DOCSLIB.ORG

Shanghai Triad (1995)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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. However endlessly film makers around the world have told that story, Mr. Zhang reimagines it with immense grace and turns it into a deeply felt tragedy. Though the film maker's relations with his leading lady and ex-companion, the ravishing Gong Li, are apparently even dicier than his rapport with his Government, these two have achieved another superb collaboration. This star of Mr. Zhang's "Ju Dou," "Raise the Red Lantern" and "The Story of Qiu Ju" (she has appeared in all seven of his films) is once again a magnetic force, even in a role far outside her usual range. The part is that of a floozy, complete with singing and dancing, but Gong Li's astonishing performance summons all the tawdriness, evil and eventual dignity this story demands. The power of redemption is all the greater for a glittering vixen who leaves such damage in her wake. It will not be lost on tonight's audience that Xiao Jingbao (Miss Gong), nicknamed Jewel, is actually a prisoner, living a life that is closely supervised and tightly confined. As the pampered mistress of Mr. Tang (Li Baotian), the Godfather- like head of a Shanghai crime dynasty, she appears to enjoy great privilege, but mostly this is just the freedom to treat underlings badly. On her own, she is not even free to choose which songs she will sing for Mr. Tang's entertainment in her nightclub act. Gong Li turns up in lace and rhinestones, shaking her red tail feathers while she performs this show. The life of a gangland mistress has filled Xiao Jingbao with loathing, which makes a startling impression on Tang Shuisheng (Wang Xiao Xiao), the 14-year-old boy who is brought to Shanghai to be her servant. So sheltered that he has never even seen ice cream before, Shuisheng is shocked by his new mistress's cruelty. For her part, Xiao Jingbao enjoys taunting this boy while testing the limits of her witchy power. Yet in him, she also comes to recognize some of what she has lost. Mr. Zhang's watchful style lends itself to filtering stories through innocent young characters. (He has used Gong Li as such a figure in the past.) And so "Shanghai Triad" looks through the wide eyes of Shuisheng to observe the mob activities that revolve around Mr. Tang (its English title refers to these gangsters). But the film, loosely based on a Chinese novel and originally written with the mob as its main focus, now watches crime only from a distance, saving its real attention for the events that befall Xiao Jingbao during a fateful week. Midway through the film, a gang massacre forces her, Mr. Tang and his henchmen to flee Shanghai and take refuge in a drastically different world. Visually, the film changes completely when this flight occurs. The first half concentrates on the gaudy life enjoyed by Xiao Jingbao and Mr. Tang, with nightclub and boudoir among its principal settings. (For all their extravagance, these scenes don't achieve the full beauty and fascination of "Raise the Red Lantern," and on close inspection they're a bit threadbare. If the gangster's huge mansion has a faintly institutional look, that's because the film maker had to shoot these scenes in a refurbished convention center.) It suits the characters' chicanery that these episodes unfold indoors and at night. Then, suddenly, the film's heroine finds herself in the natural world and Mr. Zhang becomes more profoundly comfortable with his film's location. Tranquil sunsets, the swaying of reeds, the songs of birds, the sounds of water lapping: all these contrive to make a showgirl in an evening gown look desperately in need of spiritual change. Though the story finds its resolution here, nothing in "Shanghai Triad" occurs quite as expected. The film culminates in strong emotion without seeming sentimental or second-hand. Yet while watching "Shanghai Triad," the viewer will often realize how closely this story verges on -- and successfully avoids -- the familiar and maudlin. The little girl who lives on the island, for instance, is ready-made to tug at the heartstrings. Played by a beautiful child who resembles Gong Li, she makes Xiao Jingbao think of her girlhood, of the motherhood she will never know, and of the ways the child's fate may echo her own. Yet the film transcends easy parallels when it lets the nightclub singer suddenly join the girl in a sweet, long-forgotten song. (Mr. Zhang makes haunting use of children's singing voices throughout the soundtrack. This film's Chinese title comes from Xiao Jingbao's duet with the little girl.) "Shanghai Triad" may at first surprise viewers who expect more daring or exoticism from Mr. Zhang, but in the end it movingly affirms the magnitude of his storytelling power. What he could do with carte blanche about subject matter we can only imagine. Mr. Zhang has not begun making his next film. Tonight's program (which opens at 8 at Alice Tully Hall and at 9 at Avery Fisher Hall) begins by celebrating the first century of cinema with a compilation of Lumiere shorts, the very simplest form of film making. A man mounting a horse, a couple feeding a baby, workers leaving a factory: when the screen first showed audiences such images, the concept of life examined on film seemed a miracle. Today, from an artist of Mr. Zhang's stature, it still does. SHANGHAI TRIAD Directed by Zhang Yimou; written (in Mandarin, with English subtitles) by Bi Feiyu, based on a novel by Li Xiao; director of photography, Lu Yue; edited by Du Yuan; music by Zhang Guangtian; production designer, Cao Jiu Ping; produced by Jean-Louis Piel, Yves Marmion and Wu Yigong; released by Sony Pictures Classics. At Alice Tully Hall tonight at 8 and at Avery Fisher Hall tonight at 9 to open the 33d New York Film Festival. Running time: 109 minutes. This film is not rated. WITH: Gong Li (Xiao Jingbao), Li Baotian (Mr. Tang, the Godfather), Li Xuejian (Liu Shu), Shun Chun (No. 2), Wang Xiao Xiao (Shuisheng) and Jiang Baoying (widow). .
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]
  • University of California, San Diego
    UNIVERSITY OF CALIFORNIA, SAN DIEGO Shanghai in Contemporary Chinese Film A Thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in Comparative Literature by Xiangyang Liu Committee in charge: Professor Yingjin Zhang, Chair Professor Larissa Heinrich Professor Wai-lim Yip 2010 The Thesis of Xiangyang Liu is approved and it is acceptable in quality and form for publication on microfilm and electronically: ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ Chair University of California, San Diego 2010 iii TABLE OF CONTENTS Signature Page……………………………………………………………………… iii Table of Contents…………….…………………………………………………...… iv Abstract………………………………………………………………..…................ v Introduction…………………………………………………………… …………... 1 Chapter One A Modern City in the Perspective of Two Generations……………………………... 3 Chapter Two Urban Culture: Transmission and circling………………………………………….. 27 Chapter Three Negotiation with Shanghai’s Present and Past…………………………………….... 51 Conclusion………………………...………………………………………………… 86 Bibliography..……………………..…………………………………………… …….. 90 iv ABSTRACT OF THE THESIS Shanghai in Contemporary Chinese Film by Xiangyang Liu Master of Arts in Comparative Literature University of California, San Diego, 2010 Professor Yingjin Zhang, Chair This thesis is intended to investigate a series of films produced since the 1990s. All of these films deal with
    [Show full text]
  • Feature Films
    NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 ..........................
    [Show full text]
  • Tape ID Title Language Type System
    Tape ID Title Language Type System 1361 10 English 4 PAL 1089D 10 Things I Hate About You (DVD) English 10 DVD 7326D 100 Women (DVD) English 9 DVD KD019 101 Dalmatians (Walt Disney) English 3 PAL 0361sn 101 Dalmatians - Live Action (NTSC) English 6 NTSC 0362sn 101 Dalmatians II (NTSC) English 6 NTSC KD040 101 Dalmations (Live) English 3 PAL KD041 102 Dalmatians English 3 PAL 0665 12 Angry Men English 4 PAL 0044D 12 Angry Men (DVD) English 10 DVD 6826 12 Monkeys (NTSC) English 3 NTSC i031 120 Days Of Sodom - Salo (Not Subtitled) Italian 4 PAL 6016 13 Conversations About One Thing (NTSC) English 1 NTSC 0189DN 13 Going On 30 (DVD 1) English 9 DVD 7080D 13 Going On 30 (DVD) English 9 DVD 0179DN 13 Moons (DVD 1) English 9 DVD 3050D 13th Warrior (DVD) English 10 DVD 6291 13th Warrior (NTSC) English 3 nTSC 5172D 1492 - Conquest Of Paradise (DVD) English 10 DVD 3165D 15 Minutes (DVD) English 10 DVD 6568 15 Minutes (NTSC) English 3 NTSC 7122D 16 Years Of Alcohol (DVD) English 9 DVD 1078 18 Again English 4 Pal 5163a 1900 - Part I English 4 pAL 5163b 1900 - Part II English 4 pAL 1244 1941 English 4 PAL 0072DN 1Love (DVD 1) English 9 DVD 0141DN 2 Days (DVD 1) English 9 DVD 0172sn 2 Days In The Valley (NTSC) English 6 NTSC 3256D 2 Fast 2 Furious (DVD) English 10 DVD 5276D 2 Gs And A Key (DVD) English 4 DVD f085 2 Ou 3 Choses Que Je Sais D Elle (Subtitled) French 4 PAL X059D 20 30 40 (DVD) English 9 DVD 1304 200 Cigarettes English 4 Pal 6474 200 Cigarettes (NTSC) English 3 NTSC 3172D 2001 - A Space Odyssey (DVD) English 10 DVD 3032D 2010 - The Year
    [Show full text]
  • Guide to the Papers of the Capri Community Film Society
    Capri Community Film Society Papers Guide to the Papers of the Capri Community Film Society Auburn University at Montgomery Archives and Special Collections © AUM Library Written By: Rickey Best & Jason Kneip Last Updated: 2/19/2008 TABLE OF CONTENTS Content Page # Collection Summary 2 Administrative Information 2 Restrictions 2-3 Index Terms 3 Agency History 3-4 1 of 64 Capri Community Film Society Papers Scope and Content 5 Arrangement 5-10 Inventory 10- Collection Summary Creator: Capri Community Film Society Title: Capri Community Film Society Papers Dates: 1983-present Quantity: 6 boxes; 6.0 cu. Ft. Identification: 92/2 Contact Information: AUM Library Archives & Special Collections P.O. Box 244023 Montgomery, AL 36124-4023 Ph: (334) 244-3213 Email: [email protected] Administrative Information Preferred Citation: Capri Community Film Society Papers, Auburn University Montgomery Library, Archives & Special Collections. Acquisition Information: The collection began with an initial transfer on September 19, 1991. A second donation occurred in February, 1995. Since then, regular donations of papers occur on a yearly basis. Processed By: Jermaine Carstarphen, Student Assistant & Rickey Best, Archivist/Special Collections Librarian (1993); Jason Kneip, Archives/Special Collections Librarian. Samantha McNeilly, Archives/Special Collections Assistant. 2 of 64 Capri Community Film Society Papers Restrictions Restrictions on access: Access to membership files is closed for 25 years from date of donation. Restrictions on usage: Researchers are responsible for addressing copyright issues on materials not in the public domain. Index Terms The material is indexed under the following headings in the Auburn University at Montgomery’s Library catalogs – online and offline.
    [Show full text]
  • Western Criticism, Labelling Practice and Self-Orientalised East Asian Films
    Travelling Films: Western Criticism, Labelling Practice and Self-Orientalised East Asian Films Goldsmiths College University of London PhD thesis (Cultural Studies) Ji Yeon Lee Abstract This thesis analyses western criticism, labelling practices and the politics of European international film festivals. In particular, this thesis focuses on the impact of western criticism on East Asian films as they attempt to travel to the west and when they travel back to their home countries. This thesis draws on the critical arguments by Edward Said's Orientalism: Western Conceptions of the Orient (1978) and self-Orientalism, as articulated by Rey Chow, which is developed upon Mary Louise Pratt's conceptual tools such as 'contact zone' and 'autoethnography'. This thesis deals with three East Asian directors: Kitano Takeshi (Japanese director), Zhang Yimou (Chinese director) and 1m Kwon-Taek (Korean director). Dealing with Japanese, Chinese and Korean cinema is designed to show different historical and cultural configurations in which each cinema draws western attention. This thesis also illuminates different ways each cinema is appropriated and articulated in the west. This thesis scrutinises how three directors from the region have responded to this Orientalist discourse and investigates the unequal power relationship that controls the international circulation of films. Each director's response largely depends on the particular national and historical contexts of each country and each national cinema. The processes that characterise films' travelling are interrelated: the western conception of Japanese, Chinese or Korean cinema draws upon western Orientalism, but is at the same time corroborated by directors' responses. Through self-Orientalism, these directors, as 'Orientals', participate in forming and confirming the premises of western Orientalism.
    [Show full text]
  • Film Appreciation Wednesdays 6-10Pm in the Carole L
    Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced.
    [Show full text]
  • Teaching Post-Mao China Not Connected
    RESOURCES FILM REVIEW ESSAY documentary style with which filmmaker Zhang Yimou is normally Teaching Post-Mao China not connected. This style—long shots of city scenes filled with people Two Classic Films and a subdued color palette—contribute to the viewer’s understand - ing of life in China in the early 1990s. The village scenes could be By Melisa Holden from anytime in twentieth century China, as the extent of moderniza - tion is limited. For example, inside peasants’ homes, viewers see Introduction steam spewing from characters’ mouths because of the severe cold The Story of Qiu Ju and Beijing Bicycle are two films that have been and lack of central heating. However, when Qiu Ju travels to the ur - used in classrooms since they were produced (1992 and 2001, respec - banized areas, it becomes obvious that the setting is the late twentieth tively). Today, these films are still relevant to high school and under - century. The film was shot only a couple of years after the Tiananmen graduate students studying history, literature, and related courses Square massacre in 1989. Zhang’s previous two films ( Ju Dou and about China, as they offer a picture of the grand scale of societal Raise the Red Lantern ) had been banned in China, but with The Story change that has happened in China in recent decades. Both films il - of Qiu Ju , Zhang depicts government officials in a positive light, lustrate contemporary China and the dichotomy between urban and therefore earning the Chinese government’s endorsement. One feels rural life there. The human issues presented transcend cultural an underlying tension through Qiu Ju’s search for justice, as if it is not boundaries and, in the case of Beijing Bicycle , feature young charac - only justice for her husband’s injured body and psyche, but also jus - ters that are the age of US students, allowing them to further relate to tice supposedly found through democracy.
    [Show full text]
  • Walpole Public Library DVD List A
    Walpole Public Library DVD List [Items purchased to present*] Last updated: 01/12/2012 A A A place in the sun AAL Aaltra ABB V.1 The best of Bud Abbot and Lou Costello : the Franchise Collection, vol.1 ABB V.2 The best of Bud Abbot and Lou Costello : the Franchise Collection, vol.2 ABB V.3 The best of Bud Abbot and Lou Costello : the Franchise Collection, vol.3 ABB V.4 The best of Bud Abbot and Lou Costello : the Franchise Collection, vol.4 ABE Aberdeen ABO About a boy ABO About Schmidt ABO Above the rim ACC Accepted ACE Ace in the hole ACE Ace Ventura pet detective ACR Across the universe ADA Adam's apples ADA Adams chronicles, The ADA Adam ADA Adam‟s Rib ADA Adaptation ADJ Adjustment Bureau, The ADV Adventure of Sherlock Holmes‟ smarter brother, The AEO Aeon Flux AFF Affair to remember, An AFR African Queen, The AFT After the sunset AFT After the wedding AGU Aguirre : the wrath of God AIR Air Force One AIR Air I breathe, The AIR Airplane! AIR Airport : Terminal Pack [Original, 1975, 1977 & 1979] ALA Alamar ALE Alexander‟s ragtime band ALI Ali ALI Alice Adams ALI Alice in Wonderland ALI Alien ALI Alien vs. Predator ALI Alien resurrection ALI3 Alien 3 ALI Alive ALL All about Eve ALL All about Steve ALL series 1 All creatures great and small : complete series 1 ALL series 2 All creatures great and small : complete series 2 ALL series 3 All creatures great and small : complete series 3 *does not reflect missing materials or those being mended Walpole Public Library DVD List [Items purchased to present*] ALL series 4 All creatures great
    [Show full text]
  • Perspectives in Flux
    Perspectives in Flux Red Sorghum and Ju Dou's Reception as a Reflection of the Times Paisley Singh Professor Smith 2/28/2013 East Asian Studies Thesis Seminar Singh 1 Abstract With historical and critical approach, this thesis examined how the general Chinese reception of director Zhang Yimou’s Red Sorghum and Ju Dou is reflective of the social conditions at the time of these films’ release. Both films hold very similar diegeses and as such, each generated similar forms of filmic interpretation within the academic world. Film scholars such as Rey Chow and Sheldon Lu have critiqued these films as especially critical of female marginalization and the Oedipus complex present within Chinese society. Additionally, the national allegorical framing of both films, a common pattern within Chinese literary and filmic traditions, has thoroughly been explored within the Chinese film discipline. Furthermore, both films have been subjected to accusations of Self-Orientalization and Occidentalism. The similarity between both films is undeniable and therefore comparable in reference to the social conditions present in China and the changing structures within the Chinese film industry during the late 1980s and early 1990s. Although Red Sorghum and Ju Dou are analogous, each received almost opposite reception from the general Chinese public. China's social and economic reform, film censorship, as well as the government’s intervention and regulation of the Chinese film industry had a heavy impact upon each film’s reception. Equally important is the incidence of specific events such as the implementation of the Open Door policy in the 1980s and 1989 Tiananmen Square Massacre.
    [Show full text]
  • Foreignizing Translation on Chinese Traditional Funeral Culture in the Film Ju Dou
    ISSN 1923-1555[Print] Studies in Literature and Language ISSN 1923-1563[Online] Vol. 15, No. 1, 2017, pp. 47-50 www.cscanada.net DOI:10.3968/9758 www.cscanada.org Foreignizing Translation on Chinese Traditional Funeral Culture in the Film Ju Dou PENG Xiamei[a],*; WANG Piaodi[a] [a]School of Foreign Languages, North China Electric Power University, Since Red Sorghum, the first film directed by him has Beijing, China. won the Golden Bear on February 23th, 1988, Zhang and *Corresponding author. his films produced a series of surprises for the Chinese Supported by The Fundamental Research Funds for the Central people and the world (Ban, 2003). He was said to be one Universities (JB2017074). of the most advanced figures in Chinese movies, and his films are regarded as a symbol of Chinese contemporary Received 15 April 2017; accepted 17 July 2017 culture. Published online 26 July 2017 In Zhang’s films, you’ll see a profound understanding of Chinese traditional feudal consciousness and strong Abstract critical spirit, which proves to be a strong sense of China is a country with more than five thousand years of history and life consciousness. It’s a peculiar landscape traditional cultures, which is broad and profound. With the of traditional folk customs and also praises for women’s increasing international status of China in recent years, rebellious spirit. The constant exploration and innovation more and more countries are interested in China and its in the film style and language represent the rise of a traditional culture as well. Film and television works, as new film trend.
    [Show full text]
  • La Sociedad China a Través De Su Cine
    E.G~oooo OCIOO 1'11 ~ ,qq~ ~ QC4 (j) 1q~t Instituto Tecnológico y de Estudios Superiores de Monterrey Campus Eugenio Garza Sada La sociedad china a través de su cine Tesis presentada como requisito parcial para optar al título de Maestro en Educación con especialidad en Humanidades Autor: Ernesto Diez-Martínez Guzmán Asesor: Dr. Víctor López Villafañe Monterrey, N.L. abril de 1997 INTITUTO TECNOLOGICO Y DE ESTUDIOS SUPERIORES DE MONTERREY CAMPUS EUGENIO GARZA SADA La sociedad china a través de su cine Tesis presentada como requisito parcial para optar al título de Maestro en Educación con especialidad en Humanidades Autor: Ernesto Diez-Martínez Guzmán Asesor: Dr. Victor López Villafañe Monterrey, N.L. abril de 1997. A Martha, Alberto y Viridiana, por el tiempo robado. i Reconocimientos Al Dr. Victor López Villafañe, por el interés en este trabajo y por las palabras de aliento. Al ITESM Campus Sinaloa, por el apoyo nunca regateado. i i Resumen Tesis: "El cine chino a través de su cine". Autor: Ernesto Diez-Martínez Guzmán. Asesor: Dr. Víctor López Villafañe. La presente investigación. llamada "La sociedad china a través de su cine", pretende arribar al conocimiento de los mecanismos sociales, culturales y de poder de la sociedad china en el siglo XX, todo ello a través del estudio de la cinematografía del país más poblado del mundo. Desde los albores de la industria hasta la inminente fusión de Hong Kong con la China continental, el cine ha sido un importantísimo medio cultural, de entretenimiento y de propaganda, que ha sido testigo y actor fundamental de las grandes transformaciones de este país.
    [Show full text]