DOCSLIB.ORG

La Sexualité, La Violence Et Le Politiquement Correct Dans Les Films De Zhang Yimou Wei Sun

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
La Sexualité, La Violence Et Le Politiquement Correct Dans Les Films De Zhang Yimou Wei Sun Les tabous et l’autocensure : la sexualité, la violence et le politiquement correct dans les films de Zhang Yimou Wei Sun To cite this version: Wei Sun. Les tabous et l’autocensure : la sexualité, la violence et le politiquement correct dans les films de Zhang Yimou. Art et histoire de l’art. Université Paul Valéry - Montpellier III, 2019. Français. NNT : 2019MON30003. tel-02918132 HAL Id: tel-02918132 https://tel.archives-ouvertes.fr/tel-02918132 Submitted on 20 Aug 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. ! ! ! Délivré par UNIVERSITÉ PAUL-VALÉRY MONTPELLIER III Préparée au sein de l’école doctorale 58 Et de l’unité de recherche RIRRA21 Spécialité : Études cinématographiques et audiovisuelles Présentée par SUN Wei Les tabous et l’autocensure: La sexualité, la violence et le politiquement correct dans les films de Zhang Yimou !"#$%&% Soutenue le 1 ! mars 2019 devant le jury composé de Monsieur Michel CADÉ, Professeur à l’Université de Perpignan, Président du jury Monsieur Angel QUINTANA, Professeur à l’Université de Gerone (Espagnol), Rapporteur Madame Marion POIRSON, Maître de conférences/HDR à l’Université Paul-Valéry, Montpellier III, Directrice de thèse Madame Monique CARCAUD-MACAIRE, Maître de conférences émérite, Université Paul-Valéry, Montpellier III, Membre du jury Madame Pietsie Feenstra, Professeur à l’Université Paul-Valéry, ! Montpellier III, Membre du jury Résumé Les tabous et l’autocensure : la sexualité, la violence et le politiquement correct dans les films de Zhang Yimou Dans un film, la sexualité, la violence et le politiquement correct sont toujours les tabous qu’il faut traiter avec précaution. Malgré la mise en place de la classification cinématographique au monde occidental, le législateur s’empare quand même du contrôle des films au nom de la protection de la jeunesse, pas davantage en République populaire de Chine, le pouvoir communiste qui reste encore au XXI e siècle un régime autoritaire, a le pouvoir absolu des autocrates sur la création artistique. Par là, les tabous, en particulier le politiquement correct, sont interdits de toucher, et la censure omniprésente s’accompagne toujours du processus de la production du film, dont la conception du plan, la genèse du scénario, la réalisation, et la diffusion, provoque le réalisateur à faire l’autocensure lors de la création cinématographique. En tant que leader des cinéastes chinois à notre époque, Zhang Yimou est plutôt un signe légendaire qui témoigne du développement du film chinois, et ses œuvres abondantes, tant en quantité qu’en diversité, servent d’un objet parfait à l’analyse. La plupart de ses œuvres se réalisent à l’aide de l’adaptation cinématographique du texte. Par là, un contraste entre les deux modes d’expression, celui du récit et celui d’audiovisuel, met en relief l’altérité qui nous permet d’avancer notre étude sur la mise en scène de la sexualité, de la violence et du politiquement correct sur l’écran et l’autocensure de notre réalisateur lors de la création cinématographique. Notre étude se propose d’analyser le traitement des tabous par Zhang Yimou au cours de la création cinématographique dans le but de contourner la censure des autorités. Trois axes principaux de recherche ont été privilégiés dans ce travail : l’analyse de la censure cinématographique, son histoire, ses lois et règlements en droit du film, l’analyse de l’interview de Zhang Yimou à la télévision, et à la description de ses coopérateurs, et ! ! l’analyse en détail des œuvres filmiques de Zhang Yimou. Mots clés : censure, cinéma, Chine, Zhang Yimou, adaptation ! ! Abstract : Taboos and self-censorship : Sexuality, violence and political correctness in Zhang Yimou’s films In a movie, sex, violence, and political correctness are often taboos. These taboos need to be handled with caution. Although the film grading system in Western countries has been established, those legislators still use cessation as an excuse to control the film in order to protect the minors. Moreover, as far as the People’s Republic of China is concerned, as one of the few remaining authoritarian regimes in the 21 st century, the Communist regime has absolute arbitrary control over artistic creation. Therefore, these taboos, especially political correctness, are not allowed to touch. The ubiquitous review is often accompanied by the entire process of film production, which involves conception, script-writing, filming, and distribution, prompting the director to constantly self-censorize the film and television creationg process. As the leader of the contemporary Chinese film, Zhang Yimou is almost a legendary symbol, he witnessed the development of Chinese film. And his rich works, both in quantity and diversity, are undoubtedly the perfect research subject. Most of his works are derived from the adaptation of literature to film. The two different expression modes of literature and film, one is the textual expression, and the other is the audiovisual presentation, which forms a sharp contrast. The contrast helps us to study how to present sexuality, violence, and political correctness on the screen, as well as the director’s self-censorship during film-making. Our research focuses on analyzing that how Zhang Yimou is handling of thses taboos in the film-making process, thus avoiding the review of those in power. This paper mainly cuts into three latitudes: Firstly, for the study of film censorship, the study of its history, legal rules and articles. Secondly, the analysis of Zhang Yimou’s TV interviews and the descriptions of his collaborators, and finally a detailed and indepth analysis of Zhang ! ! Yimou’s works. Keywords : Censorship, movie, China, Zhang Yimou, adaptation ! ! Tous mes remerciements à ma directrice de recherches, Madame Marion Poirson, Pour sa bienveillance, ses conseils précieux et son soutien sans faille durant la rédaction de la thèse. ! ! Tous mes sentiments de gratitude aux gens que j’ai rencontrés tout au long de mes recherches, spécialement à Madame Nancy Balard, qui m’ont beaucoup aidé. ! ! A la mémoire de mon père et à celle de ma mère. Une profonde gratitude pour leur soutien de loin, spécialement mon père, qui m’a soutenu mes études jusqu’au dernier instant de sa vie. ! ! LISTE DES ABRÉVIATIONS AERFT Administration d’État de la Radio, du Film et de la Télévision HK Hong Kong JO Jeux Olympiques JP Japon MPAA Motion picture association of America OMC Organisation mondiale du commerce PCA Production code administration PCC Parti communiste chinois RC République de Chine RPC République populaire de Chine URSS Union des républiques socialistes soviétiques USA États-unis ! ! NOTE AUX LECTEURS Les films que nous avons visionnés proviennent de différents supports, dont une grande majorité sur dvds que j’ai achetés en France, tandis que d’autres ont été vus sur TV6 en CCTV (la sixième chaîne de télévision nationle de RPC, thématique au cinéma), sur internet ou au cinéma. Nous avons choisi les versions intégrales autant que possible. Nous avons reproduit les images dans ce travail à l’aide des captures d’écran à partir des versions intégrales sur dvd et sur internet. La mise en forme des titres de films dans notre étude s’organise par l’intitulé officiel anglais, ou français. En cas d’aucune traduction officielle qui n’a pas été faite, le pin yin sera utilisé, et les caractères y attachent juste après. ! yx! SOMMAIRE SOMMAIRE ..................................................................................................................... 11 ! INTRODUCTION ............................................................................................................ 16 ! Délimitation du sujet ................................................................................................ 33 ! Axes de recherche ..................................................................................................... 51 ! 1. Les sources !hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh!y! a) ! Les films !hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh!! b) ! Les mémoires, les entretiens et les notes des proches de Zhang Yimou ! ! c) ! Les interviews exclusives de Zhang Yimou !hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh!! 2. ! La bibliographie !hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh!! PREMIÈRE PARTIE ...................................................................................................... 61 ! LA SEXUALITÉ ET L’AUTOCENSURE AUX FILMS DE ZHANG YIMOU ....... 61 ! Chapitre ! I .............................................................................................................. 63 ! LA SEXUALITÉ SUR GRAND ÉCRAN .............................................................. 63 ! Chapitre ! II ............................................................................................................. 71 ! LE DÉSIR SEXUEL ET LA FIGURE DE LA FEMME
Load more

Recommended publications
  • Chinese National Revitalization and Social Darwinism in Lu Xun's Work
    Chinese National Revitalization and Social Darwinism in Lu Xun’s Work By Yuanhai Zhu A thesis submitted in partial fulfillment of the requirement for the degree of Master of Arts Department of Comparative Literature University of Alberta ©Yuanhai Zhu, 2015 ii Abstract This thesis explores decolonizing nationalism in early 20th century China through its literary embodiment. The topic in the thesis is Lu Xun, a canonical modern Chinese realist whose work is usually and widely discussed in scholarly works on Chinese literature and Chinese history in this period. Meanwhile, late 19th century and early 20th century, as the only semi-post-colonial period in China, has been investigated by many scholars via the theoretical lens of post-colonialism. The intellectual experience in China during this period is usually featured by the encounters between Eastern and Western intellectual worlds, the translation and appropriation of Western texts in the domestic Chinese intellectual world. In this view, Lu Xun’s work is often explored through his individualism which is in debt to Nietzsche, as well as other western romanticists and existentialists. My research purpose is to reinvestigate several central topics in Lu Xun’s thought, like the diagnosis of the Chinese national character, the post-colonial trauma, the appropriation of Nietzsche and the critique of imperialism and colonization. These factors are intertwined with each other in Lu Xun’s work and embody the historical situation in which the Chinese decolonizing nationalism is being bred and developed. Furthermore, by showing how Lu Xun’s appropriation of Nietzsche falls short of but also challenges its original purport, the thesis demonstrates the critique of imperialism that Chinese decolonizing nationalism initiates, as well as the aftermath which it brings to modern China.
    [Show full text]
  • Press Contacts: Michael Krause | Foundry Communications | (212) 586-7967 | [email protected]
    presents a film by ZHANG YIMOU starring GONG LI LI BAOTIAN LI XUEJIAN SUN CHUN WANG XIAOXIAO ————————————————————— “Visually sumptuous…unforgettable.” –New York Post “Crime drama has rarely been this gorgeously alluring – or this brutal.” –Entertainment Weekly ————————————————————— 1995 | France, China | Mandarin with English subtitles | 108 minutes 1.85:1 Widescreen | 2.0 Stereo Rated R for some language and images of violence DIGITALLY RESTORED Press Contacts: Michael Krause | Foundry Communications | (212) 586-7967 | [email protected] Film Movement Booking Contacts: Jimmy Weaver | Theatrical | (216) 704-0748 | [email protected] Maxwell Wolkin | Festivals & Non-Theatrical | (212) 941-7744 x211 | [email protected] SYNOPSIS Hired to be a servant to pampered nightclub singer and mob moll Xiao Jinbao (Gong Li), naive teenager Shuisheng (Wang Xiaoxiao) is thrust into the glamorous and deadly demimonde of 1930s Shanghai. Over the course of seven days, Shuisheng observes mounting tensions as triad boss Tang (Li Baotian) begins to suspect traitors amongst his ranks and rivals for Xiao Jinbao’s affections. STORY Shanghai, 1930. Mr. Tang (Li Boatian), the godfather of the Tang family-run Green dynasty, is the city’s overlord. Having allied himself with Chiang Kai-shek and participated in the 1927 massacre of the Communists, he controls the opium and prostitution trade. He has also acquired the services of Xiao Jinbao (Gong Li), the most beautiful singer in Shanghai. The story of Shanghai Triad is told from the point of view of a fourteen-year-old boy, Shuisheng (Wang Xiaoxiao), whose uncle has brought him into the Tang Brotherhood. His job is to attend to Xiao Jinbao.
    [Show full text]
  • Understanding Chinese Film Culture at the End of the Twentieth Century : the Case of Not One Less by Zhang Yimou
    Journal of Modern Literature in Chinese 現代中文文學學報 Volume 4 Issue 2 Vol. 4.2 四卷二期 (2001) Article 8 1-1-2001 Understanding Chinese film culture at the end of the twentieth century : the case of Not one less by Zhang Yimou Sheldon H. LU University of Pittsburgh Follow this and additional works at: https://commons.ln.edu.hk/jmlc Recommended Citation Lu, S. H. (2001). Understanding Chinese film culture at the end of the twentieth century: The case of Not one less by Zhang Yimou. Journal of Modern Literature in Chinese, 4(2), 123-142. This Discussion is brought to you for free and open access by the Centre for Humanities Research 人文學科研究中 心 at Digital Commons @ Lingnan University. It has been accepted for inclusion in Journal of Modern Literature in Chinese 現代中文文學學報 by an authorized editor of Digital Commons @ Lingnan University. Understanding Chinese Film Culture at the End of the Twentieth Century: The Case of Not One Less by Zhang Yimou* Sheldon H. Lu Under the current political system, he [Zhang Yimou] feels that the biggest difference between himself and directors from foreign countries, Hong Kong, and Taiwan lies in the fact that <lwhen I receive a film script, the first thing I think about is not whether there will be an investor for the film, but how I can make the kind of film I want with the approval of the authorities.” Zeng Guang 巳y the end of the twentieth century, it has become increasingly apparent that the 1990s mark a new phase of cultural development distinct from that of the preceding decade.
    [Show full text]
  • Rui Liu Thesis (PDF 1MB)
    Competition and Innovation: Independent Production in the Chinese TV Industry by Rui Liu Art BA /Journalism MA A thesis submitted in fulfilment of the requirements for the degree of PhD Creative Industries Faculty Queensland University of Technology 2011 Competition and Innovation: Independent Production in Chinese TV Industry Competition and Innovation: Independent Production in Chinese TV Industry Abstract Independent television production is recognised for its capacity to generate new kinds of program content, as well as deliver innovation in formats. Globally, the television industry is entering into the post-broadcasting era where audiences are fragmented and content is distributed across multiple platforms. The effects of this convergence are now being felt in China, as it both challenges old statist models and presents new opportunities for content innovation. This thesis discusses the status of independent production in China, making relevant comparisons with independent production in other countries. Independent television production has become an important element in the reform of broadcasting in China in the past decade. The first independent TV production company was registered officially in 1994. While there are now over 4000 independent companies, the term „independent‟ does not necessarily constitute autonomy. The question the thesis addresses is: what is the status and nature of independence in China? Is it an appropriate term to use to describe the changing environment, or is it a misnomer? The thesis argues that Chinese independents operate alongside the mainstream state- owned system; they are „dependent‟ on the mainstream. Therefore independent television in China is a relative term. By looking at several companies in Beijing, mainly in entertainment, TV drama and animation, the thesis shows how the sector is injecting fresh ideas into the marketplace and how it plays an important role in improving innovation in many aspects of the television industry.
    [Show full text]
  • Diplomarbeit
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES DIPLOMARBEIT Titel der Diplomarbeit „Kino gegen das Vergessen“ Die filmischen Metamorphosen des Zhang Yimou Verfasserin Stefanie Rauscher angestrebter akademischer Grad Magistra der Philosophie (Mag. a phil.) Wien, 2009 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuer: Univ.-Prof. Dr. Michael Gissenwehrer I want to bring Chinese film to the world Zhang Yimou Abstract In ihrem inhaltlichen Schwerpunkt gewährt die Arbeit einen umfangreichen Einblick in die Entwicklungsgeschichte des chinesischen Films von seinen Anfängen im ausgehenden 19.Jahrhundert bis in das frühe 21.Jahrhundert. In der konkreten Untersuchung des definierten Forschungsgegenstandes entsteht eine differenzierte Analyse der fundamentalen politischen Dimension hinsichtlich ihrer determinierenden Wirkung auf die Entfaltung kultureller Phänomene. Dabei wird besonders die sich wandelnde Positionierung des Mediums Film im Kontext der Etablierung des kommunistischen Staatssystems betrachtet. Anhand des innovativen Mediums werden die Parameter der politischen und sozialen Wirklichkeit - die eine umfassende Einschränkung der künstlerischen Freiheit bedeuten - mit der historischen Realität abgeglichen. Im Hinblick auf die signifikante Intermedialität des chinesischen Films wird der analytische Fokus ergänzend auf traditionelle Volkskünste – wie Pekingoper, chinesisches Schattenspiel und Sprechtheater verweisen,
    [Show full text]
  • Dezember 2019
    PROGRAMMINFORMATION NR.250 DEZEMBER 2019 SPECIALS ONCE UPON A TIME IN HOLLYWOOD HOLLYWOODS PHILOSOPHIE MI 04.12.19 19:00 S.13 Ein Filmvortrag von Johannes Dezember Binotto Klostergasse 5 Im Sputnik Liestal 4051 Basel / beim Kunsthallengarten Im Fachwerk Allschwil www.stadtkinobasel.ch Im Marabu Gelterkinden SHOW PEOPLE Tel. 061 272 66 88 www.landkino.ch DO 19.12.19 21:00 S.13 Mit Live-Vertonung vom Ensemble Improcinema – Günter Buchwald (Piano), Bruno Spoerri (Saxophon), Marc Roos (Posaune), SÉLECTION LE BON FILM LANDKINO S.11 Frank Bockius (Schlagzeug) S.27 «A DOG CALLED S.24 BRITISH HEIST MOVIES MONEY» VON ONCE UPON A | ONCE UPON A TIME SPECIAL ZHANG YIMOU SEAMUS MURPHY IN HOLLYWOOD | SÉLECTION LE BON COMING HOME BASLER FILMTREFF DO 05.12.19 18:00 S.23 DIE BASLER KAMERA- TIME IN FILM S.20 Mit einem einführenden Vortrag FRAU ALINE LÁSZLÓ ABSCHIEDSFILM von Luc Schaedler – DEN MOMENT S.26 «À BOUT DE SOUFFLE» EIN FANGEN ODER HOLLYWOOD – EIN ABSCHIED UND SPECIAL BASLER FILMTREFF BILDER INSZENIEREN? S.18 EIN NEUBEGINN VAKUUM MO 09.12.19 18:30 ZHANGLEBEN! YIMOU S.23 Im Rahmen des Basler Filmtreffs gibt die Kamerafrau Aline László Einblick in ihre Arbeitsweise. SPECIAL ABSCHIEDSFILM À BOUT DE SOUFFLE Mi 11.12.19 18:30 S.26 Im Anschluss Apéro. SONNTAG 13:15 ZHANG YIMOU JU DOU S.20 China/Japan 1990 95 Min. Farbe. 35 mm. OV/d/f ZHANG YIMOU, YANG FENGLIANG1 15:15 ONCE UPON A TIME SUNSET BOULEVARD S.14 USA 1950 110 Min. sw. DCP. E/d BILLY WILDER 17:30 ZHANG YIMOU TO LIVE S.20 China/Hongkong 1994 133 Min.
    [Show full text]
  • Shanghai Triad (1995)
    Shanghai Triad (1995) FILM FESTIVAL REVIEW; Soulfully Speaking A Universal Language Felt by the Oppressed By JANET MASLIN Published: September 29, 1995 OPENING night of this year's New York Film Festival should have been triumphant for the Chinese director Zhang Yimou, a film maker whose rare soulfulness and purity of vision have earned him a well-deserved place on the world stage. Instead, overshadowed by China's refusal to allow Mr. Zhang to appear here tonight, the event becomes a more Pyrrhic victory. Although his new film, "Shanghai Triad," is narrowed by the same atmosphere of political repression that keeps Mr. Zhang away this evening, it still speaks the stirring universal language of his bolder work. The power of that artistry is a reproach to those who deny it free reign. "Shanghai Triad" must be seen in its proper context, as a film that was shut down during production because of Mr. Zhang's political problems over "To Live," which addressed itself to recent Chinese history with an openly critical tone. (The cancellation of his trip to New York had nothing to do with his own work. Instead, this was retaliation against the festival for refusing to drop "The Gate of Heavenly Peace," an American documentary about the 1989 showdown in Tiananmen Square in Beijing.) In the aftermath of making "To Live," Mr. Zhang has acknowledged, he was not out to seek further trouble. Hence his choice of "Shanghai Triad," which may be as close as this great director can come to making a conventional film. Set in 1930, it tells of a powerful gangster and his bored, capricious mistress, a fallen woman who ultimately comes to know and regret her mistakes.
    [Show full text]
  • Increasing Visibility of Lesbian Desire in Chinese Cinemas By
    Shaping a New Identity: Increasing Visibility of Lesbian Desire in Chinese Cinemas by Virginia Mulky Bachelor of Philosophy, University of Pittsburgh, 2011 Submitted to the Undergraduate Faculty of the School of Arts and Sciences in partial fulfillment of the requirements for the degree of Bachelor of Philosophy University of Pittsburgh 2011 UNIVERSITY OF PITTSBURGH UNIVERSITY HONORS COLLEGE This thesis was presented by Virginia Mulky It was defended on April 1, 2011 and approved by Alice Kuzniar, Professor, Germanic and Slavic Studies, University of Waterloo Xinmin Liu, Assistant Professor, East Asian Languages and Literatures Neepa Majumdar, Associate Professor, English and Film Studies Thesis Director: Mark Lynn Anderson, Associate Professor, English and Film Studies ii Copyright © by Virginia Mulky 2011 iii Shaping a New Identity: Increasing Visibility of Lesbian Desire in Chinese Cinemas Virginia Mulky, B.Phil. University of Pittsburgh, 2011 In recent years there has been a noticeable increase in Chinese-language films about lesbian romances. Many of these films have found commercial and critical success in Chinese markets such as Taiwan and Hong Kong, as well as honors at international film festivals.In order to analyzes how these films reflect and shape Chinese lesbian identity, this thesis considers how a range of contemporary Chinese-language films produced in Taiwan, Hong Kong, and abroad deploys the figure of the lesbian. In particular, this study examines the production of such films by Chinese cultures outside of Mainland China as a means of promoting an alternative, inclusive Chinese identity in opposition to Mainland censorship. iv TABLE OF CONTENTS INTRODUCTION......................................................................................................................... 8 LOVE’S LONE FLOWER: RE-IMAGINING THE PAST...................................................
    [Show full text]
  • Zhang Yimou's Shanghai Triad
    Zhang Yimou’s Shanghai Triad By Yvonne Ng Fall 1998 Issue of KINEMA Just when it seemed as if every variety of the gangster genre had been played out, Mainland Chinese director Zhang Yimou sprang a pleasant surprise with his film Shanghai Triad (Yao a yao yao dao wai po qiao, 1995). The film is probably the last collaboration between the director and Gong Li, the leading actress inallhis previous films(1) and his off-screen partner until the completion of this film. Few gangster movies have been made in recent years that equal the film in its freshness, style, intelligence, sensual and lyrical beauty. However, in his interview with Zhang at the 1995 Cannes Film Festival, Nigel Andrews reported that Zhang’s latest film had been indifferently received by critics who thought nomore of it than ”just a gangster film” and a mere waste of the director’s(2) talent . Though under-appreciated as a gangster film, Shanghai Triad’s merit has not been totally ignored. In 1995, it won the prize for Best Cinematography at the Cannes Film Festival, the Los Angeles Film Critics Circle, and the New York Film Critics Circle. It was also voted the Best Foreign Film at the American National Board of Review. Indeed, Shanghai Triad is anything but an ordinary gangster film. Viewers who demand graphic violence as part of the gangster genre will find Shanghai Triad disappointing because this trait is significantly missing here. Those anticipating the brooding atmosphere ofa film noir will be surprised by the vibrant glamour of a Shanghai cabaret in the first half of the film.
    [Show full text]
  • UC San Diego UC San Diego Electronic Theses and Dissertations
    UC San Diego UC San Diego Electronic Theses and Dissertations Title Trans-media strategies of appropriation, narrativization, and visualization : adaptations of literature in a century of Chinese cinema Permalink https://escholarship.org/uc/item/5vd0s09p Author Qin, Liyan Publication Date 2007 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Trans-media Strategies of Appropriation, Narrativization, and Visualization: Adaptations of Literature in a Century of Chinese Cinema A Dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Literature by Liyan Qin Committee in charge Professor Yingjin Zhang, Chair Professor Michael Davidson Professor Jin-kyung Lee Professor Paul Pickowicz Professor Wai-lim Yip 2007 The Dissertation of Liyan Qin is approved, and it is acceptable in quality and form for publication on microfilm: Chair University of California, San Diego 2007 iii TABLE OF CONTENTS Signature Page………………………………………………………………………. …..iii Table of Contents……………………………………………………………………. …..iv Acknowledgements……………………………………………………………………...vii Vita……………………………………………………………………………………...viii Abstract……………………………………………………………………………...........ix Chapter 1 Introduction: The Concept of “Adaptation” and its Vicissitude in China……………………………………………………………………………………...1 Situating my Position in Current Scholarships………………………………….........3 The Intertwining of Chinese Film and Literature…………………………………...16 “Fidelity,”
    [Show full text]
  • In Search of Laughter in Maoist China: Chinese Comedy Film 1949-1966
    IN SEARCH OF LAUGHTER IN MAOIST CHINA: CHINESE COMEDY FILM 1949-1966 DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Ying Bao, M.A. ***** The Ohio State University 2008 Dissertation Committee: Approved by Professor Kirk A. Denton, Adviser Professor Mark Bender Professor J. Ronald Green _____________________ Professor Patricia Sieber Adviser East Asian Languages and Literatures Graduate Program Copyright by Ying Bao 2008 ABSTRACT This dissertation is a revisionist study examining the production and consumption of comedy film—a genre that has suffered from relative critical and theoretical neglect in film studies—in a culturally understudied period from 1949 to 1966 in the People’s Republic of China. Utilizing a multidisciplinary approach, it scrutinizes the ideological, artistic, and industrial contexts as well as the distinctive textures of Chinese comedy films produced in the so-called “Seventeen Years” period (1949-1966). Taking comedy film as a contested site where different ideologies, traditions, and practices collide and negotiate, I go beyond the current canon of Chinese film studies and unearth forgotten films and talents to retrieve the heterogeneity of Chinese cinema. The varieties of comedy examined—mostly notably the contemporary social satires in the mid-1950s, the so- called “eulogistic comedies,” and comedian-centered comedies in dialect and period comedies, as well as lighthearted comedies of the late 1950s and the early 1960s— problematize issues of genre, modernity, nation, gender, class, sublimity, and everyday ii life in light of the “culture of laughter” (Bakhtin) within a heavily politicized national cinema.
    [Show full text]
  • Cultural Performance in China
    CULTURAL PERFORMANCE IN CHINA: BEYOND RESISTANCE IN THE 1990s DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jonathan Scott Noble, M.A. * * * * * The Ohio State University 2003 Dissertation Committee: Professor Xiaomei Chen, Adviser Approved by Professor Kirk Denton Professor Pat Sieber Adviser East Asian Languages and Literatures Professor Mark Bender Graduate Program ABSTRACT CULTURAL PERFORMANCE IN CHINA: BEYOND RESISTANCE IN THE 1990s adopts a multi-disciplinary and critical approach in engaging issues of cultural performance, global/local cultural subjectivities, and transnationalism within and between different media, including film, television, drama, fiction, and folk dance in China during the late 1990s. Theories of globalization and transnationalism, key to the dissertation’s theoretical framework, are in part developed from the works of Arjun Appadurai, Homi Bhabha, Rob Wilson, and Wimal Dissanayake. Theories of performativity and performance, adapted from a range of scholars (including Victor Turner, Richard Schechner, and Judith Butler), show how performance is an apt metaphor for cultural production in the 1990s as cultural bipolarities (e.g., local/global; official/anti-official; socialism/capitalism) are obscured by cultural hybridity. The introduction, through a discussion of Li Yang’s feature film Blind Shaft, details my rationale and goals for applying performance theory to cultural production in China. Chapter 2 “Staged Ethnography in Guo Shixing’s Birdman and Bad Talk Street” discusses how Guo’s staging of ethnographic practices and cultural (re)presentation reveals the hybridity inscribed within a post-colonial discursive practice. Chapter 3 “The Re-cycling of Yang’ge by Senior Citizen Street Performers” illustrates how an urbanized folk dance ii performance provides the opportunity for individuals in a social sub-group to assert their subjectivities in a process involving imagined and real individual and social transformation.
    [Show full text]