Contributors

Total Page:16

File Type:pdf, Size:1020Kb

Contributors Contributors ROBERT F. ASH holds the Chiang Ching-kuo Chair of Taiwan Studies at SOAS, University of London. He is also co-ordinator of the EU-China Academic Network (ECAN). DAVID BACHMAN is professor and chair of the China Studies Program at the University of Washington’s Henry M. Jackson School of International Studies. He is the author of Bureaucracy, Economy, and Leadership in China, among other works, and is completing a book on defense industrialization under Mao. HUGH D. R. BAKER is Professor of Chinese and Head of the East Asia Department at SOAS. He has published extensively on Chinese family organization, on Hong Kong society, and on Chinese cultural matters. MARC BLECHER is Professor of Politics and East Asian Studies at Oberlin College. His most recent books are: China Against the Tides (recently translated into Chinese and Korean) and Tethered Deer: Government and Economy in a Chinese County (with Vivienne Shue). He is presently at work on a book provisionally entitled: A World to Lose: Workers’ Politics and the Chinese State. JOHN CHILD is Professor of Commerce at the University of Birmingham, U.K. He is also a Visiting Professor at the University of Hong Kong. His published works include Management in China during the Age of Reform. CHIH-PING CHOU is a Professor of East Asian Studies in the Department of East Asian Studies at Princeton University. His recent research has focused on modern Chinese intellectual history. DEBORAH DAVIS is Professor of Sociology at Yale University. Her most recent work is as editor of The Consumer Revolution in Urban China (2000). She is currently completing a book entitled A Home of Their Own on the social and familial consequences of urban housing reforms. FRANK DIKO¨ TTER is Director of the Contemporary China Institute at SOAS. He has recently finished a monograph on prisons in modern China and is leading a research team in an ESRC-funded project entitled Narcotic Culture: A Social History of Opiates in Modern China. LOWELL DITTMER is Professor of Political Science at the University of California, Berkeley. He is the author of Liu Shaoqi and the Chinese Cultural Revolution (1997), China Under Reform (1994) and many other analyses of PRC leadership behaviour. His most recent book (with Haruhiro Fukui and Peter N.S. Lee) is Informal Politics in East Asia (2000). RICHARD LOUIS EDMONDS is Editor of The China Quarterly and Senior Lecturer in Geography with reference to China at SOAS. He has written extensively on mainland China, Japan, Taiwan, Macau and Hong Kong. His publications include: Macau (1989); Patterns of China’s Lost Harmony: A Survey of the Country’s Environmental Degradation and Protection (1994); and (ed.) Managing the Chinese Environment (1998). C. CINDY FAN is Associate Professor of Geography and Chair of the Asian American Studies Interdepartmental Program at the University of California, Los Angeles. Her research focuses upon regional development, urban systems and migration in China. DAVID FAURE is University Lecturer in Modern Chinese History and a Fellow of St. Anthony’s College at the University of Oxford. BERNHARD FUEHRER is lecturer in classical Chinese philosophy and language at the School of Oriental and African Studies, University of London. He is author of Chinas erste Poetik. Das Shipin (Kriterion Poietikon) des Zhong Hong 566 The China Quarterly (1995) and Vergessen und verloren. Die Geschichte der oesterreichischen Chinastudien (2001), co-editor of Chinesisches Selbstverstaendnis und kul- turelle Identitaet (1996) and Tradition und Moderne. Religion, Philosophie und Literatur in China (1997). He is currently editing a volume on Censorship in China, Past and Present. TOM GOLD is Professor of Sociology at the University of California, Berkeley, and a member of the Red Guard generation. He studies private business in main- land China and socio-political change in Taiwan. STEVEN M. GOLDSTEIN is Sophia Smith Professor of Government at Smith College. XIAOLIN GUO is a research associate at the Center for East and Southeast Asian Studies at Lund University, and teaches in the department of Social Anthro- pology at Lund University. Her current research projects are on rural urbanization and the ethnic dimension of rural economy in China. PETER HABERZETTL is a Hong Kong-based geographer. He is the author of various publications on Macau. THOMAS HEBERER is Professor of Political Science and East Asian Studies at the Institute for East Asian Studies, Gerhard-Mercator University, Duisberg, Ger- many. PETER HO is lecturer at the Environmental Policy Group of Wageningen Univer- sity. He has published articles through Modern China, Development and Change, The China Quarterly and M.E. Sharpe on themes of rural develop- ment, natural resource management, and environmental policy in China. YIN-PING HO is a faculty member in the Economics Department at the Chinese University of Hong Kong. His most recent research and publications have focused on China’s foreign trade and investment. RUPERT HODDER is a Lecturer in Geography at the University of Plymouth, U.K. He writes on China and Southeast Asia. His publications include: Merchant Princes of the East: Cultural Delusions, Economic Success and the Overseas Chinese in Southeast Asia (1996) and In China’s Image: Chinese Self-Percep- tion in Western Minds (2000). CARSTEN A. HOLZ is an Assistant Professor in the Social Science Division of the Hong Kong University of Science and Technology. He has published on financial and macroeconomic issues in China, most recently on rural finance, investment control and SOE reform. CHRISTOPHER HOWE is Professor of Chinese Business and Management, Centre for Financial and Management Studies, SOAS. Recent publications include: The Origins of Japanese Trade Supremacy: Development and Technology from 1540 to the Pacific War (new edn. 1999); Chinese Technology Transfer in the 1990’s, ed., with Charles Feinstein (1997); The Chinese Economic Reform: A Study with Documents (forthcoming 2001, with Y.Y.Kueh and R.A. Ash). CHANG-TAI HUNG is Professor of Humanities at the Hong Kong University of Science and Technology. He is author of War and Popular Culture: Resist- ance in Modern China, 1937–1945 (1994) and other publications on modern Chinese cultural history. ANDREW F. JONES is Assistant Professor of Chinese at the University of California, Berkeley, and the author of Yellow Music: Media Culture and Colonial Modernity in the Chinese Jazz Age (2001). VICTOR S. KAUFMAN is Assistant Professor of History at Francis Marion University in Florence, South Carolina. He is the author of Confronting Communism: U.S. and British Policies toward China (2001). FUNG KWAN teaches economics and co-ordinates the Economics Programme and the Contemporary China Studies Programme at the University of Macau. His Contributors 567 research interests include development economics and rural development in China, especially labour issues. KENNETH LIEBERTHAL is Professor of Political Science and William Davidson Professor of Business Administration at the University of Michigan. Amongst his many publications is Governing China: From Revolution through Reform (1995). HONG LIU teaches at the Department of Chinese Studies, National University of Singapore. He has published many articles on the Chinese overseas and on Sino-Southeast Asian interactions. He is a co-editor of the 12-volume Encyc- lopedia of Chinese Overseas (Beijing from 1998). YI-MIN LIN teaches at the Division of Social Science, Hong Kong University of Science and Technology. ANDREW LO is Senior Lecturer in Chinese at the School of Oriental and African Studies, London. His main area of research is Ming and Qing dynasty litera- ture and the life of the literati. SHEILA OAKLEY is a member of the Asia Research Centre at Murdoch University, Western Australia, where she recently completed a Ph.D. Thesis entitled Labour Relations in China’s Socialist Market Economy: The Operation of the Labour Dispute Mediation and Arbitration Committee 1987–1996. JEAN C. OI is the William Haas Professor of Chinese Politics and Director of the Centre for East Asian Studies, Stanford University. Her research has focused on questions of poilitical economy and the process of reform in traditional systems. She is the author of Rural China Takes Off: Institutional Foundations of Economic Reform, and Peasant in Contemporary China: The Political Economy of Village Government. She is the co-editor of Property Rights and Economic Reform in China (1999). CLIFTON W. PANNELL is Professor of Geography and Associate Dean of the Franklin College of Arts and Sciences at the University of Georgia. His research centres on China’s urban and economic geography, and his most recent work (with Sun Sheng Han) is on the geography of privatization in China (1999). PHILIP C. SAUNDERS is Director, East Asia Nonproliferation Program, Center for Nonproliferation Studies, Monterey Institute of International Studies. VIVIENNE SHUE is the Frank and Rosa Rhodes Professor of Chinese Government and Director of the East Asia Program at Cornell University. DAVID SHAMBAUGH is Professor of Political Science and International Affairs and Director of the China Policy Program in the Elliott School of International Affairs at the George Washington University. He was Editor of The China Quarterly, 1991–1996. His most recent book, Modernizing China’s Military: Progress and Problems, will appear later this year from University of Califor- nia Press. TERRY SICULAR is Associate Professor of Economics and Co-Director of the Tran- sition Economies Research Forum at the University of Western Ontario, London, Ontario, Canada. Her current research is on the topics of of income distribution, poverty, and labour in China. MARIA TROGOSO works in the Division of Cultural and International Affairs, Uni- versidade Aberta in Lisbon. Between 1990 and 1999 she taught in the Universidade de Macau. Her translation of Sanzijing with commentary will be published in Lisbon as the first step in a research project on Chinese traditional primers. ANDREW G. WALDER is Professor of Sociology at Stanford University, where he is also a Senior Fellow in the Institute of International Studies.
Recommended publications
  • Bibliography
    BIBLIOGRAPHY An Jingfu (1994) The Pain of a Half Taoist: Taoist Principles, Chinese Landscape Painting, and King of the Children . In Linda C. Ehrlich and David Desser (eds.). Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan . Austin: University of Texas Press, 117–25. Anderson, Marston (1990) The Limits of Realism: Chinese Fiction in the Revolutionary Period . Berkeley: University of California Press. Anon (1937) “Yueyu pian zhengming yundong” [“Jyutpin zingming wandung” or Cantonese fi lm rectifi cation movement]. Lingxing [ Ling Sing ] 7, no. 15 (June 27, 1937): no page. Appelo, Tim (2014) ‘Wong Kar Wai Says His 108-Minute “The Grandmaster” Is Not “A Watered-Down Version”’, The Hollywood Reporter (6 January), http:// www.hollywoodreporter.com/news/wong-kar-wai-says-his-668633 . Aristotle (1996) Poetics , trans. Malcolm Heath (London: Penguin Books). Arroyo, José (2000) Introduction by José Arroyo (ed.) Action/Spectacle: A Sight and Sound Reader (London: BFI Publishing), vii-xv. Astruc, Alexandre (2009) ‘The Birth of a New Avant-Garde: La Caméra-Stylo ’ in Peter Graham with Ginette Vincendeau (eds.) The French New Wave: Critical Landmarks (London: BFI and Palgrave Macmillan), 31–7. Bao, Weihong (2015) Fiery Cinema: The Emergence of an Affective Medium in China, 1915–1945 (Minneapolis: University of Minnesota Press). Barthes, Roland (1968a) Elements of Semiology (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1968b) Writing Degree Zero (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1972) Mythologies (trans. Annette Lavers), New York: Hill and Wang. © The Editor(s) (if applicable) and The Author(s) 2016 203 G.
    [Show full text]
  • Interracial Experience Across Colonial Hong Kong and Foreign Enclaves in China from the Late 1800S to the 1980S
    Volume 14, Number 2 • Spring 2017 Erasure, Solidarity, Duplicity: Interracial Experience across Colonial Hong Kong and Foreign Enclaves in China from the late 1800s to the 1980s By Vicky Lee, Ph.D., Hong Kong Baptist University Abstract: How were Eurasians perceived and classified in Hong Kong and China during this hundred-year period? Blood admixture was only one of many ways: others included patrilineal descent, choice of family name, and socio-economic background. Family-imposed silence on one’s Eurasian background remained strong, and individual attempts to erase one’s Eurasian identity were common for survival reasons. It is no wonder that government authorities often had difficulty quantifying their Eurasian population. What experiences of erasure of Eurasianness were shared both collectively and individually? A strong sense of Eurasian solidarity was manifested in different forms, such as intermarriage and community cemeteries. Duplicity was another common element in their experience: Name-changing practices and submission to the new Japanese government during the Occupation sometimes rendered Eurasians suspect during and after wartime. Memoirs reflect the constant psychological harassment of Eurasians in patriotic Chinese schools during 1940s Peking and in Tsingdao, and Eurasians became frequent targets for criticism during the Maoist Era. Many Eurasians experienced psychological and physical torment as their very faces were evidence enough to subject them to criticism and punishments. Permalink: Citation: Lee, Vicky. “Erasure, Solidarity, Duplicity: usfca.edu/center-asia-pacific/perspectives/v14n2/Lee Interracial Experience across Colonial Hong Kong and Keywords: Foreign Enclaves in China from the late 1800s to the Chinese Eurasian, Mixed Identities, Colonial 1980s,” Asia Pacific Perspectives, Vol.
    [Show full text]
  • Imports Get to the Core of Local Tastes US, Taiwanese and Even Indian Titles Overshadowed Hong Kong Fare at Its Home Box Office in 2011
    FEATURE You Are The Apple Of My Eye: biggest ever Chinese-language release in Hong Kong Imports get to the core of local tastes US, Taiwanese and even Indian titles overshadowed Hong Kong fare at its home box office in 2011. Liz Shackleton reports on a territory looking abroad for its next blockbuster he big surprise at the Hong Kong box offi ce end of April, A Simple Life had grossed $3.57m in in the number of releases from 286 in 2010 to 276 over the past year has been the success of Tai- Hong Kong, while Love In The Buff, which follows last year. Twanese romantic comedy You Are The Apple a Hong Kong couple in Beijing, had grossed Hong Kong movies had only a 20.2% market Of My Eye, which grossed nearly $8m at the end of $3.6m. share in 2011 compared to 22.6% in 2010. Local 2011 to become the biggest ever Chinese-language But on the whole, Hollywood fi lms, particularly producers are making fewer fi lms specifi cally for release in Hong Kong. effects-laden 3D spectaculars, continued to rule the the local market and Hong Kong audiences tend to A huge hit in Taiwan, where it was also released roost in Hong Kong — Apple ranked third in the reject the bigger budget Hong Kong-China co- by Fox, the fi lm fl ourished on word-of-mouth and 2011 top 10 behind the latest instalments in the productions, which make most of their returns on repeat viewings. Based on the director’s own expe- Transformers and Harry Potter series.
    [Show full text]
  • Challenging Dead: a Look Into Foreigners' Cemeteries in Macau
    Challenging Dead A Look into Foreigners’ Cemeteries in Macau, Hong Kong, and Taiwan Gotelind Müller Challenging Dead: A Look into Foreigners’ Cemeteries in Macau, Hong Kong, and Taiwan Gotelind Müller About the author Prof. Dr. Gotelind Müller-Saini is professor of Sinology at the Institute of Chinese Studies, University of Heidelberg. Her research interests are modern Chinese history and Sino- Japanese-Western cultural exchange. Published at CrossAsia-Repository, Heidelberg University Library 2018 This book is published under the Creative Commons Attribution-Non Commercial-Non Derivative 4.0 International (CC-BY-NC-ND 4.0). The electronic Open Access version of this work is permanently available on CrossAsia- Repository: http://crossasia-repository.ub.uni-heidelberg.de/ urn: urn=urn:nbn:de:bsz:16-crossasiarep-41457 url: http://crossasia-repository.ub.uni-heidelberg.de/4145 doi: http://doi.org/10.11588/xarep.00004145 Text and illustrations Gotelind Müller-Saini 2018 ISBN 978-3-946742-52-4 (PDF) Challenging Dead: A Look into Foreigners’ Cemeteries in Macau, Hong Kong, and Taiwan Introduction1 The issue of foreigners’ burial in Chinese soil is a notoriously problematic one. As one book aptly sums up the baseline with its title: “No foreign bones in China”.2 In general, the Chinese attitude is summarized in the well-known dictum: “fallen leaves return to their roots” (luoye guigen 落葉歸根). Thus, even if a burial needs to be done somewhere else, it is conceived of as only temporary with the ideal of a one-day return “to the roots” – even if not manageable in practice. 3 In southern China, where secondary burial is common, this idea of “moving” the dead is not as unusual a thought as it might seem in most Western Christian contexts where the ideal is represented by “R.I.P.” (requiescat in pace): to leave the dead to rest in peace without disturbing them any further.
    [Show full text]
  • Politicized Identity in Peter Ho Davies's the Welsh Girl and The
    University of Texas at Tyler Scholar Works at UT Tyler English Department Theses Literature and Languages Spring 4-23-2019 Politicized Identity in Peter Ho Davies's The elW sh Girl and The orF tunes Savanna S. Batson University of Texas at Tyler Follow this and additional works at: https://scholarworks.uttyler.edu/english_grad Part of the American Literature Commons, Feminist, Gender, and Sexuality Studies Commons, Literature in English, British Isles Commons, and the Literature in English, North America, Ethnic and Cultural Minority Commons Recommended Citation Batson, Savanna S., "Politicized Identity in Peter Ho Davies's The eW lsh Girl and The orF tunes" (2019). English Department Theses. Paper 19. http://hdl.handle.net/10950/1313 This Thesis is brought to you for free and open access by the Literature and Languages at Scholar Works at UT Tyler. It has been accepted for inclusion in English Department Theses by an authorized administrator of Scholar Works at UT Tyler. For more information, please contact [email protected]. POLITICIZED IDENTITY IN PETER HO DAVIES’S THE WELSH GIRL AND THE FORTUNES by SAVANNA BATSON A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of English Carolyn Tilghman, Ph.D., Committee Chair College of Liberal Arts The University of Texas at Tyler May 2019 © Copyright 2019 by Savanna Batson All rights reserved. Dedication This thesis is dedicated to my grandmothers, Shirley and Betti, for their courage and faith. Acknowledgements I would like to acknowledge and thank the faculty and staff of the English Department at The University of Texas at Tyler.
    [Show full text]
  • From Comrades: Almost a Love Story)
    University of Alberta Inner World of Drifting Chinese People: Narrative Functions of Motifs in Peter Ho-sun Chan’s Love Trilogy by Yishuang Zhang A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts in East Asian Interdisciplinary Studies Department of East Asian Studies © Yishuang Zhang Fall 2013 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission. Abstract This thesis focuses on the narrative functions of motifs in Peter Ho-sun Chan’s love trilogy films on drifting Chinese people since the 1980s. The examination of object/setting motifs in Chapter One contributes to the understanding of character-traits. Chapter Two especially discusses the use of popular songs in Chan’s love trilogy by analyzing their explicit meaning conveyed by the lyrics, which is consistent with episodes of the plot, and the implicit and symptomatic meanings behind these songs, which actually arouse the collective memories among the audiences.
    [Show full text]
  • Better Days PB
    © 2019 Shooting Pictures Ltd., China (Shenzhen) Wit Media. Co., Ltd., Tianjin XIRON Entertainment Co., Ltd., We Pictures Ltd., Kashi J.Q. Culture and Media Company Limited, The Alliance of Gods Pictures (Tianjin) Co., Ltd., Shanghai Alibaba Pictures Co., Ltd., Tianjin Maoyan Weying Media Co., Ltd., Lianray Pictures, Local Entertainment, Yunyan Pictures, Beijing Jin Yi Jia Yi Film Distribution Co., Ltd., Dadi Century (Beijing) Co., Ltd., Zhejiang Hengdian Films Co., Ltd., Fat Kids Production, Goodfellas Pictures Limited. ALL Rights reserved. 1 Production Producer : Jojo Yuet-chun Hui Director : Derek Kwok-cheung Tsang Scriptwriter : Li Yuan, Xu Yimeng, Lam Wing Sum Adapted by : Jinjiang Wenxue Cheng Novel, Young and Beautiful by Jiuyue Xi Director of Photography : Yu Jing Pin Art Director : Liang Honghu Costume Designer : Dora Ng Editor : Zhang Yibo Original Score : Varqa Buehrer Visual Effects : Yung Kwok Yin Sound Design : Joe Huang Starring : Zhou Dongyu (Us and Them, Soul Mate) Jackson Yee Co-starring : Yin Fang (Walking Past The Future, Operation Red Sea) Huang Jue (Long Day's Journey Into Night, A Tale of Three Cities) Wu Yue (The Hundred Regiments Offensive) Zhou Ye (Beyond Belief) Production Companies : Goodfellas Pictures Limited, Fat Kids Production Production Budget : US$ 12 million Production Status : Completed Release date : 25 Oct 2019 (China) © 2019 Shooting Pictures Ltd., China (Shenzhen) Wit Media. Co., Ltd., Tianjin XIRON Entertainment Co., Ltd., We Pictures Ltd., Kashi J.Q. Culture and Media Company Limited, The Alliance of Gods Pictures (Tianjin) Co., Ltd., Shanghai Alibaba Pictures Co., Ltd., Tianjin Maoyan Weying Media Co., Ltd., Lianray Pictures, Local Entertainment, Yunyan Pictures, Beijing Jin Yi Jia Yi Film Distribution Co., Ltd., Dadi Century (Beijing) Co., Ltd., Zhejiang Hengdian Films Co., Ltd., Fat Kids Production, Goodfellas Pictures Limited.
    [Show full text]
  • Gong Li (As Lang Ping)
    © 2020 Beijing J.Q. Media Company Limited, We Pictures Limited, Huaxia Film Distribution Co., Ltd., Huanxi Media Group Limited, Beijing Alibaba Pictures Co., Ltd., Lian Ray Pictures, Such a Good Film, Shooting Pictures Ltd., Shanghai Dimension Films Co Ltd., Goodfellas Pictures Ltd., One Cool Film Production Limited, Zhejiang Hengdian Films Co., Ltd., Huoerguosi Jinyi Film Co., Ltd., X-Frequency Pictures Limited. All Rights Reserved. 1 Production Director : Peter Ho-sun Chan (Dearest, American Dreams in China) Producers : Jojo Hui Yuet Chun (Better Days, Soul Mate) Zhang Yibai (Us and Them) Scriptwriter : Zhang Ji (The Island, Dearest) Director of Photography : Zhao Xiaoshi (This Is Not What I Expected) Art Director : Sun Li (Dearest, American Dreams in China) Costume Designer : Dora Ng (Better Days, Us and Them) Editor : Zhang Yibo (Better Days) Starring : Gong Li (Saturday Fiction, Going Home) Huang Bo (The Island, Dearest) Wu Gang (A City Called Macau) Peng Yuchang (An Elephant Sitting Still, Our Shining Days) Bai Lang China Women’s Volleyball Team Production Company : We Pictures Limited Production Budget : US$18 million Languages: Mandarin, English Release date : 25 Sep 2020 (China) © 2020 Beijing J.Q. Media Company Limited, We Pictures Limited, Huaxia Film Distribution Co., Ltd., Huanxi Media Group Limited, Beijing Alibaba Pictures Co., Ltd., Lian Ray Pictures, Such a Good Film, Shooting Pictures Ltd., Shanghai Dimension Films Co Ltd., Goodfellas Pictures Ltd., One Cool Film Production Limited, Zhejiang Hengdian Films Co., Ltd., Huoerguosi Jinyi Film Co., Ltd., X-Frequency Pictures Limited. All Rights Reserved. 2 Synopsis With glorious days from 5 consecutive championships in the 1980s, the women's national volleyball team of China had transcended the conventional definition of sports in the hearts of Chinese people.
    [Show full text]
  • Festival Du Cinéma Chinois De Paris 6E Édition Du 20 Septembre Au 14 Octobre 2011
    Festival du Cinéma Chinois de Paris 6e édition du 20 septembre au 14 octobre 2011 sous le haut patronage de Monsieur Frédéric Mitterrand Monsieur Cai Fuchao Ministre de la Culture Ministre de la Radio, du Cinéma et de la Communication et de la Télévision de la République Française de la République Populaire de Chine avec le parrainage de Claude Lelouch Gaumont Opéra Capucines La Pagode Le Balzac Les Cinoches Le Festival du Cinéma Chinois de Paris remercie Ministère de la culture et de la communication Mairie de Paris Administration d’Etat de la Radio, du Cinéma et de la Télévision de Chine Monsieur Frédéric Mitterrand Monsieur Bertrand Delanoë Monsieur Cai Fuchao Ministre Maire de Paris Ministre Monsieur François Hurard Monsieur Christophe Girard Monsieur Kong Quan Conseiller pour le cinéma auprès du Ministre Adjoint au Maire de Paris chargé de la culture Ambassadeur de Chine en France Madame Brigitte Favarel Monsieur Pierre Schapira Monsieur Lü Jun Sous Directrice des affaires européennes Adjoint au Maire de Paris Ministre-Conseil Culturel Ambassade de Chine en France et internationales chargé des relations internationales, des affaires européennes et de la francophonie Monsieur Tong Gang Monsieur Erci Garandeau Directeur Général de l’Administration du Cinéma de Chine Président du CNC Monsieur David Kessler Conseiller auprès du Maire Madame Marie-Christine Lorang, Monsieur La Peikang Chargée des relations avec l’Asie et l’Océanie Monsieur Bernard Pignerol Directeur Général adjoint de l’Administration du Cinéma de Chine Délégué Général
    [Show full text]
  • He's a Woman, She's A
    PETER HO-SUN CHAN’S He’s a Woman, She’s a Man Lisa Odham Stokes Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2009 Lisa Odham Stokes ISBN 978-962-209-970-8 All rights reserved. No portion 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 publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Condor Production Ltd. in Hong Kong, China Table of Contents Series Preface ix Acknowledgements xiii 1 Comedy and More 1 2 Camera, Sound, and Music 13 3 Cross-Dressing, Gender-Bending, and Sexual Orientation 31 4 Commerce and Globalization 59 5 Audience 85 Notes 109 Credits 145 Filmography 149 ●1 Comedy and More “There’s a lot to be said for making people laugh. Did you know that’s all that some people have?” — Preston Sturges’s Sullivan’s Travels (1941). “When you make a movie with a schedule like in Hong Kong, you see the idea, make it and finish it. You don’t always realize what you have made, you just stumble into gold, and that’s exactly what happened [with He’s a Woman, She’s a Man].” — Peter Chan.1 Director Peter Chan’s popular, light-hearted, and delightful gender- bending “romantic comedy” He’s a Woman, She’s a Man (Golden Branch, Jade Leaf)/Gam ji yuk yip/Jin zhi yu ye (1994) satisfied Hong Kong
    [Show full text]
  • The Opera House a City Called Macau Project Gutenberg
    FALL 2018 LINE-UP NEW & UPCOMING FILMS TOKYO IFF 2018 PROJECT GUTENBERG THE OPERA HOUSE A CITY CALLED MACAU CHINA, HK | 2018 | CRIME ACTION | CANTONESE, MANDARIN | 130 MIN CHINA | MARTIAL ARTS DRAMA | MANDARIN | POST PRODUCTION CHINA | ROMANCE DRAMA | MANDARIN | POST PRODUCTION DIRECTOR Felix CHONG DIRECTOR Jacob CHEUNG DIRECTOR LI Shaohong STARRING CHOW Yun Fat, Aaron KWOK, STARRING Mason LEE, XU Xiandong, OU-YANG Nana STARRING BAI Baihe, HUANG Jue, WU Gang LIU Kai Chi, ZHANG Jing Chu SCRIPTWRITER YAN Geling An international counterfeit organization recruited an Being the only heir to the legendary Bagua Palms Working in the city that never sleeps, Casino VIP client art forger, LEE, and a team of unlikely geniuses to kung fu style, TAN Ziya expects his son, Tianyou to servicing manager, aka Token Stacker, MEI Xiao-ou create the ‘Superdollar’, an illegal replica of the new hone his martial arts skills and eventually take over witnesses the dark side of human nature on a daily American dollar. However, there is brewing conflict his role as the head of security at a delivery / escort basis. Even so, the disillusioned single mother MEI is all within the criminal organization, and LEE is framed company. However, during this transformation period but ready to give up on love. After meeting the and captured. Not knowing who to trust, LEE oers in China history, Tianyou dreams of becoming a lead charismatic gambler, DUAN, MEI once again puts her to disclose the real identity of the criminal master- in the traditional Peking Opera. Upon discovering heart on the line – only to find that she is merely a pawn mind, ‘The Painter’, in exchange for police protection.
    [Show full text]
  • Asian Popular Culture
    ASIAN POPULAR CULTURE This book examines different aspects of Asian popular culture, including films, TV, music, comedy, folklore, cultural icons, the Internet and theme parks. It raises important questions such as: What are the implications of popularity of Asian popular culture for globalization? Do regional forces impede the globalizing of cultures? Does the Asian popular culture flow act as a catalyst or conveying channel for cultural globalization? Does the globalization of culture pose a threat to local culture? It addresses two seemingly contradictory and yet parallel processes in the circulation of Asian popular culture: the interconnectedness between Asian popu- lar culture and western culture in an era of cultural globalization that turns subjects such as Pokémon, hip-hop or cosmopolitan into truly global phenomena, and the local derivatives and versions of global culture that are necessarily disconnected from their origins in order to cater for the local market. It thereby presents a col- lective argument that, whilst local social formations, patterns of consumption and participation in Asia are still very much dependent on global cultural developments and the phenomena of modernity, such dependence is often concretized, reshaped and distorted by the local media to cater for the local market. Anthony Y.H. Fung is Director and Professor in the School of Journalism and Communication at the Chinese University of Hong Kong. He is the co-author of the book New Television Globalisation and the East Asian Cultural Imagination, and author of Global Capital, Local Culture: Localization of Transnational Media Corporations in China. Media, Culture and Social Change in Asia Series Editor: Stephanie Hemelryk Donald University of New South Wales Editorial board: Devleena Ghosh, University of Technology, Sydney Peter Horsfield, RMIT University, Melbourne Chris Hudson, RMIT University, Melbourne K.P.
    [Show full text]