Liu, Anmeng Final Phd Thesis.Pdf (2.793Mb)

Total Page:16

File Type:pdf, Size:1020Kb

Liu, Anmeng Final Phd Thesis.Pdf (2.793Mb) An ordinary China: Reading ‘small-town youth’ for difference in a northwestern county town A thesis submitted in partial fulfilment of the requirements of the Degree of Doctor of Philosophy in Human Geography at the University of Canterbury By Anmeng Liu October 2020 ACKNOWLEDGEMENTS Writing this acknowledgement in complete solitude under a two-week quarantine in a Shanghai hotel room, I cannot help but be overwhelmed with thoughts and emotions. Montages of faces, voices and moments constantly form in my head – it is impossible to name all of those who were with me over the course of this challenging yet rewarding thesis journey. First and foremost, my sincere gratitude goes to Dr Kelly Dombroski for being the cornerstone of this PhD project. She was not only a source of academic guidance, but also a caring and inspiring mentor who has seen me through many difficult times both academically and personally. Kelly, thank you for taking me on, cultivating my potential and nurturing me with opportunities of all kinds along the way. I would also like to thank my co-supervisors Dr Zhifang Song and Dr Chris Chen for their priceless feedback and encouragement. My gratitude also goes to all the staff and postgraduates in the previous Department of Geography and the newly merged School of Earth and Environment — Thank you Prof Peyman Zawar-Reza, Prof David Conradson, Dr Kerryn Hawke, Adam Prana, Ambika Malik, Dr Alison Watkins, Benjamin Boosch, Caihuan Duojie, Dr Huong Do, Dr Helen Fitt, David Garcia, Dr Daisuke Seto, Julia Torres, Levi Mutambo, Rasool Porhemmat, Sonam Pem, Rajasweta Datta, Ririn Agnes Haryani, S M Waliuzzaman, Trias Rahardianto, Tingting Zhang, Zhuoga Qimei. I benefited tremendously from the supportive environment you all helped to create. A special thanks goes to Jiawei Zhang, for always being there, fixing my computers among many other things. In addition, my intellectual growth benefited greatly from generous and inspiring interactions with other scholars at various conferences and seminars. I would like to thank Prof Katherine Gibson, Dr Stephen Healy, Dr Katharine McKinnon, Dr Gradon Diprose, Dr Isaac Lyne, Dr. Jamie Gillen, Prof Junjia Ye, Dr Sarah Rogers, Dr Vanessa Lamb, Prof Zhenjie Yuan, Xuegang Fan, Prof Paul Cloke and Prof Longtao He. More importantly, I owe a great deal to the participants, who are now also my friends. Thank you for opening your lives to me — this thesis is as much yours as mine, if you would allow. Also, I am grateful for the help and support of all others during my fieldwork. A tribute to Lu Yao is also in order — although my interpretation of his work has gradually changed over years, the writer has a special place in this thesis as well as in my heart, for sketching an imagination of a faraway hometown, kindling my almost intuitive curiosity of self and place, and time and time again reigniting my enthusiasm with his pilgrim-like dedication. A special shout out goes to my Zumba family. Only if I could tell you how much I treasure that embodied enlightenment — the joy of dancing with you was often what kept me going, especially during the most stressful days. Kirsty, Missy, Tammy, Teddy, Lu, Jo, Li Mei, Marcela and Cristian — I miss your suave moves and bright faces. I am also grateful to Helen and Edwin for being the most generous and kind landlords I could ever imagine — you offered me not a shelter but a home away from home. Finally, I am forever indebted to my parents, without the support of whom this project could have never happened. I love you and I hope to make you proud. 感谢我的父母,你们的爱和支持是我最坚固的后盾和永恒的动力。 II STATEMENT OF AUTHENTICATION I certify that the work in this thesis has not been previously submitted for a degree nor has it been submitted as part of requirements for a degree except as fully acknowledged within the text. I also certify that this thesis has been written by me. Any help that I have received in my research and the preparation of this draft itself has been acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. III TABLE OF CONTENTS ACKNOWLEDGEMENTS ........................................................................................ I STATEMENT OF AUTHENTICATION .............................................................. III LIST OF FIGURES ................................................................................................. VII ABSTRACT ............................................................................................................... IX 1. Introduction .......................................................................................................... 1 1.1. Introduction .................................................................................................. 1 1.2. ‘Small towns’: the overlooked side of urban China.................................. 4 1.3. Personal impetus: an imagined hometown and Ordinary World ............. 6 1.4. ‘Small-town youth’ on the rise .................................................................. 11 The marginalised protagonists ............................................................................. 14 The distasteful consumers .................................................................................... 17 The entrepreneurial returnees .............................................................................. 21 1.5. Research Questions .................................................................................... 23 1.6. Thesis Overview ......................................................................................... 24 2. Positioning a ‘small town’ in post-reform China ............................................ 27 2.1. Introduction ................................................................................................ 27 2.2. Entering the ‘small town’ of Wubu .......................................................... 28 Situating Wubu: a county town in northern Shaanxi ........................................... 29 Entering the county town – an ambiguous rural-urban inbetween ...................... 33 2.3. ‘The urban’ and ‘the coast’ – China’s uneven post-reform landscape . 38 Urban-centred development ................................................................................. 39 Uneven spatiality: coastal east and inland west ................................................... 43 2.4. China’s ‘small-town — metropolis’ urban binary.................................. 44 IV 2.5. Reverse mobility of ‘small-town youth’ ................................................... 49 2.6. Conclusion .................................................................................................. 53 3. Reading for difference: ordinary cities from A place of openness ................ 54 3.1. Introduction ................................................................................................ 54 3.2. ‘Ordinary cities’ – urban studies beyond the West ................................ 55 3.3. Reading for difference: from making sense to making possibilities ..... 59 Reading Still Life for difference – critical dystopia ............................................. 62 Diverse economies – ‘ordinary’ economies ......................................................... 65 ‘Ordinary’ workers in ‘ordinary’ dorms .............................................................. 69 3.4. Openness of place lived in everyday lives ................................................ 75 3.5. Conclusion .................................................................................................. 78 4. A responsive methodology for openness .......................................................... 80 4.1. Introduction ................................................................................................ 80 4.2. Methodology: overview and reflection ..................................................... 82 4.3. Four stories ................................................................................................. 88 4.4. Openness beyond binaries ......................................................................... 96 Beyond the researched and the researcher ........................................................... 97 Beyond the imagined ‘there’ and the lived ‘here’ ............................................. 104 Beyond ‘accident’ and ‘data’ ............................................................................. 107 4.5. Conclusion ................................................................................................ 109 5. From ‘small-town youth’ to ordinary Youth ................................................ 111 5.1. Introduction .............................................................................................. 111 5.2. Who are they? Introducing the ‘small-town youth’ informants ......... 113 Life stories ......................................................................................................... 114 Defying structural categories ............................................................................. 118 5.3. Why are they here? Analysing their relocation to the county town .... 122 Narratives of relocation ..................................................................................... 123 V The lure of the ‘iron rice bowl’: danwei as an overarching tale ........................ 127 Breaking the ‘iron rice bowl’: working in a post-reform danwei ...................... 131 Reading for difference: going beyond the overarching
Recommended publications
  • Master for Quark6
    Special Feature s e v i a t Realisms within Conundrum c n i e h The Personal and Authentic Appeal in Jia Zhangke’s Accented Films (1) p s c r e ESTHER M. K. CHEUNG p With persistent efforts on constructing personal and collective memories arising from the unprecedented transformations in post-socialist China, Jia Zhangke has produced an ensemble of realist films with an impressive personal and authentic appeal. This paper examines how his films are characterised by a variety of accents, images of authenticity, a quotidian ambience, and a new sense of materiality within the local-global nexus. Within a tripartite model of truth, identity, and performance, Jia’s oeuvres demonstrate the powerful performativity of different modes of realism arising out of a state of conundrum when China undergoes a transition from planned economy into wholesale marketisation and globalisation. The appeal of Jia Zhangke’s fined to documentary realism. His films serve to write up a accented cinema history of his generation: rom his first feature Xiao Wu (aka The Pickpocket , I made these films because I wanted to compensate 1997) to 24 City (2008), Jia Zhangke’s films have for what was not fulfilled. I must also emphasise that Fbeen characterised by an impressive personal and au - apart from the realist mode, there are other kinds of thentic appeal. As viewers, in about a decade’s time we have representation that can be called “visual memory”; for observed an ongoing process of the director’s negotiation example, Dali’s surrealist images in the early twentieth with realism as a mode of film representation.
    [Show full text]
  • A Reconsideration of Still Life Dai Jinhua Translated by Lennet Daigle
    Temporality, Nature Morte, and the Filmmaker: A Reconsideration of Still Life Dai Jinhua Translated by Lennet Daigle In the world of contemporary Chinese cinema, Jia Zhangke is, in many respects, an exception to the rule: he is a director whose films almost without fail depict the lower classes or, the majority of society; a director who has continually, from the start, been dedicated to making art films; a director who has fulfilled his social responsibilities as an artist while developing an original mode of artistic expression; a director who has made the transition from independent underground films to commercial mainstream films without losing his vitality, and without suffering exclusion from western film festivals; a director famous for his autobiographical narratives who has finally “grown up”, and who has successfully drawn on his experiences to explore broader social issues. As long as China’s fifth generation filmmakers continue to make commercial compromises, and the sixth generation remains stuck – have grown but not matured in terms of style and modes of expression – Jia Zhangke will remain an exception, or even “one of a kind.” Actually, after the period in which Chen Kaige’s Yellow Earth and Zhang Yimou’s films had become synonymous with the moniker “Chinese cinema” and after Zhang Yuan’s nomination of “underground cinema” to refer to what Europeans think of as “Chinese cinema” – both post-Cold War but still Cold War-style designations, the release of Platform and the inverted portrait of Mao on the film poster unexpectedly heralded the arrival of the “Jia Zhangke era” of Chinese cinema in the new millenium’s international film world, as represented primarily by European film festivals and American film studies classes.
    [Show full text]
  • Mountains May Depart
    presents MOUNTAINS MAY DEPART A film by JIA ZHANGKE 2015 Cannes Film Festival 2015 Toronto International Film Festival 2015 New York Film Festival China, Japan, France | 131 minutes | 2015 www.kinolorber.com Kino Lorber, Inc. 333 West 39th St. Suite 503 New York, NY 10018 (212) 629-6880 Publicity Contact: Rodrigo Brandao, [email protected] O: (212) 629-6880 Synopsis China, 1999. In Fenyang, childhood friends Liangzi, a coal miner, and Zhang, the owner of a gas station, are both in love with Tao, the town beauty. Tao eventually marries the wealthier Zhang and they have a son he names Dollar. 2014. Tao is divorced and her son emigrates to Australia with his business magnate father. Australia, 2025. 19-year-old Dollar no longer speaks Chinese and can barely communicate with his now bankrupt father. All that he remembers of his mother is her name…. Director’s Statement It’s because I’ve experienced my share of ups and downs in life that I wanted to make Mountains May Depart. This film spans the past, the present and the future, going from 1999 to 2014 and then to 2025. China’s economic development began to skyrocket in the 1990s. Living in this surreal economic environment has inevitably changed the ways that people deal with their emotions. The impulse behind this film is to examine the effect of putting financial considerations ahead of emotional relationships. If we imagine a point ten years into our future, how will we look back on what’s happening today? And how will we understand “freedom”? Buddhist thought sees four stages in the flow of life: birth, old age, sickness, and death.
    [Show full text]
  • Download Article
    Advances in Social Science, Education and Humanities Research, volume 142 4th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2017) A Study on the Translation of "Sister" by Lu Yao under the Perspective of Translation Ethics Xiaohui Zhang Xi’an Fanyi University Xi’an, China Abstract—Under the new situation, the put forth of “the Belt Kejing's novella "the blue flower on handcuffs" won the fifth and Road” and the implementation of "going out" strategy, give Lu Xun Literature Award. There was a new round of creative Shaanxi literature a vigorous vitality. In 2011, the writing of writings wave in Shaanxi, which greatly enhances the brand overseas literature promotion program compiled the English influence of Shaanxi literary writers. At the same time, the version "short film collection of Shaanxi writers". In the process writers implemented Shaanxi literature overseas translation of promoting these literary works, both the translation referral plan (shorted for SLOT plan) and compiled and organization of the authorities, translators, the translation published a large-scale commemorative collection of sino- strategy and the publishers have an impact on the English russian "love of Russia", the English version of "Short story version, the quality of the translation and the publishing scope collection of Shaanxi writers". This is the first collectively while All of the these factors belong to the category of translation translated works of provincial Writers in China. In addition, ethics research. Therefore, the author, guided by the theory of translation ethics, analyzes the current situation of Shaanxi Ye Guangqin's English version "Qing mu chuan" has been literary works and guides the practice of translation.
    [Show full text]
  • Time in Liu Xiaodong's Hotbed No.1 and Three Gorges
    Cinematic Painting: Time in Liu Xiaodong’s Hotbed No.1 and Three Gorges Dam Yutong Shi, University of Illinois at Urbana-Champaign ABSTRACT Liu Xiaodong is a Chinese oil painter who is best known for his depiction of ordinary people in their actual lived reality. At the same time, Liu’s engagement with film production has been widely recognized by public. However, the exact way that Liu has incorporated the structures of film into his painting has not been thoroughly analyzed. In this essay, I focus on Liu’s monumental work Hotbed No.1 from 2005, a multi-panel painting that is part of his series of Three Gorges Dam. Liu addresses the environmental problems that the Three Gorges Dam created by focusing on its human cost, rather than entirely on the degradation of the place itself. I argue that the most striking innovation of Hotbed No.1 lies in its rendition of the passage of time, which creates what I call a “cinematic painting.” It is significant because the incorporation of temporality enables Liu to depict the progressive harm and loss experienced by those living in proximity to the Three Gorges Dam. By introducing a durational component into his work, Liu effectively shows the complexities of depicting human suffering. Furthermore, it enables Liu to document the processes of dissolution and disappearance caused by the dam’s construction. KEYWORDS Liu Xiaodong, Hotbed No.1, Three Gorges, Cinematic Painting Re:Search Introduction Liu Xiaodong 刘小东 (b. 1963) is a figure painter, well known for his realistic oil paintings. Liu focuses on human dimensions situated with social and geopolitical problems both locally and globally.
    [Show full text]
  • Realismo Sensório No Cinema Contemporâneo Erly Vieira Jr Realismo Sensório No Cinema Contemporâneo Erly Vieira Jr
    REALISMO SENSÓRIO NO CINEMA CONTEMPORÂNEO ERLY VIEIRA JR REALISMO SENSÓRIO NO CINEMA CONTEMPORÂNEO ERLY VIEIRA JR Vitória, 2020 Reitor Paulo Sergio de Paula Vargas Vice-reitor Roney Pignaton da Silva Chefe de Gabinete Zenólia Christina Campos Figueiredo Diretor da Edufes Wilberth Salgueiro Conselho Editorial Carlos Roberto Vallim, Cleonara Maria Schwartz, Eneida Maria Souza Mendonça, Fátima Maria Editora Universitária – Edufes Silva, Giancarlo Guizzardi, Gilvan Ventura da Silva, José Armínio Ferreira, Josevane Carvalho Castro, Filiada à Associação Brasileira Julio César Bentivoglio, Luis Fernando Tavares das Editoras Universitárias (Abeu) de Menezes, Marcos Vogel, Rogério Borges de Oliveira, Sandra Soares Della Fonte Av. Fernando Ferrari, 514 Campus de Goiabeiras Secretaria do Conselho Editorial Vitória – ES · Brasil Douglas Salomão CEP 29075-910 Administrativo +55 (27) 4009-7852 Josias Bravim [email protected] Washington Romão dos Santos www.edufes.ufes.br Seção de Edição e Revisão de Textos Fernanda Scopel, George Vianna, Jussara Rodrigues, Roberta Estefânia Soares Seção de Design Ana Elisa Poubel, Juliana Braga, Samira Bolonha Gomes, Willi Piske Jr. Seção de Livraria e Comercialização Adriani Raimondi, Dominique Piazzarollo, Marcos de Alarcão, Maria Augusta Postinghel, Maria de Lourdes Zampier Este trabalho atende às determinações do Repositório Institucional do Sistema Integrado de Bibliotecas da Ufes e está licenciado sob a Licença Creative Commons Atribuição-NãoComercial-SemDerivações 4.0 Internacional. Para ver uma cópia desta licença, visite http://creativecommons.org/licenses/by-nc-nd/4.0/ Preparação de texto Fernanda Scopel Projeto gráfico Edufes Diagramação e capa Agência Três Criativos Revisão de texto Jussara Rodrigues Dados Internacionais de Catalogação-na-publicação (CIP) (Biblioteca Central da Universidade Federal do Espírito Santo, ES, Brasil) Vieira Jr., Erly.
    [Show full text]
  • The Individual and the Crowd in Jia Zhangke's Films Jung Koo Kim A
    Goldsmiths College University of London Cinema of Paradox: The Individual and the Crowd in Jia Zhangke’s Films Jung Koo Kim A thesis submitted for the degree of Doctor of Philosophy to the department of Media and Communications August 2016 1 DECLARATION I hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person nor material which has been accepted for the award of any other degree or diploma of the university or other institute of higher learning, except where due acknowledgment has been made in the text. Signed…… …………… Date….…10-Aug.-2016…… 2 ABSTRACT This thesis attempts to understand Chinese film director Jia Zhangke with the concept of “paradox.” Challenging the existing discussions on Jia Zhangke, which have been mainly centered around an international filmmaker to represent Chinese national cinema or an auteur to construct realism in post-socialist China, I focus on how he deals with the individual and the crowd to read through his oeuvre as “paradox.” Based on film text analysis, my discussion develops in two parts: First, the emergence of the individual subject from his debut feature film Xiao Wu to The World; and second, the discovery of the crowd from Still Life to his later documentary works such as Dong and Useless. The first part examines how the individual is differentiated from the crowd in Jia’s earlier films under the Chinese social transformation during the 1990s and 2000s. For his predecessors, the collective was central not only in so-called “leitmotif” (zhuxuanlü or propaganda) films to enhance socialist ideology, but also in Fifth Generation films as “national allegory.” However, what Jia pays attention to is “I” rather than “We.” He focuses on the individual, marginal characters, and the local rather than the collective, heroes, and the national.
    [Show full text]
  • Das Narrativas De Fundação Às Narrativas De Dissolução. a Questão Da Identidade Nacional No Cinema Contemporâneo
    Este é um artigo publicado em acesso aberto (Open Access) sob a licença Creative Commons Attribution, que permite uso, distribuição e reprodução em qualquer meio, sem restrições desde que o trabalho original seja corretamente citado. Das narrativas de fundação às narrativas de dissolução. A questão da identidade nacional no cinema contemporâneo Lúcia Ramos MonteiroI I - ECA-USP São Paulo (SP), Brasil Resumo: Apesar das inúmeras problematizações dos conceitos de “nação” e “nacionalismo” no âmbito da historiografia, e das discussões sobre a atualidade e a utilidade da categoria “cinema nacional” no campo dos estudos cinematográficos (BERRY, 2006), essas noções continuam sendo usadas tanto pelos estudos cinematográficos quanto por festivais e premiações. Em contraponto às chamadas “narrativas fundacionais” (SOMMER, 2004), que entrelaçavam felicidade doméstica e ideal nacional, em alguns filmes contemporâneos as esferas “individual” e “nacional” continuam ligadas, mas em chave negativa. Isso nos leva a propor o conceito de “narrativas de dissolução”, com base na análise de filmes do realizador chinês Jia Zhang-ke, e mais especificamente As montanhas se separam (2015). Palavras-chave: cinemas nacionais; narrativas de dissolução; cinema contemporâneo; Jia Zhang-ke; China. Abstract: From foundational narratives to dissolution narratives. The question of national identity in contemporary cinema – Notwithstanding the extensive discussion questioning concepts like “nation” and “nationalism” within historiography, and the debate about the actuality and functionality of “national cinema” as a category in the film studies field (BERRY, 2006), those notions continue to be used by film scholars, festivals, competitions etc. Contrary to the so-called “foundational narratives” (SOMMER, 2004), in which domestic happiness and national ideal were interwoven, some contemporary films maintain a strong relation between “individual” and “national” spheres, but in a negative way.
    [Show full text]
  • ©2016 Tara Coleman ALL RIGHTS RESERVED
    ©2016 Tara Coleman ALL RIGHTS RESERVED RE-VISIONS OF THE PAST: LYRICISM AS HISTORY IN CONTEMPORARY CHINESE POETRY AND FILM by TARA COLEMAN A dissertation submitted to the Graduate School – New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Comparative Literature Written under the direction of Weijie Song And approved by _________________________________ _________________________________ _________________________________ _________________________________ New Brunswick, New Jersey October, 2016 ABSTRACT OF THE DISSERTATION Re-visions of the Past: Lyricism as History in Contemporary Chinese Poetry and Film By TARA COLEMAN Dissertation Director: Weijie Song This dissertation investigates the role of lyricism in mainland Chinese and Taiwanese poetry and film. The project centers on the directors Hou Hsiao-hsien and Jia Zhangke, whose films are frequently described as lyrical despite their detailed, realistic recreation of the past. The analysis of these filmmakers is paired with chapters dealing with poetry by Ya Xian, Bei Dao, Xi Chuan and others. Drawing on concepts from both the Chinese and Western traditions, the dissertation identifies key poetic strategies that are operative in the films while taking into account the particularities of each medium. Lyricism is a flexible term that has been applied variously to these poems and films in an attempt to capture the way they translate the affective layers of historical experience into comprehensible artistic forms. Much more than a genre or style, lyricism is the result of a particular activation of the reader or spectator, who must participate in the meaning- making process and therefore bring something of his or her own emotional and personal resources to the work.
    [Show full text]
  • Dlkj;Fdslk ;Lkfdj
    JIA ZHANGKE RETROSPECTIVE AT MoMA PRESENTS CONTEMPORARY FILMS THAT REFLECT THE ENORMOUS CHANGES TAKING PLACE IN CHINESE SOCIETY Internationally Celebrated Filmmaker Takes on Complex Subject Matter Using a Combination of Gritty Realism, Elegant Camerawork, and Unique Artistic Vision Jia Zhangke: A Retrospective March 5–20, 2010 The Roy and Niuta Titus Theaters NEW YORK, February 5, 2010—Jia Zhangke: A Retrospective is the first complete U.S. retrospective of this internationally celebrated contemporary filmmaker who, in little more than a decade, has become one of cinema‘s most critically acclaimed artists and the leading figure of the sixth generation of Chinese filmmakers. The exhibition screens in The Roy and Niuta Titus Theaters from March 5 through 20, 2010, and includes Jia Zhangke‘s (Chinese, b. 1970) entire oeuvre: eight features and six shorts, dating from 1995 to 2008. The retrospective is organized by Jytte Jensen, Curator, Department of Film, The Museum of Modern Art. The director will be at MoMA with Zhao Tao—his leading actress since her debut in Zhantai (Platform) (2000)—to introduce most of his films at screenings between the opening night film on Friday, March 5, at 7:00 p.m. of Shijie (The World) (2004), through the screening on Monday, March 8 at 4:00 p.m. of Black Breakfast (2008) and Sanxia haoren (Still Life) (2006). Jia will also participate in a special Modern Mondays event at MoMA on the evening of March 8 at 7:00 p.m., where he will discuss his recent films and present two shorts and a sneak preview of a segment of his upcoming feature, Shanghai Chuan Qi (I Wish I Knew, 2010), followed by a discussion.
    [Show full text]
  • The Literary Field of Twentieth-Century China Chinese Worlds
    The Literary Field of Twentieth-Century China Chinese Worlds Chinese Worlds publishes high-quality scholarship, research monographs, and source collections on Chinese history and society from 1900 into the next century. "Worlds" signals the ethnic, cultural, and political multiformity and regional diversity of China, the cycles of unity and division through which China's modern history has passed, and recent research trends toward regional studies and local issues. It also signals that Chineseness is not contained within territorial borders - overseas Chinese communities in all countries and regions are also "Chinese worlds". The editors see them as part of a political, economic, social, and cultural continuum that spans the Chinese mainland, Taiwan, Hong Kong, Macau, South-East Asia, and the world. The focus of Chinese Worlds is on modern politics and society and history. It includes both history in its broader sweep and specialist monographs on Chinese politics, anthropology, political economy, sociology, education, and the social-science aspects of culture and religions. The Literary Field of New Fourth Army Twentieth-Century China Communist Resistance along the Edited by Michel Hockx Yangtze and the Huai, 1938-1941 Gregor Benton Chinese Business in Malaysia Accumulation, Ascendance, A Road is Made Accommodation Communism in Shanghai 1920-1927 Edmund Terence Gomez Steve Smith Internal and International Migration The Bolsheviks and the Chinese Chinese Perspectives Revolution 1919-1927 Edited by Frank N. Pieke and Hein Mallee Alexander
    [Show full text]
  • Images/Files/78/78063679-28A3-4423
    presents a film by Jia Zhang-Ke Mandarin/China/2006/108mins DISTRIBUTION (Québec) PRESS Métropole Films Distribution Star PR 5266 boulevard St-Laurent Bonne Smith Montréal, Québec H2T 1S1 Tel: 416-488-4436 Tel: 514.223.5511, Fax: 514.227.1231 Fax: 416-488-8438 Email: [email protected] Email: [email protected] www.mongrelmedia.com High Resolution images can be found at <http://www.mongrelmedia.com/press.html> SYNOPSIS Fengjie’s old town is already under water, but its new neighborhood hasn’t been finished yet. There are things to salvage and there are things to leave behind… Han Sanming, a miner, travels to Fengjie to look for his ex-wife who he has not seen in 16 years. Seeing each other by the Yangtze River, they decide to remarry. Shen Hong, a nurse, travels to Fengjie to look for her husband who hasn’t come home in two years. They hug in front of the Three Gorges Dam. Despite a dance, they sadly call it quits and decide to divorce. Once I walked into someone’s room by accident and saw dust-covered articles on the desk. Suddenly it seemed the secrets of still life fell upon me. The old furniture, the stationery on the desk, the bottles on the windowsills and the decorations on the walls all took on an air of poetic sorrow. Still life represents DIRECTOR’S a reality that has been overlooked by us. Although time has left deep marks on it, it still remains silent and holds the secrets of life. STATEMENT STILL LIFE was shot in the old town of Fengjie.
    [Show full text]