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TV Show Knows What's in Your Fridge Is Food for Thought
16 | Wednesday, June 17, 2020 HONG KONG EDITION | CHINA DAILY YOUTH ometimes you have to travel didn’t enjoy traditional Chinese to appreciate your own. music that much until he pursued his Sometimes, waking up in a music studies in the United States. foreign land gives you a pre- When leaving China, he took with Scious insight into your own country. him the hulusi, a kind of Chinese Fang Songping is a musician and wind instrument made from a has traveled but when he was at gourd, and played it recreationally home with his pipa-player father, in the college. The exotic sound of Fang Jinlong, he preferred Western the instrument won him lots of fans rock. and requests to perform on stage. It was hulusi, the gourd-like Then he started researching about instrument, that really changed his traditional Chinese music and com- life. He happened to bring it to Los bining elements of it into his own Angeles, while studying music there. compositions. In 2015, he returned His classmates were fascinated to China and started his career as an when he played music with it, and a indie musician. new horizon opened up before him. Now, Fang Songping works as the According to a recent report on music director of a popular reality traditional Chinese music, young show, Gems of Chinese Poetry, Chinese people are turning their which centers on traditional Chi- attention to traditional arts. More nese arts, such as poetry, music, and more are listening to traditional dance and paintings. He composed Chinese music. eight original instrumental pieces, The report was released on June inspired by traditional Chinese cul- 2, under the guidance of the China ture, like music, chess, calligraphy Association of Performing Arts, by and paintings. -
Planet China
1 Talking Point 6 Week in 60 Seconds 7 Banking and Finance Week in China 8 Economy 9 Auto Industry 11 Internet and Tech 13 Energy and Resources 14 Society and Culture 2 October 2015 17 And Finally Issue 298 18 The Back Page www.weekinchina.com Red guest at the White House m o c . n i e t s p e a t i n e b . w w w Xi visits Obama in Washington, but was his US trip overshadowed by the Pope’s? Brought to you by Week in China Talking Point 2 October 2015 Pontiff pips president Xi Jinping plays second fiddle to Pope Francis on American tour China’s president grabs his moment in the spotlight with tech executives in California last week oth hold sway over more than Catholic: “We have the propaganda The Pope’s trip to the US was Ba billion people. And both got department and you have the evan - rare – it was only the tenth Papal the top job after closed-door elec - gelicals. We have the organisation visit. Even rarer was a speech in tions that remain well nigh impos - department and you have the Col - Congress, as well as another on the sible for outsiders to figure out. lege of Cardinals. What’s the differ - White House lawn (delivered in They are, of course, Xi Jinping and ence, then?” English, and ending with the crowd- Pope Francis. Adding to the sense of mystery pleasing line “God Bless America”). Some of the similarities in the or - surrounding the two organisations Inevitably this raises the ques - ganisations that the two men lead was a new one last week. -
An Ideological Analysis of the Birth of Chinese Indie Music
REPHRASING MAINSTREAM AND ALTERNATIVES: AN IDEOLOGICAL ANALYSIS OF THE BIRTH OF CHINESE INDIE MUSIC Menghan Liu A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2012 Committee: Jeremy Wallach, Advisor Kristen Rudisill Esther Clinton © 2012 MENGHAN LIU All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This thesis project focuses on the birth and dissemination of Chinese indie music. Who produces indie? What is the ideology behind it? How can they realize their idealistic goals? Who participates in the indie community? What are the relationships among mainstream popular music, rock music and indie music? In this thesis, I study the production, circulation, and reception of Chinese indie music, with special attention paid to class, aesthetics, and the influence of the internet and globalization. Borrowing Stuart Hall’s theory of encoding/decoding, I propose that Chinese indie music production encodes ideologies into music. Pierre Bourdieu has noted that an individual’s preference, namely, tastes, corresponds to the individual’s profession, his/her highest educational degree, and his/her father’s profession. Whether indie audiences are able to decode the ideology correctly and how they decode it can be analyzed through Bourdieu’s taste and distinction theory, especially because Chinese indie music fans tend to come from a community of very distinctive, 20-to-30-year-old petite-bourgeois city dwellers. Overall, the thesis aims to illustrate how indie exists in between the incompatible poles of mainstream Chinese popular music and Chinese rock music, rephrasing mainstream and alternatives by mixing them in itself. -
Chapter 4: Theatricality
The performance of identity in Chinese popular music Groenewegen, J.W.P. Citation Groenewegen, J. W. P. (2011, June 15). The performance of identity in Chinese popular music. Retrieved from https://hdl.handle.net/1887/17706 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/17706 Note: To cite this publication please use the final published version (if applicable). Chapter 4: Theatricality §1 Boundaries In Imagination and Power: The Ideological Analysis of Theatre 想象與權力: 戲劇意識形態研 究 (2003), Zhou Ning is “concerned with the theatricality in the deep layers of the psychological structure of Chinese cultural character,” arguing that “the function of both [ritual and thought] lies in transcending the boundaries between reality 現實 and the fabricated 虛構, or confusing the two, through illusion.”1 During the Boxer Uprising peasants believed they were immune to bullets, which shows that getting carried away can have dire consequences: The Boxer Uprising (1900-1901) has many ties with theater; it didn’t distinguish the real 真 from the illusory 幻 . [The Boxers] gathered and rebelled while singing arias, they practiced martial arts as if playacting, they were possessed by characters from plays and their spreading of fire, going into battle, tricks and moves were all just like those staged in plays.2 “Popular music creates alternative universes, echoey soundscapes allowing the listener to drift outside the often-stressful realities of everyday life,” argues Witzleben in his article on Anita Mui.3 Throughout this study, the term performance has been instrumental in conceptualizing seemingly stable concepts, such as Chineseness, rock and femininity, as constantly renegotiated creations or articulations of normative or alternative universes. -
Appendix a – Transcripts of Finale Show of American Idol 2005 103
A CRITICAL COMPARISON OF AMERICAN IDOL AND SUPER GIRL: A CROSS-CULTURAL COMMUNICATION ANALYSIS OF AMERICAN AND CHINESE CULTURES A THESIS SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULLFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS BY YUNXUE DING ADVISOR: DR. JAMES W. CHESEBRO BALL STATE UNIVERSITY MUNCIE, INDIANA DECEMBER 2008 2 Table of Contents Title Page 1 Table of Contents 2 List of Tables 3 Acknowledgements 4 Chapter One: Introduction 5 Chapter Two: Review of the Literature 19 Chapter Three: Methods 37 Chapter Four: Findings 55 Chapter Five: Major Conclusions and Limitations 83 References: 93 Appendix A – Transcripts of Finale Show of American Idol 2005 103 Appendix B – Transcripts of Finale Show of Super Girl 2005 118 Appendix C – Top-level meetings and contacts between the United States and China since 1972 157 Appendix D – Thirteen core value dimensions used to distinguish world cultures 160 3 List of Tables Table 1 – Rankings of American Idol Finale shows 33 Table 2 – Fantasy theme analysis: basic components, definitions, and critical concepts/notes on method. 49 Table 3 – The awards and nominations that Ms. Carrie Underwood won 57 Table 4 – Votes of 3 finalists in Finale Show of Super Girl season 2005 59 4 Acknowledgements I would like to acknowledge my appreciation to Dr. James W. Chesebro for his guidance towards the completion of this thesis and confidence in me. I am also grateful to Dr. Joseph P. Misiewicz and Dr. John Dailey for their constructive criticism in the writing of this thesis. I would also like to thank my wife, Xuesong Shen, for her unconditional love and continuous support. -
Celebrity Philanthropy in China: Reconfiguring Government and Non-Government Roles in National Development’, the China Quarterly, 237, Pp
Deng, Guosheng, and Jeffreys, Elaine. 2019. ‘Celebrity Philanthropy in China: Reconfiguring Government and Non-government Roles in National Development’, The China Quarterly, 237, pp. 217–240. doi:10.1017/S0305741018001364 Celebrity Philanthropy in China: Reconfiguring Government and Non- government Roles in National Development DENG Guosheng1 Elaine Jeffreys (corresponding author)2 Abstract This article provides the first comprehensive analysis of the development of and public responses to celebrity-fronted philanthropy in the People’s Republic of China. It explores the extent and nature of celebrity philanthropy with reference to a sample of mainland Chinese celebrities in entertainment and sports. It then draws on interviews conducted with employees of large charities to examine the kinds of links that are being forged between China’s not-for-profit sector and commercial organizations managing the work of celebrities. Finally, it analyses the responses to a national survey on celebrity and philanthropy. We conclude that the relationship between China’s government, not-for-profit and celebrity sectors is becoming more professionalized and organized. This development reveals how the roles and capacities of government are being reconfigured and expanded, even as it also enhances the scope for action and the influence of new social actors and organizations to address government-led national development issues. Keywords: China; celebrity; charity; government; media; philanthropy. Introduction 1 Tsinghua University, China. Email: [email protected] 2 University of Technology Sydney. Email: [email protected] Deng, Guosheng, and Jeffreys, Elaine. 2019. ‘Celebrity Philanthropy in China: Reconfiguring Government and Non-government Roles in National Development’, The China Quarterly, 237, pp. -
Music from the 1990S to the Present
j:,/ � • .. ….......:._. ‘. • '1- ;V . jn/w Tnn • ft ¾( ! \ ..' � •'. I . I .广, I n . .....Vv'Z …'.J I O > 3 . • • I •• . ^ • jr ,' ‘:'. ; , ''Jr ... Hong Kong Film Music from the 1990s to the Present CHENG LingYan A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Philosophy in Ethnomusicology © The Chinese University of Hong Kong June 2004 The Chinese University of Hong Kong holds the copyright of this thesis. Any person(s) intending to use a part or whole of the materials in the thesis in a proposed publication must seek copyright release from the Dean of the Graduate School. ^ST university~7^// ^XLIBRARy SYSTEM^W Abstract i Hong Kong Film Music from the 1990s to the Present Submitted by LingYan CHENG for the degree of Master of Philosophy in Ethnomusicology at The Chinese University of Hong Kong in June 2004 Abstract This thesis focuses on Hong Kong film music from the 1990s to the 2000s. In recent years, there has been much research and theory on western film music, especially the Hollywood film industry, by musicologists and scholars in film studies, popular music studies, and other fields. However, there has been little research on Hong Kong Film music, the system of which is different from that of western film music, and therefore I will apply basic film music concepts, but using the real situation of Hong Kong film music to formulate my own argument. The methodology used in this thesis will include the application of basic concepts used by scholars of film music, such as the functions of music in film, combined with fieldwork and analysis of films. -
A Study on the Language Features of Celebrities' Microblogs from The
ISSN 1799-2591 Theory and Practice in Language Studies, Vol. 10, No. 9, pp. 1111-1117, September 2020 DOI: http://dx.doi.org/10.17507/tpls.1009.15 A Study on the Language Features of Celebrities’ Microblogs from the Perspective of Register Qixia Liang Shanxi Normal University, China Abstract—As a new way of communication, people’s verbal communication is influenced by Sina microblog which play a significant role in our daily life. The celebrities’ microblogs, with powerful celebrity effect, have received lots of attentions and influences in Sina microblog. Register is a kind of language variety used in a particular situation. Because of the particularity of celebrities’ profession, the domain variables used by their microblogs are distinguished from the domain variables of the real world. Therefore, in order to enable people to understand their words and treat them in rational ways from multiple angles and perspectives, this research will analyze the celebrities’ microblogs from the perspective of three variables of the Register and explore their language characteristics. Index Terms—Register, Celebrities’ microblogs, Characteristics of language, Three variables of Register I. INTRODUCTION Sina microblog is a social website that provides microblogging services. It is currently the largest, most complete and most well-known microblogging website in China. Users can write what they see, hear, and think into a sentence, or post some pictures and share them to their friends anytime, anywhere via computer or mobile phone, and the users can also follow their friends and get the information instantly posted by their friends. In Sina microblog, celebrities have received lots of attention and influenced many people. -
Democratic Behaviors in Chinese Reality Shows Super Girl and Happy Girls
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by D-Scholarship@Pitt THE VOICE OF A NEW CHINA: DEMOCRATIC BEHAVIORS IN CHINESE REALITY SHOWS SUPER GIRL AND HAPPY GIRLS by Wan-chun Huang Bachelor of Arts, National Chengchi University, 2013 Submitted to the Graduate Faculty of the Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Master of Arts University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS & SCIENCES This thesis was presented by Wan-chun Huang It was defended on April 8, 2016 and approved by Dr. Evelyn Rawski, Distinguished Professor, Department of History Dr. Kun Qian, Assistant Professor, Department of East Asian Languages and Literatures Dr. Ronald Zboray, Professor, Department of Communication Dr. Mary Saracino Zboray, Visiting Scholar, Department of Communication Thesis Director: Dr. Kun Qian, Assistant Professor, Department of East Asian Languages and Literatures ii Copyright © by Wan-chun Huang 2016 iii THE VOICE OF A NEW CHINA: DEMOCRATIC BEHAVIORS IN CHINESE REALITY SHOWS SUPER GIRL AND HAPPY GIRLS Wan-chun Huang, M.A. University of Pittsburgh, 2016 China’s media have long served the Communist Party’s political purposes, and China’s television has always been under government censorship. One of China’s first reality shows, Super Girl, showed too much of the “democratic” idea according to the Communist Party, which then banned it in 2006. Nevertheless, the show, in effect, introduced the participatory audience, and Chinese audiences became consumers who not only actively sought new information but also actively participated in a given show. -
Cantopop Songs of All Time!
THE GREATEST CANTOPOP SONGS OF ALL TIME! Forty years ago, Hong Kong saw the birth of Cantopop, a style of music which would become one of the city’s most iconic cultural offerings. To mark its 40th anniversary, Arthur Tam looks back over the history of the equally loved and derided genre – and explores its evolution and importance through its most beloved songs, one year at a time… 30 timeout.com.hk The early years The Fatal Irony <<啼笑姻緣>> Sandra Lang (仙杜拉) In 1974, during the boom of HK media, 1975 a theme song to a popular drama, << The Fatal Irony <<啼笑姻緣>>, would change everything. It became a massive hit, arguably becoming the 獅 first ever Cantopop song, and starting 子 the procession of not only theme tunes 山 1974 to every TV drama, but a new music 下 genre itself. It retains a resemblance >> to traditional Chinese harmonies and melodies, but enters a new world of pop. bit.ly/fatalirony1974 The first Cantopop songstress Sandra Lang The Chinese-American singer of arguably the first ever Cantopop hit, Fatal Irony <<啼笑姻緣>>, reflects on that song, four decades on… “It was great to have had Cantopop then or else the Cantonese language would have died. I was very Sam Hui (許冠傑) lucky to have Fatal Irony <<啼笑姻緣>>. It was a The Genius and the Idiot Featuring in the titular movie, which was gift from God. No one had ever done a song like this popularised due to its slapstick humour, before and it became popular because people are good listeners. I never claimed that Fatal Irony was the first Cantopop song, but that’s this song features a strong British rock just what people keep telling me. -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Film Studies Hong Kong Cinema Since 1997: The Response of Filmmakers Following the Political Handover from Britain to the People’s Republic of China by Sherry Xiaorui Xu Thesis for the degree of Doctor of Philosophy December 2012 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Film Studies Doctor of Philosophy HONG KONG CINEMA SINCE 1997: THE RESPONSE OF FILMMAKERS FOLLOWING THE POLITICAL HANDOVER FROM BRITAIN TO THE PEOPLE’S REPUBLIC OF CHINA by Sherry Xiaorui Xu This thesis was instigated through a consideration of the views held by many film scholars who predicted that the political handover that took place on the July 1 1997, whereby Hong Kong was returned to the sovereignty of the People’s Republic of China (PRC) from British colonial rule, would result in the “end” of Hong Kong cinema. -
Chapter 1: Place §1 Chinese Popular Music
The performance of identity in Chinese popular music Groenewegen, J.W.P. Citation Groenewegen, J. W. P. (2011, June 15). The performance of identity in Chinese popular music. Retrieved from https://hdl.handle.net/1887/17706 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/17706 Note: To cite this publication please use the final published version (if applicable). Chapter 1: Place §1 Chinese Popular Music After introducing the singer and describing his migration from Malaysia to Singa- pore and his recent popularity in Hong Kong, Taiwan, and all over the Chinese di- aspora, the anchor [of the 1995 May 1st Concert] asked Wu [Qixian] how he de- fined himself in the final analysis. The musician’s reply, “I am Chinese” (wo shi Zhongguoren), which stirred a most enthusiastic and warm response from the au- dience, encapsulated everything Wu’s participation stood for, at least from the point of view from the state… By inviting … gangtai singers to participate in concerts and television programs, the Chinese state is not engaged so much in competing with other Chinese politics and identities … but rather in contesting their independence and in co-opting them into a greater Chinese nationalism, of which China is the core. In other words, the Chinese state is engaged in appropri- ating the concept of Greater China (Da Zhonghua).1 Gangtai is a 1980s PRC term for highly successful cultural products from Hong Kong (xiang gang) and Taiwan. In the above quotation, Nimrod Baranovitch rightly recognizes Hong Kong and Taiwan as major areas of production of Chinese pop music.