liked me-people have told me that he said Yimou wasn't too bad, that I was just like the work unit leader in his village. I later found out that this is his highest standard for judging people-when he says someone isn't too bad, that someone is just like this village work unit leader. Mo Yan's fiction exudes a supernatural quality "cobblestones are ice-cold, the air reeks of blood, and my grandma's voice reverberates over the sorghum fields." How was I to film this? There was no way I could shoot empty scenes of the sorghum fields, right? I said to Mo Yan, we can't skip any steps, so why don't you and Chen Jianyu first write a literary script. -
Zhang Ziyi and Aaron Kwok
PRODUCTION NOTES Set in a small Chinese village where an illicit blood trade has spread AIDS to the community, LOVE FOR LIFE is the story of De Yi and Qin Qin, two victims faced with the grim reality of impending death, who unexpectedly fall in love and risk everything to pursue a last chance at happiness before it’s too late. SYNOPSIS In a small Chinese village where an illicit blood trade has spread AIDS to the community, the Zhao’s are a family caught in the middle. Qi Quan is the savvy elder son who first lured neighbors to give blood with promises of fast money while Grandpa, desperate to make amends for the damage caused by his family, turns the local school into a home where he can care for the sick. Among the patients is his second son De Yi, who confronts impending death with anger and recklessness. At the school, De Yi meets the beautiful Qin Qin, the new wife of his cousin and a recent victim of the virus. Emotionally deserted by their respective spouses, De Yi and Qin Qin are drawn to each other by the shared disappointment and fear of their fate. With nothing to look forward to, De Yi capriciously suggests becoming lovers but as they begin their secret affair, they are unprepared for the real love that grows between them. De Yi and Qin Qin’s dream of being together as man and wife, to love each other legitimately and freely, is jeopardized when the villagers discover their adultery. With their time slipping away, they must decide if they will surrender everything to pursue one chance at happiness before it’s too late. -
New China's Forgotten Cinema, 1949–1966
NEW CHINA’S FORGOTTEN CINEMA, 1949–1966 More Than Just Politics by Greg Lewis Several years ago when planning a course on modern Chinese history as seen through its cinema, I realized or saw a significant void. I hoped to represent each era of Chinese cinema from the Leftist movement of the 1930s to the present “Sixth Generation,” but found most available subtitled films are from the post-1978 reform period. Films from the Mao Zedong period (1949–76) are particularly scarce in the West due to Cold War politics, including a trade embargo and economic blockade lasting more than two decades, and within the arts, a resistance in the West to Soviet- influenced Socialist Realism. wo years ago I began a project, Translating New China’s Cine- Phase One. Economic Recovery, ma for English-Speaking Audiences, to bring Maoist Heroic Revolutionaries, and Workers, T cinema to students and educators in the US. Several genres Peasants, and Soldiers (1949–52) from this era’s cinema are represented in the fifteen films we have Despite differences in perspective on Maoist cinema, general agree- subtitled to date, including those of heroic revolutionaries (geming ment exists as to the demarcation of its five distinctive phases (four yingxiong), workers-peasants-soldiers (gongnongbing), minority of which are represented in our program). The initial phase of eco- peoples (shaoshu minzu), thrillers (jingxian), a children’s film, and nomic recovery (1949–52) began with the emergence of the Dong- several love stories. Collectively, these films may surprise teachers bei (later Changchun) Film Studio as China’s new film capital. -
Part 1: a Brief History of the Chinese Film Industry 1896 –A Film by The
Part 1: A brief History of the Chinese Film Industry 1896 –a film by the Lumiere Brothers, premiered in Paris in December 1895, was shown in Shanghai 1897 – American showman James Ricalton showed several Edison films in Shanghai and other large cities in China. This new media was introduced as “Western shadow plays” to link to the long- standing Chinese tradition of shadow plays. These early films were shown as acts as part of variety shows. 1905 – Ren Jingfeng, owner of Fengtai Photography, bought film equipment from a German store in Beijing and made a first attempt at film production. The film “Dingjun Mountain” featured episodes from a popular Beijing opera play. The screening of this play was very successful and Ren was encouraged to make more films based on Beijing opera. Subsequently, the base of Chinese film making became the port of Shanghai because of better access to foreign capital, imported materials and technical cooperation between the Chinese and foreigners. 1907 – Beijing had the first theatre devoted exclusively to showing films 1908 – Shanghai had its first film theatre 1909 – The Asia Film Company was established as a joint venture between American businessman, Benjamin Polaski, and Zhang Shichuan and Zheng Zhengqui. Zhang and Zheng are honoured as the fathers of Chinese cinema 1913 – Zhang and Zheng made the first Chinese short feature film, which was a documentary of social customs. As female performers were not allowed to share the stage with males, all the characters were played by male performers in this narrative drama. 1913 – saw the first narrative film produced in Hong Kong WW1 cut off Shanghai’s supply of raw film from Germany, so film production stopped. -
07Cmyblookinside.Pdf
2007 China Media Yearbook & Directory WELCOMING MESSAGE ongratulations on your purchase of the CMM- foreign policy goal of China’s media regulators is to I 2007 China Media Yearbook & Directory, export Chinese culture via TV and radio shows, films, Cthe most comprehensive English resource for books and other cultural products. But, of equal im- businesses active in the world’s fastest growing, and portance, is the active regulation and limitation of for- most complicated, market. eign media influence inside China. The 2007 edition features the same triple volume com- Although the door is now firmly shut on the establish- bination of CMM-I independent analysis of major de- ment of Sino-foreign joint venture TV production com- velopments, authoritative industrial trend data and panies, foreign content players are finding many other fully updated profiles of China’s major media players, opportunities to actively engage with the market. but the market described has once again shifted fun- damentally on the inside over the last year. Of prime importance is the run-up to the 2008 Beijing Olympiad. At no other time in Chinese history have so Most basically, the Chinese economic miracle contin- many foreign media organizations engaged in co- ued with GDP growth topping 10 percent over 2005-06 production features exploring the modern as well as and, once again, parts of China’s huge and diverse old China. But while China has relaxed its reporting media industry continued to expand even faster over procedures for the duration, it would be naïve to be- the last twelve months. lieve this signals any kind of fundamental change in the government’s position. -
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). -
Rebuilding the Ancestral Temple and Hosting Daluo Heaven and Earth Prayer and Enlightenment Ceremony
Cultural and Religious Studies, July 2020, Vol. 8, No. 7, 386-402 doi: 10.17265/2328-2177/2020.07.002 D DAVID PUBLISHING Rebuilding the Ancestral Temple and Hosting Daluo Heaven and Earth Prayer and Enlightenment Ceremony Wu Hui-Chiao Ming Chuan University, Taiwan Kuo, Yeh-Tzu founded Taiwan’s Sung Shan Tsu Huei Temple in 1970. She organized more than 200 worshipers as a group named “Taiwan Tsu Huei Temple Queen Mother of the West Delegation to China to Worship at the Ancestral Temples” in 1990. At that time, the temple building of the Queen Mother Palace in Huishan of Gansu Province was in disrepair, and Temple Master Kuo, Yeh-Tzu made a vow to rebuild it. Rebuilding the ancestral temple began in 1992 and was completed in 1994. It was the first case of a Taiwan temple financing the rebuilding of a far-away Queen Mother Palace with its own donations. In addition, Sung Shan Tsu Huei Temple celebrated its 45th anniversary and hosted Yiwei Yuanheng Lizhen Daluo Tiandi Qingjiao (Momentous and Fortuitous Heaven and Earth Prayer Ceremony) in 2015. This is the most important and the grandest blessing ceremony of Taoism, a rare event for Taoism locally and abroad during this century. Those sacred rituals were replete with unprecedented grand wishes to propagate the belief in Queen Mother of the West. Stopping at nothing, Queen Mother’s love never ceases. Keywords: Sung Shan Tsu Huei Temple, Temple Master Kuo, Yeh-Tzu, Golden Mother of the Jade Pond, Daluo Tiandi Qingjiao (Daluo Heaven and Earth Prayer Ceremony) Introduction The main god, Golden Mother of the Jade Pond (Golden Mother), enshrined in Sung Shan Tsu Huei Temple, is the same as the Queen Mother of the West, the highest goddess of Taoism. -
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. -
Adaptive Fuzzy Pid Controller's Application in Constant Pressure Water Supply System
2010 2nd International Conference on Information Science and Engineering (ICISE 2010) Hangzhou, China 4-6 December 2010 Pages 1-774 IEEE Catalog Number: CFP1076H-PRT ISBN: 978-1-4244-7616-9 1 / 10 TABLE OF CONTENTS ADAPTIVE FUZZY PID CONTROLLER'S APPLICATION IN CONSTANT PRESSURE WATER SUPPLY SYSTEM..............................................................................................................................................................................................................1 Xiao Zhi-Huai, Cao Yu ZengBing APPLICATION OF OPC INTERFACE TECHNOLOGY IN SHEARER REMOTE MONITORING SYSTEM ...............................5 Ke Niu, Zhongbin Wang, Jun Liu, Wenchuan Zhu PASSIVITY-BASED CONTROL STRATEGIES OF DOUBLY FED INDUCTION WIND POWER GENERATOR SYSTEMS.................................................................................................................................................................................9 Qian Ping, Xu Bing EXECUTIVE CONTROL OF MULTI-CHANNEL OPERATION IN SEISMIC DATA PROCESSING SYSTEM..........................14 Li Tao, Hu Guangmin, Zhao Taiyin, Li Lei URBAN VEGETATION COVERAGE INFORMATION EXTRACTION BASED ON IMPROVED LINEAR SPECTRAL MIXTURE MODE.....................................................................................................................................................................18 GUO Zhi-qiang, PENG Dao-li, WU Jian, GUO Zhi-qiang ECOLOGICAL RISKS ASSESSMENTS OF HEAVY METAL CONTAMINATIONS IN THE YANCHENG RED-CROWN CRANE NATIONAL NATURE RESERVE BY SUPPORT -
IMAX CHINA HOLDING, INC. (Incorporated in the Cayman Islands with Limited Liability) (Stock Code: 1970)
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. IMAX CHINA HOLDING, INC. (Incorporated in the Cayman Islands with limited liability) (Stock Code: 1970) BUSINESS UPDATE WANDA CINEMA LINE CORPORATION LIMITED AGREES TO ADD 150 IMAX THEATRES The board of directors of IMAX China Holding, Inc. (the “Company”) announces that the Company (through its subsidiaries) has entered into an agreement (“Installation Agreement”) with Wanda Cinema Line Corporation Limited (“Wanda Cinema”). Under the Installation Agreement, 150 IMAX theatres will be built throughout China over six years, starting next year. With the Installation Agreement, the Company’s total number of theatre signings year to date has reached 229 in China and the total backlog will increase nearly 60 percent. The Installation Agreement is in addition to an agreement entered into between the Company and Wanda Cinema in 2013 (“Previous Installation Agreement”). Under the Previous Installation Agreement, Wanda Cinema committed to deploy 120 new IMAX theatres by 2020. The key commercial terms of the Installation Agreement are substantially similar to those under the Previous Installation Agreement. The Company made a press release today regarding the Installation Agreement. For -
Masculinity in Yu Hua's Fiction from Modernism to Postmodernism
Masculinity in Yu Hua’s Fiction from Modernism to Postmodernism By: Qing Ye East Asian Studies Department McGill University Montreal, QC. Canada Submission Date: 07/2009 A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirement of the degree of Master of Arts Unpublished work © 2009 Qing Ye I Abstract The Tiananmen Incident in 1989 triggered the process during which Chinese society evolved from so-called ―high modernism‖ to vague ―postmodernism‖. The purpose of this thesis is to examine and evaluate the gender representation in Chinese male intellectuals‘ writing when they face the aforementioned social evolution. The exemplary writer from the band of Chinese male intellectuals I have chosen is Yu Hua, one of the most important and successful novelists in China today. Coincidently, his writing career, spanning from the mid-1980s until present, parallels the Chinese intellectuals‘ pursuit of modernism and their acceptance of postmodernism. In my thesis, I re-visit four of his works in different eras, including One Kind of Reality (1988), Classical Love (1988), To Live (1992), and Brothers (2005), to explore the social, psychological, and aesthetical elements that formulate/reformulate male identity, male power and male/female relation in his fictional world. Inspired by those fictional male characters who are violent, anxious or even effeminized in his novels, one can perceive male intellectuals‘ complex feelings towards current Chinese society and culture. It is believed that this study will contribute to the literary and cultural investigation of the third-world intellectuals. II Résumé Les événements de la Place Tiananmen en 1989 a déclenché le processus durant lequel la société chinoise a évolué d‘un soi-disant "haut modernisme" vers un vague "post-modernisme". -
Art, Politics, and Commerce in Chinese Cinema
Art, Politics, and Commerce in Chinese Cinema edited by Ying Zhu and Stanley Rosen Hong Kong University Press 14/F Hing Wai Centre, 7 Tin Wan Praya Road, Aberdeen, Hong Kong www.hkupress.org © Hong Kong University Press 2010 Hardcover ISBN 978-962-209-175-7 Paperback ISBN 978-962-209-176-4 All rights reserved. Copyright of extracts and photographs belongs to the original sources. No part of this publication may be reproduced or transmitted, in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the copyright owners. Printed and bound by XXXXX, Hong Kong, China Contents List of Tables vii Acknowledgements ix List of Contributors xiii Introduction 1 Ying Zhu and Stanley Rosen Part 1 Film Industry: Local and Global Markets 15 1. The Evolution of Chinese Film as an Industry 17 Ying Zhu and Seio Nakajima 2. Chinese Cinema’s International Market 35 Stanley Rosen 3. American Films in China Prior to 1950 55 Zhiwei Xiao 4. Piracy and the DVD/VCD Market: Contradictions and Paradoxes 71 Shujen Wang Part 2 Film Politics: Genre and Reception 85 5. The Triumph of Cinema: Chinese Film Culture 87 from the 1960s to the 1980s Paul Clark vi Contents 6. The Martial Arts Film in Chinese Cinema: Historicism and the National 99 Stephen Teo 7. Chinese Animation Film: From Experimentation to Digitalization 111 John A. Lent and Ying Xu 8. Of Institutional Supervision and Individual Subjectivity: 127 The History and Current State of Chinese Documentary Yingjin Zhang Part 3 Film Art: Style and Authorship 143 9.