UNCG Chinese Film Collection (Mainland China)
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Development of the Global Film Industry The global film industry has witnessed significant transformations in the past few years. Regions outside the USA have begun to prosper while non-traditional produc- tion companies such as Netflix have assumed a larger market share and online movies adapted from literature have continued to gain in popularity. How have these trends shaped the global film industry? This book answers this question by analyzing an increasingly globalized business through a global lens. Development of the Global Film Industry examines the recent history and current state of the business in all parts of the world. While many existing studies focus on the internal workings of the industry, such as production, distribution and screening, this study takes a “big picture” view, encompassing the transnational integration of the cultural and entertainment industry as a whole, and pays more attention to the coordinated develop- ment of the film industry in the light of influence from literature, television, animation, games and other sectors. This volume is a critical reference for students, scholars and the public to help them understand the major trends facing the global film industry in today’s world. Qiao Li is Associate Professor at Taylor’s University, Selangor, Malaysia, and Visiting Professor at the Université Paris 1 Panthéon- Sorbonne. He has a PhD in Film Studies from the University of Gloucestershire, UK, with expertise in Chinese- language cinema. He is a PhD supervisor, a film festival jury member, and an enthusiast of digital filmmaking with award- winning short films. He is the editor ofMigration and Memory: Arts and Cinemas of the Chinese Diaspora (Maison des Sciences et de l’Homme du Pacifique, 2019). -
Victor Chow 周 Lock Lee 李 Sun Johnson 孫 Dr on Lee 李 Phillip
Victor Chow 周 Gilbert Yet Ting Quoy 丁 Ben Hing 卿 Lock Lee 李 Yip Ho Nung 葉 Chang Gar Lock 鄭 Sun Johnson 孫 Jimmy Young 楊 Ye Bing Nan 葉 Dr On Lee 李 George Soo Hoo Ten 司徒 Ye Tong Gui 葉 Phillip Lee Chun 李 Chen Ah Teak 陳 Liang Chuang 梁 Mei Quong Tart 梅 Chung Gon, Joseph 鐘 Li Chun 李 W.R.G. Lee 李 Tse Tsan Tai 謝 Xian Jun Hao 冼 Yu Rong 余 Ping Nam 平 Henry Fine-Chong 鄭 Louie Hoon 雷 Bing Guin Lee 李 Ng Hung-pui 伍 Joe Wah Gow 周 James See 時 Wu E Lou 伍 George Gay 蓋 Ah Toy 蔡 Mei Dong Xing 梅 Way Kee 魏 Chang, Victor Peter 鐘 Wong On 王 Lok Kwok 郭 Leon, Lester 梁 Huang Zhu 黃 Chuen Kwon 關 Yong Yew 雍 Ma Ying Biao 馬 Yat Kwan (Ken Wong) 王 Zeng Pinging Chang Woo Gow Thomas Pan Kee 潘 (Percival Chong) 鐘 （Zhan Shichai） 詹 Chee Dock Nomchong 莊 Zeng Yinan Li Bu 李 Shoon Foon Nomchong 莊 (Frederick Chong) 鐘 Yu Xing 余 Ah’ Yung 翁 Thomas Yee Hing 劉 Wan Chang 鄭 Mak Sai Ying Laun Chong 鐘 Zhu Bing Hing 朱 (John Shying) 麥 Lo King Nam 康 Wu Chao Quan 吳 Harry Chinn Kow You Man 寇 Simpson Lee 李 (Tung Chow) 陳 Robert Lee Young 楊 Ouyang Nan 歐陽 Nam You 尤 Hong On Jang 康 Lee Hwa 李 Fong Bing 方 Jas Wong Quong 王 Sun Kum Loong 孫 Liu Guangfu 劉 William Robert George Lee Chen Gong 陳 Kwong Sue Duk 鄺 (Lee Yihui/Yikfai) 李 William Young 楊 John Samuel Yu 余 Dr George On Lee 李 Lee Yuan Xin 李 Olive Mabel James Ung Quoy Huang Lai Wang Clarice Wong 王 (Jang Quoy) 郭 （Samuel Wong） 黃 Wong Ah Sat 王 Gwok Ah Poo 郭 Charlie Hoy 許 Yeesang Loong 龍 Guo Shun 郭 Ah Chuney 秦 William Chiu 邱 Tin Lee 田 Onyik Lee 李 Kwok Bew 郭 Charlie Leanfore Ahchong Wong 王 William Joseph Lumb Liu 劉 (Chan Lean Fore) 詹 Ah Fung 馮 John Young Wai 周 John Juansing zhang 張 Choy Yuen Gum 蔡 陈秋林: 百家姓 Chen Qiulin: One Hundred Names January 16 - February 27, 2016 Artist Bio Insofar as the French Revolution is the Event of modern history, In the following year, whilst undertaking research in Chengdu, the break after which ‘nothing was the same’, one should raise here Sichuan Province experienced one of the most destructive Chen Qiulin (b. -
3D423bbe0559a0c47624d24383
BENDS straddles the Hong Kong- Shenzhen border and tells the story of ANNA, an affluent housewife and FAI, her chauffeur, and their unexpected friendship ABOUT as they each negotiate the pressures of Hong Kong life and the city’s increasingly complex relationship to mainland China. Fai is struggling to find a way to bring his THE pregnant wife and young daughter over the Hong Kong border from Shenzhen to give birth to their second child, even though he crosses the border easily every FILM day working as a chauffeur for Anna. Anna, in contrast, is struggling to keep up the facade of her ostentatious lifestyle into which she has married, after the sudden disappearance of her husband amid financial turmoil. Their two lives collide in a common space, the car. PRODUCTION NoteS SHOOT LOCATION: Hong Kong TIMELINE: Preproduction, July/August 2012 Principal Photography, September/October 2012 (23 days) Completion, Spring 2013 PREMIERE: Cannes Film Festival 2013, Un Certain Regard (Official Selection) LANGUAGE: Cantonese & Mandarin FORMAT: HD, Colour LENGTH: 92 minutes THE CaST ANNA - Lead Female Role Carina Lau 劉嘉玲 SelecTED FILMOGRAPHY: Detective Dee and the Mystery Phantom Flame Let the Bullets Fly 2046 Flowers of Shanghai Ashes of Time Days of Being Wild FAI - Lead Male Role Chen Kun 陳坤 SelecTED FILMOGRAPHY: Painted Skin I & II, Rest On Your Shoulder, Flying Swords of Dragon Gate 3D Let the Bullets Fly Balzac and the Little Chinese Seamstress Writer/Director Flora Lau 劉韻文 Cinematographer Christopher Doyle (H.K.S.C.) 杜可風 A Very Special Thanks To William Chang Suk Ping 張叔平 Flora was born and raised in Hong Kong. -
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MOST CHAMPIONSHIP TITLES T O Following are the records for championships achieved in all of the five major events constituting U R I N the U.S. championships since 1881. (Active players are in bold.) N F A O M E MOST TOTAL TITLES, ALL EVENTS N T MEN Name No. Years (first to last title) 1. Bill Tilden 16 1913-29 F G A 2. Richard Sears 13 1881-87 R C O I L T3. Bob Bryan 8 2003-12 U I T N T3. John McEnroe 8 1979-89 Y D & T3. Neale Fraser 8 1957-60 S T3. Billy Talbert 8 1942-48 T3. George M. Lott Jr. 8 1928-34 T8. Jack Kramer 7 1940-47 T8. Vincent Richards 7 1918-26 T8. Bill Larned 7 1901-11 A E C V T T8. Holcombe Ward 7 1899-1906 E I N V T I T S I OPEN ERA E & T1. Bob Bryan 8 2003-12 S T1. John McEnroe 8 1979-89 T3. Todd Woodbridge 6 1990-2003 T3. Jimmy Connors 6 1974-83 T5. Roger Federer 5 2004-08 T5. Max Mirnyi 5 1998-2013 H I T5. Pete Sampras 5 1990-2002 S T T5. Marty Riessen 5 1969-80 O R Y C H A P M A P S I T O N S R S E T C A O T I R S D T I S C S & R P E L C A O Y R E D R Bill Tilden John McEnroe S * All Open Era records include only titles won in 1968 and beyond 169 WOMEN Name No. -
Entire Dissertation Noviachen Aug2021.Pages
Documentary as Alternative Practice: Situating Contemporary Female Filmmakers in Sinophone Cinemas by Novia Shih-Shan Chen M.F.A., Ohio University, 2008 B.F.A., National Taiwan University, 2003 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of Gender, Sexuality, and Women’s Studies Faculty of Arts and Social Sciences © Novia Shih-Shan Chen 2021 SIMON FRASER UNIVERSITY SUMMER 2021 Copyright in this work rests with the author. Please ensure that any reproduction or re-use is done in accordance with the relevant national copyright legislation. Declaration of Committee Name: Novia Shih-Shan Chen Degree: Doctor of Philosophy Thesis title: Documentary as Alternative Practice: Situating Contemporary Female Filmmakers in Sinophone Cinemas Committee: Chair: Jen Marchbank Professor, Department of Gender, Sexuality and Women’s Studies Helen Hok-Sze Leung Supervisor Professor, Department of Gender, Sexuality and Women’s Studies Zoë Druick Committee Member Professor, School of Communication Lara Campbell Committee Member Professor, Department of Gender, Sexuality and Women’s Studies Christine Kim Examiner Associate Professor, Department of English The University of British Columbia Gina Marchetti External Examiner Professor, Department of Comparative Literature The University of Hong Kong ii Abstract Women’s documentary filmmaking in Sinophone cinemas has been marginalized in the film industry and understudied in film studies scholarship. The convergence of neoliberalism, institutionalization of pan-Chinese documentary films and the historical marginalization of women’s filmmaking in Taiwan, Hong Kong, and the People’s Republic of China (PRC), respectively, have further perpetuated the marginalization of documentary films by local female filmmakers. -
Last Name First Name/Middle Name Course Award Course 2 Award 2 Graduation
Last Name First Name/Middle Name Course Award Course 2 Award 2 Graduation A/L Krishnan Thiinash Bachelor of Information Technology March 2015 A/L Selvaraju Theeban Raju Bachelor of Commerce January 2015 A/P Balan Durgarani Bachelor of Commerce with Distinction March 2015 A/P Rajaram Koushalya Priya Bachelor of Commerce March 2015 Hiba Mohsin Mohammed Master of Health Leadership and Aal-Yaseen Hussein Management July 2015 Aamer Muhammad Master of Quality Management September 2015 Abbas Hanaa Safy Seyam Master of Business Administration with Distinction March 2015 Abbasi Muhammad Hamza Master of International Business March 2015 Abdallah AlMustafa Hussein Saad Elsayed Bachelor of Commerce March 2015 Abdallah Asma Samir Lutfi Master of Strategic Marketing September 2015 Abdallah Moh'd Jawdat Abdel Rahman Master of International Business July 2015 AbdelAaty Mosa Amany Abdelkader Saad Master of Media and Communications with Distinction March 2015 Abdel-Karim Mervat Graduate Diploma in TESOL July 2015 Abdelmalik Mark Maher Abdelmesseh Bachelor of Commerce March 2015 Master of Strategic Human Resource Abdelrahman Abdo Mohammed Talat Abdelziz Management September 2015 Graduate Certificate in Health and Abdel-Sayed Mario Physical Education July 2015 Sherif Ahmed Fathy AbdRabou Abdelmohsen Master of Strategic Marketing September 2015 Abdul Hakeem Siti Fatimah Binte Bachelor of Science January 2015 Abdul Haq Shaddad Yousef Ibrahim Master of Strategic Marketing March 2015 Abdul Rahman Al Jabier Bachelor of Engineering Honours Class II, Division 1 -
Official Colours of Chinese Regimes: a Panchronic Philological Study with Historical Accounts of China
TRAMES, 2012, 16(66/61), 3, 237–285 OFFICIAL COLOURS OF CHINESE REGIMES: A PANCHRONIC PHILOLOGICAL STUDY WITH HISTORICAL ACCOUNTS OF CHINA Jingyi Gao Institute of the Estonian Language, University of Tartu, and Tallinn University Abstract. The paper reports a panchronic philological study on the official colours of Chinese regimes. The historical accounts of the Chinese regimes are introduced. The official colours are summarised with philological references of archaic texts. Remarkably, it has been suggested that the official colours of the most ancient regimes should be the three primitive colours: (1) white-yellow, (2) black-grue yellow, and (3) red-yellow, instead of the simple colours. There were inconsistent historical records on the official colours of the most ancient regimes because the composite colour categories had been split. It has solved the historical problem with the linguistic theory of composite colour categories. Besides, it is concluded how the official colours were determined: At first, the official colour might be naturally determined according to the substance of the ruling population. There might be three groups of people in the Far East. (1) The developed hunter gatherers with livestock preferred the white-yellow colour of milk. (2) The farmers preferred the red-yellow colour of sun and fire. (3) The herders preferred the black-grue-yellow colour of water bodies. Later, after the Han-Chinese consolidation, the official colour could be politically determined according to the main property of the five elements in Sino-metaphysics. The red colour has been predominate in China for many reasons. Keywords: colour symbolism, official colours, national colours, five elements, philology, Chinese history, Chinese language, etymology, basic colour terms DOI: 10.3176/tr.2012.3.03 1. -
Planning a School Tour
Planning a school tour Image courtesy of: B. Han. Used with permission. CHI_Y05-06Band_U7_SS_PlanTour Gāo míng, zhè shì shěn me dì fang? Tā shì shéi ? 高明，这是 什么地方？他是谁？ Gaoming, what is this place? Who is he? Ó ! Zhè shì wǒ men xué xiào de chuáng dá shì 哦! 这是 我们 学校 的 传达室。 Tā shì chuáng dá shì de lǐ yéye lǐ yéye zǎo 他是 传达室 的李爷爷。 “李爷爷早！” Oh! This is our school’s janitor’s room. He is janitor’s room’s Grandpa Li. “Good morning Grandpa Li) CHI_Y05-06Band_U7_SS_PlanTour Overseas exchange students 海外交换生 It was so cool to go on a school exchange to China! It’s also pretty awesome to have visitors from overseas come to my school. My school has some great features that I would love to show to an exchange student. CHI_Y05-06Band_U7_SS_PlanTour Let’s look at how Gao Ming showcased features of his school when I went there on exchange. What interesting aspects of his school does Gao Ming explain to me? CHI_Y05-06Band_U7_SS_PlanTour xué xiào dì tú School map - 学校 地图 I took Wilson to see the playground, classroom and cafeteria. Can you remember how I said the names of these places in Chinese? CHI_Y05-06Band_U7_SS_PlanTour CHI_Y05-06Band_U7_SS_PlanTour New word Jiào xué lóu 教学楼 – Teaching building CHI_Y05-06Band_U7_SS_PlanTour New word Shí táng 食堂 - Canteen CHI_Y05-06Band_U7_SS_PlanTour New word Huā pǔ 花圃 – flower bed CHI_Y05-06Band_U7_SS_PlanTour New word Tú shū guǎn 图书馆 - Library CHI_Y05-06Band_U7_SS_PlanTour New word Dú shū láng 读书廊- Reading corridor CHI_Y05-06Band_U7_SS_PlanTour New word Yī wù shì 医务室 – Medical room CHI_Y05-06Band_U7_SS_PlanTour New word Pīng pang qiú tái 乒乓球台-Table tennis table CHI_Y05-06Band_U7_SS_PlanTour New word Cāo cháng 操场 - Oval CHI_Y05-06Band_U7_SS_PlanTour New word Jiǎ shān shuǐ chí 假山水池-Artificial mountain and fountain. -
W Talking Pictures
Wednesday 3 June at 20.30 (Part I) Wednesday 17 June at 20.30 Thursday 4 June at 20.30 (Part II) Francis Ford Coppola Ingmar Bergman Apocalypse Now (US) 1979 Fanny And Alexander (Sweden) 1982 “One of the great films of all time. It shames modern Hollywood’s “This exuberant, richly textured film, timidity. To watch it is to feel yourself lifted up to the heights where packed with life and incident, is the cinema can take you, but so rarely does.” (Roger Ebert, Chicago punctuated by a series of ritual family Sun-Times) “To look at APOCALYPSE NOW is to realize that most of us are gatherings for parties, funerals, weddings, fast forgetting what a movie looks like - a real movie, the last movie, and christenings. Ghosts are as corporeal an American masterpiece.” (Manohla Darghis, LA Weekly) “Remains a as living people. Seasons come and go; majestic explosion of pure cinema. It’s a hallucinatory poem of fear, tumultuous, traumatic events occur - projecting, in its scale and spirit, a messianic vision of human warfare Talking yet, as in a dream of childhood (the film’s stretched to the flashpoint of technological and moral breakdown.” perspective is that of Alexander), time is (Owen Gleiberman, Entertainment Weekly) “In spite of its limited oddly still.” (Philip French, The Observer) perspective on Vietnam, its churning, term-paperish exploration of “Emerges as a sumptuously produced Conrad and the near incoherence of its ending, it is a great movie. It Pictures period piece that is also a rich tapestry of grows richer and stranger with each viewing, and the restoration [in childhood memoirs and moods, fear and Redux] of scenes left in the cutting room two decades ago has only April - July 2009 fancy, employing all the manners and added to its sublimity.” (Dana Stevens, The New York Times) Audience means of the best of cinematic theatrical can choose the original version or the longer 2001 Redux version. -
![UNIT 1 味道怎么样？ [Wèi-Dào Zěn-Me Yàng?] How Is the Taste?](https://docslib.b-cdn.net/cover/4270/unit-1-w%C3%A8i-d%C3%A0o-z%C4%9Bn-me-y%C3%A0ng-how-is-the-taste-554270.webp)
UNIT 1 味道怎么样？ [Wèi-Dào Zěn-Me Yàng?] How Is the Taste?
1 UNIT 1 味道怎么样？ [wèi-dào zěn-me yàng?] How is the taste? The following is a conversation between the waitress at 好好茶餐廳 and a customer whom just arrived at the restaurant. : 你好，请问⼏位？(nǐ*-hǎo, qǐng-wèn jǐ wèi?) 你好，请问⼏位？(nei5-hou2, cing2-man6 gei2-wai2?) Hi, How many people please? : 两位，谢谢。(liǎng-wèi, xiè-xie) 两位，唔该。 (loeng5-wai2, m4-goi1) Two people, please. 我们已经订位了。(wǒ-men yǐ-jīng dìng-wèi le) 我哋已经订咗位。(ngo5-dei6 ji5-ging1 deng6 zo2 wai2) We already made a reservation. : 好的。请问你叫什么名字？(hǎo-de. qǐng-wèn nǐ jiào shén-me míng-zì?) 好。请问你叫咩名呀？(hou2. cing2-man6 nei5 giu3 me1 meng2 aa3?) Okay. What is your name, please? : 我姓叶。(wǒ xìng yè) 我姓叶。(ngo5 sing3 jip6) My last name is Yip. : 我找到了，两位请跟我来。(wǒ* zhǎo dào le, liǎng wèi qǐng gēn wǒ lái) 我搵到喇。两位请跟我嚟。(ngo5 wan2 dou2 laa3. loeng5-wai2 cing2 gan1 ngo5 lei4) Original material under copyright, 2020 Jade Jia Ying Wu 2 I found it, please come follow me. : 请问两位想喝什么? (qǐng-wèn liǎng-wèi xiǎng hē shén-me?) 请问两位想饮咩呀？(cing2-man6 loeng5-wai2 soeng2 jam2 me1 aa3?) What would you two like to drink? : 我想要⼀杯港式奶茶。(wǒ* xiǎng yào yì-bēi gǎng shì nǎi-chá) 我想要⼀杯港式奶茶。(ngo5 soeng2 jiu3 jat1-bui1 gong2-sik1 naai5-caa4) I would like a Hong Kong-style milk tea. : 我要⽔就⾏了。(wǒ yào shuǐ jiù xíng le) 我要⽔就得喇。(ngo5 jiu3 seoi2 zau6 dak1 laa3) Water is fine for me. : 你们想吃什么？(nǐ-men xiǎng chī shén-me?) 你哋想⾷咩呀？(nei5-dei6 soeng2 sik6 me1 aa3?) What would you like to eat? : 我想要⼀个鲜虾馄饨⾯。(wǒ xiǎng* yào yí-gè xiān xiā hún-tūn miàn) 我想要⼀個鲜虾馄饨⾯。(ngo5 soeng2 jiu3 jat1-go3 sin1 haa1 wan4-tan1 min6) I would like a shrimp wonton noodle soup. -
Arts & Culture
ARTS & CULTURE ART P42 ART P48 IN PRINT P52 CINEMA P56 STAGE that’smags www.thebeijinger.com Novemberwww. 200 thatsbj.com8 / the Beijinger Sept. 200541 Hovering Child by American artist Fran Forman. See Preview, p46; photo courtesy of Common Ground All event listings are accurate at time of press and subject to change For venue details, see directories, p43 Send events to [email protected] by Nov 10 Nov 8-30 its over 150 art pieces of contem- porary art around the world from Wang Jie the 1960s to the present day. The By eliminating human figures in curatorial approach of the show is rt his paintings, Wang Jie’s emphasis basically chronological, showing is on clothes – our “second skin.” the historical development of the New Age Gallery (5978 9282) world of contemporary art that A Nov 8-Dec 21 parallels the trajectory of the Swiss Chinese Contemporary Art Awards bank’s tastes throughout the dec- ades. Expect big names including ART 2008 Founded in 1997 by Uli Siggs, CCAA Damien Hirst, Andy Warhol, Lucien has awarded Liu Wei this year as Freud, Jasper Johns, as well as its pick for “Best Artist” and Tseng emerging Chinese artists including Yu-chin as “Best Young Artist” (see Cao Fei, Qiu Anxiong and Xu Zhen. Feature, p44). Ai Weiwei has also National Art Museum of China been given a lifetime achievement (6401 2252/7076) award. The works of these three Until Nov 12 artists will be exhibited at the larg- Coats! est art space in 798. Ullens Center Until Jan 10: Edward Burtynsky’s China Beijing is the third stop – after for Contemporary Art (6438 6576) Berlin and Tokyo – for this exhibi- A fresh take on manufacturing art. -
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THE US OPEN T O Throughout its 133-year history, the US Open has dared its entrants to dream U R I N big, to strive for excellence in each and every match, and in turn the Open has N F A O done the same. It has moved from the West Side Tennis Club in Forest Hills to the M USTA Billie Jean King National Tennis Center, one of the largest public tennis facili - E N ties in the world, and plays its marquee matches in Arthur Ashe Stadium, the T largest tennis stadium in the world. Over the years, the US Open has drawn inspiration from tennis heroes such as Billie Jean King and Arthur Ashe, as well as the innumerable world-class players who have taken part in the event and, of course, from the hundreds of thousands of fans whose dedication to the sport and the F G A event have made the US Open a true sports and entertainment spectacular. In fact, more than R C O I L 700,000 fans on-site make the US Open the world’s largest-attended annual sporting event, and U I T N more than 53 million online visitors plus a global television audience share in the thrill and excite - Y D & ment each year. S Starting with Arthur Ashe Kids’ Day—the world's largest single-day, grass-roots tennis and entertainment event—straight through Finals Weekend, the US Open honors its future and its past, celebrating those who have made the tournament what it is today while also focusing on the next generation that will write tennis history well into the coming decades.