Harmonious Cooperation, Essential for Myanmar Arts to Become
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Warriors As the Feminised Other
Warriors as the Feminised Other The study of male heroes in Chinese action cinema from 2000 to 2009 A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Chinese Studies at the University of Canterbury by Yunxiang Chen University of Canterbury 2011 i Abstract ―Flowery boys‖ (花样少年) – when this phrase is applied to attractive young men it is now often considered as a compliment. This research sets out to study the feminisation phenomena in the representation of warriors in Chinese language films from Hong Kong, Taiwan and Mainland China made in the first decade of the new millennium (2000-2009), as these three regions are now often packaged together as a pan-unity of the Chinese cultural realm. The foci of this study are on the investigations of the warriors as the feminised Other from two aspects: their bodies as spectacles and the manifestation of feminine characteristics in the male warriors. This study aims to detect what lies underneath the beautiful masquerade of the warriors as the Other through comprehensive analyses of the representations of feminised warriors and comparison with their female counterparts. It aims to test the hypothesis that gender identities are inventory categories transformed by and with changing historical context. Simultaneously, it is a project to study how Chinese traditional values and postmodern metrosexual culture interacted to formulate Chinese contemporary masculinity. It is also a project to search for a cultural nationalism presented in these films with the examination of gender politics hidden in these feminisation phenomena. With Laura Mulvey‘s theory of the gaze as a starting point, this research reconsiders the power relationship between the viewing subject and the spectacle to study the possibility of multiple gaze as well as the power of spectacle. -
List of Action Films of the 2010S - Wikipedia, the Free Encyclopedia
List of action films of the 2010s - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/List_of_action_films_of_the_2010s List of action films of the 2010s From Wikipedia, the free encyclopedia This is an incomplete list, which may never be able to satisfy particular standards for completeness. You can help by expanding it (//en.wikipedia.org /w/index.php?title=List_of_action_films_of_the_2010s&action=edit) with reliably sourced entries. This is chronological list of action films originally released in the 2010s. Often there may be considerable overlap particularly between action and other genres (including, horror, comedy, and science fiction films); the list should attempt to document films which are more closely related to action, even if it bends genres. Title Director Cast Country Sub-Genre/Notes 2010 13 Assassins Takashi Miike Koji Yakusho, Takayuki Yamada, Yusuke Iseya Martial Arts[1] 14 Blades Daniel Lee Donnie Yen, Vicky Zhao, Wu Chun Martial Arts[2] The A-Team Joe Carnahan Liam Neeson, Bradley Cooper, Quinton Jackson [3] Alien vs Ninja Seiji Chiba Masanori Mimoto, Mika Hijii, Shuji Kashiwabara [4][5] Bad Blood Dennis Law Simon Yam, Bernice Liu, Andy On [6] Sorapong Chatree, Supaksorn Chaimongkol, Kiattisak Bangkok Knockout Panna Rittikrai, Morakot Kaewthanee [7] Udomnak Blades of Blood Lee Joon-ik Cha Seung-won, Hwang Jung-min, Baek Sung-hyun [8] The Book of Eli Albert Hughes, Allen Hughes Denzel Washington, Gary Oldman, Mila Kunis [9] The Bounty Hunter Andy Tennant Jennifer Aniston, Gerard Butler, Giovanni Perez Action comedy[10] The Butcher, the Chef and the Wuershan Masanobu Ando, Kitty Zhang, You Benchang [11] Swordsman Centurion Neil Marshall Michael Fassbender, Olga Kurylenko, Dominic West [12] City Under Siege Benny Chan [13] The Crazies Breck Eisner Timothy Olyphant, Radha Mitchell, Danielle Panabaker Action thriller[14] Date Night Shawn Levy Steve Carell, Tina Fey, Mark Wahlberg Action comedy[15] The Expendables Sylvester Stallone Sylvester Stallone, Jason Statham, Jet Li [16] Faster George Tillman, Jr. -
Literary Production and Popular Culture Film Adaptations in China Since 1990
Cambridge Journal of China Studies 43 Literary Production and Popular Culture Film Adaptations in China since 1990 Yimiao ZHU Nanjing Normal University, China Email: [email protected] Abstract: Since their invention, films have developed hand-in-hand with literature and film adaptations of literature have constituted the most important means of exchange between the two mediums. Since 1990, Chinese society has been undergoing a period of complete political, economic and cultural transformation. Chinese literature and art have, similarly, experienced unavoidable changes. The market economy has brought with it popular culture and stipulated a popularisation trend in film adaptations. The pursuit of entertainment and the expression of people’s anxiety have become two important dimensions of this trend. Meanwhile, the tendency towards popularisation in film adaptations has become a hidden factor influencing the characteristic features of literature and art. While “visualization narration” has promoted innovation in literary style, it has also, at the same time, damaged it. Throughout this period, the interplay between film adaptation and literary works has had a significant guiding influence on their respective development. Key Words: Since 1990; Popular culture; Film adaptation; Literary works; Interplay Volume 12, No. 1 44 Since its invention, cinema has used “adaptation” to cooperate closely with literature, draw on the rich, accumulated literary tradition and make up for its own artistic deficiencies during early development. As films became increasingly dependent on their connection with the novel, and as this connection deepened, accelerating the maturity of cinematic art, by the time cinema had the strength to assert its independence from literature, the vibrant phase of booming popular culture and rampant consumerism had already begun. -
Academy Invites 774 to Membership
MEDIA CONTACT [email protected] June 28, 2017 FOR IMMEDIATE RELEASE ACADEMY INVITES 774 TO MEMBERSHIP LOS ANGELES, CA – The Academy of Motion Picture Arts and Sciences is extending invitations to join the organization to 774 artists and executives who have distinguished themselves by their contributions to theatrical motion pictures. Those who accept the invitations will be the only additions to the Academy’s membership in 2017. 30 individuals (noted by an asterisk) have been invited to join the Academy by multiple branches. These individuals must select one branch upon accepting membership. New members will be welcomed into the Academy at invitation-only receptions in the fall. The 2017 invitees are: Actors Riz Ahmed – “Rogue One: A Star Wars Story,” “Nightcrawler” Debbie Allen – “Fame,” “Ragtime” Elena Anaya – “Wonder Woman,” “The Skin I Live In” Aishwarya Rai Bachchan – “Jodhaa Akbar,” “Devdas” Amitabh Bachchan – “The Great Gatsby,” “Kabhi Khushi Kabhie Gham…” Monica Bellucci – “Spectre,” “Bram Stoker’s Dracula” Gil Birmingham – “Hell or High Water,” “Twilight” series Nazanin Boniadi – “Ben-Hur,” “Iron Man” Daniel Brühl – “The Zookeeper’s Wife,” “Inglourious Basterds” Maggie Cheung – “Hero,” “In the Mood for Love” John Cho – “Star Trek” series, “Harold & Kumar” series Priyanka Chopra – “Baywatch,” “Barfi!” Matt Craven – “X-Men: First Class,” “A Few Good Men” Terry Crews – “The Expendables” series, “Draft Day” Warwick Davis – “Rogue One: A Star Wars Story,” “Harry Potter” series Colman Domingo – “The Birth of a Nation,” “Selma” Adam -
Middlebrow Cinema
7 WEALTH AND JUSTICE Contemporary Chinese middlebrow cinema Ting Guo Introduction In the past decade, the theme of the middle class in Chinese cinema has attracted considerable attention from critics and scholars in China, focusing on the middle class either as the dominant narrative of contemporary Chinese films or as the main audiences of Chinese cinema (see Duan 2007; Yang 2011; Zhang 2011). However, despite this increasing interest in this newly emergent middle-class culture in Chinese cinema, the term ‘middlebrow’ (中眉 zhongmei or 平眉 pingmei in Chinese)1 has been seldom discussed or used. I will argue that the caution that Chinese film scholars have shown in applying the con- cept of middlebrow to the Chinese context is partly related to the porosity between the concepts of middlebrow culture and middle-class culture, and partly related to the ambivalent position that the new middle-class taste has in current Chinese cinematic culture, as this taste has itself been fostered in part by the state. However, before we think middlebrow across borders, it is important to revisit the use of the term in its original context. Since its origin in Britain and Ireland, ‘middlebrow’ has been persistently identified by literary critics, from F.R. Leavis and Q.D. Leavis (1932) to Virginia Woolf (1942) and Dwight MacDonald (1960), as a pejorative label for intellectually inferior cultural production that vulgarizes and devalues high culture. Since the 1990s, this early hostility on the part of literary critics has been identified as an expression of contemporary anxieties about cultural authority and fear of cultural change (see Baxendale and Pawling 1996; Rubin 2002; Brown and Grover 2012). -
Chinese Transnational Cinema and the Collaborative Tilt Toward South Korea Brian Yecies University of Wollongong, [email protected]
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Research Online University of Wollongong Research Online Faculty of Law, Humanities and the Arts - Papers Faculty of Law, Humanities and the Arts 2016 Chinese transnational cinema and the collaborative tilt toward South Korea Brian Yecies University of Wollongong, [email protected] Publication Details Yecies, B. "Chinese transnational cinema and the collaborative tilt toward South Korea." The aH ndbook of Cultural and Creative Industries in China. Ed.M. Keane. United Kingdom: Edward Elgar, 2016, 226-244. 2016 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Chinese transnational cinema and the collaborative tilt toward South Korea Abstract To shed light on the important and growing trend in international filmmaking, this chapter investigates the increasing levels of co-operation in co-productions and post-production work between China and Korea since the mid-2000s, following a surge in personnel exchange and technological transfer. It explains how a range of international relationships and industry connections is contributing to a new ecology of expertise, which in turn is boosting the expansion of China’s domestic market and synergistically transforming the shape and style of Chinese cinema. Keywords transnational, cinema, collaborative, tilt, toward, south, korea, chinese Disciplines Arts and Humanities | Law Publication Details Yecies, B. "Chinese transnational cinema and the collaborative tilt toward South Korea." The aH ndbook of Cultural and Creative Industries in China. Ed.M. Keane. United Kingdom: Edward Elgar, 2016, 226-244. -
Liu, Xiao. "From the Glaring Sun to Flying Bullets: Aesthetics And
Liu, Xiao. "From the Glaring Sun to Flying Bullets: Aesthetics and Memory in the ‘Post-’ Era Chinese Cinema." China’s iGeneration: Cinema and Moving Image Culture for the Twenty-First Century. Ed. Matthew D. Johnson, Keith B. Wagner, Tianqi Yu and Luke Vulpiani. New York: Bloomsbury Academic, 2014. 321–336. Bloomsbury Collections. Web. 28 Sep. 2021. <http:// dx.doi.org/10.5040/9781501300103.ch-017>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 28 September 2021, 13:31 UTC. Copyright © Matthew D. Johnson, Keith B. Wagner, Tianqi Yu, Luke Vulpiani and Contributors 2014. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 17 From the Glaring Sun to Flying Bullets: Aesthetics and Memory in the ‘Post-’ Era Chinese Cinema Xiao Liu How do we remember the past in a post-medium era in which our memories of a previous era are increasingly reliant upon, and thus continually revised by, the ubiquitous presence of media networks? Writing about the weakening historicity under late capitalism, Fredric Jameson sharply points out that the past has been reduced to ‘a multitudinous photographic simulacrum,’ ‘a set of dusty spectacles.’1 Following Guy Debord’s critique of the spectacle as ‘the final form of commodity reification’ in a society ‘where exchange value has been generalized to the point at which the very memory of use value is effaced,’ Jameson reveals the ways in which the past appropriated by what he calls ‘nostalgia films’ is ‘now refracted through the iron law of fashion change and the emergent ideology of the generation’ for omnivorous consumption that is an outcome of neoliberalism and its cultural motor – post- modernism. -
Mise En Page 1
INTERNATIONAL SALES MK2 PARIS CANNES MK2 - 55 rue Traversière FIVE HOTEL - 1 rue Notre-Dame 75012 Paris 06400 Cannes Juliette Schrameck, Head of International Sales & Acquisitions [email protected] Fionnuala Jamison, International Sales Executive [email protected] Victoire Thevenin, International Sales Executive [email protected] A FILM BY INTERNATIONAL PRESS RICHARD LORMAND - FILM ⎮PRESS ⎮PLUS JIA ZHANG-KE www.FilmPressPlus.com [email protected] Tel: +33-9-7044-9865 / +33-6-2424-1654 m IN CANNES o c . s Tel: 08 70 44 98 65 / 06 09 92 55 47 / 06 24 24 16 54 a e r c - l e s k a . w w w : k r o w t XSTREAM PICTURES (BEIJING) r EVA LAM A Tel: +86 10 8235 0984 Fax: +86 10 8235 4938 [email protected] Xstream Pictures (Beijing), Office Kitano Shangai Film Group Corporation & MK2 present A FILM BY JIA ZHANG-KE 133 min / Color / 1:2.4 / 2013 Xstream Pictures (Beijing ) Office Kitano Shanghai Film Group Corporation Present In association with Shanxi Film and Television Group Bandai Visual Bitters End SYNOPSIS DIRECTOR’S NOTE This film is about four deaths, four incidents which actually happened in China in recent years: three murders and one suicide. These incidents are well-known to people throughout China. They happened in Shanxi, Chongqing, Hubei and Guangdong – that is, from the north to the south, spanning much of the country. I wanted to use these news reports to build a comprehensive portrait of life in contemporary China. China is still changing rapidly, in a way that makes the country look more prosperous than before. -
Yi Bu Zhi Yao Gone with the Bullets
a_f_JahrAnmeldeNr WETTBEWERB YI BU ZHI YAO GONE WITH THE BULLETS Jiang Wen Schanghai um 1920: Ma Zouri, ein ehemaliger Adeliger und nun Be- Volksrepublik China/ Hongkong, China rufsschwindler, macht gemeinsame Sache mit dem Polizisten „Bruni“ 2014 Xiang Feitan. Im Auftrag des unersättlichen Playboys Wu-Seven wa- 120 Min. · 2D und 3D DCP · Schwarz-Weiß & schen sie in großem Stil Geld. Zu ihren zahlreichen Aktivitäten gehört Farbe die Veranstaltung eines Schönheitswettbewerbs, auf der Einladungslis- Regie Jiang Wen te findet sich die versammelte Elite der Stadt. Der überraschende Sieg Buch Jiang Wen, Wang Shuo, Liao Yimei, einer Außenseiterin löst eine Kette von Ereignissen aus, die in einen Shu Ping, Yan Yunfei, Guo Junli, Sun Yue, tödlichen Strudel münden. Dass die bewegte Geschichte eines Landes Sun Rui, Yu Yanlin in einem hintersinnigen Genremix gespiegelt werden kann, bewies Kamera Xie Zhengyu Geboren 1963 in Tangshan, in der Jiang Wen bereits mit seinem komödiantischen Ganovendrama LET Schnitt Jiang Wen, Cao Weijie, Zhang Qi, nordchinesischen Provinz Hebei, als Sohn THE BULLETS FLY. Spielte dieser Film in der chinesischen Provinz, zieht Zhang Yifan, Jiang Jiashuang, Cui Dalong, einer Militärfamilie. Umzug nach Peking es den Regisseur und Schauspieler nun in die große Stadt. Die blühen- Zhou Yue, Zheng Ting im Alter von zehn Jahren. 1980 bis 1984 de Metropole Shanghai diente dem Kino schon oft als Kulisse für Ge- Sound Design Eugene Gearty Studium an der Zentralen Theaterakademie Ton Mike Minkler Peking. Ab 1984 arbeitete er Theater- und schichten aus der politisch aufgeladenen Zeit der Zwanzigerjahre. Bei aller Opulenz spürt der zweite Teil der BULLET-Trilogie zwischen den Production Design Liu Qing Filmschauspieler. -
Exploring China Through Documentaries & Film
EEXXPPLLOORRIINNGG CCHHIINNAA TTHHRROOUUGGHH DDOOCCUUMMEENNTTAARRIIEESS && FFIILLMM National Consortium for Teaching about Asia East Asia Resource Center University of Washington Tese Wintz Neighbor Summer Institute 2014 EXPLORING CHINA THROUGH DOCUMENTARIES & FEATURE FILMS NOTE FROM TESE: If you do not have a decade or more to watch all of these movies(!) please check out this website from time to time for short documentaries from the Asia Society. Download free and use in your USING THIS RESOURCE GUIDE classroom. Note: The information regarding each film ASIA SOCIETY - CHINA GREEN has been excerpted directly from the http://sites.asiasociety.org/chinagreen/ website cited. Most of these sites include 1- China Green, a multimedia enterprise, documents 3 minute trailers. This is not a China’s environmental issues and strives to serve as a comprehensive list. Teacher guides are web forum where people “with an interest in China and available at a number of the documentary its environmental challenges can sites listed below and identified by the find interesting visual stories and Categories: share critical information about Air & Water resource icon. the most populous nation in the Energy & Climate Land & Urbanization world whose participation in the Life & Health There are different ways to access these solution to global environmental NGOs & Civil documentaries and films. Some can be Society problems, such as climate Tibetan Plateau downloaded directly from the web, some change, will be indispensable.” Wildlife can be found at local libraries, on Netflix, Pictures Talk Video Series or at the East Asia Resource Center. They http://sites.asiasociety.org/chinagreen/pictures-talk- can also be purchased directly from the video-series/ producer or from online stores. -
The Chinese Film Industry: Features and Trends, 2010-2016
THE CHINESE FILM INDUSTRY: FEATURES AND TRENDS, 2010-2016 Jinuo Diao A Thesis Submitted for the Degree of PhD at the University of St Andrews 2020 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/19497 This item is protected by original copyright The Chinese Film Industry: Features and Trends, 2010-2016 Jinuo Diao This thesis is submitted in partial fulfilment for the degree of Doctor of Philosophy (PhD) at the University of St Andrews December 2019 Candidate's declaration I, Jinuo Diao, do hereby certify that this thesis, submitted for the degree of PhD, which is approximately 80,000 words in length, has been written by me, and that it is the record of work carried out by me, or principally by myself in collaboration with others as acknowledged, and that it has not been submitted in any previous application for any degree. I was admitted as a research student at the University of St Andrews in September 2015. I received funding from an organisation or institution and have acknowledged the funder(s) in the full text of my thesis. Date 18 December 2019 Signature of candidate Supervisor's declaration I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of PhD in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. -
FLM6210 Cinemas in Contemporary China Handbook 2020
DEPARTMENT OF FILM STUDIES SCHOOL OF LANGUAGE, LINGUISTICS AND FILM QUEEN MARY UNIVERSITY OF LONDON FLM6210 CINEMAS IN CONTEMPORARY CHINA MODULE HANDBOOK CONVENOR: DR. KIKI TIANQI YU SPRING 2020 Semester: Two Level: 6 Credit Value: 15 Lecture and Screening: Tuesday 3-6pm Queens LG4 Seminar: Thursday 1-2pm Queens LG1 Kiki Office hours: Thursday 2:30-4:30pm Contact details: [email protected] ArTsOne G25.C 1 Contents • Module Description • Learning Outcomes • Assignments • Weekly Outline • General Screening LisT • General Reading List 2 DESCRIPTION Taking contemporary Chinese cinema and moving image as case sTudies, This module examines The concepts of world cinema, global auteurs, generaTional cinema, independent cinema, The naTional and The TransnaTional, as well as localized genres and aesTheTics in non- WesTern cinema. While The People's Republic of China (PRC) is now The world's second- largesT film indusTry in terms of revenue, as perhaps befiTs its putaTive sTaTus as The world's largesT economy, cinema and moving image culTure are increasingly transnaTional, collaboraTive, mulTi-plaTform. This course will not only explore The commercial cinema and blockbusTers, but also The independent pracTices and moving image arT. It will mainly examine The pracTices in mainland China since The 1980s, but The pracTices in Taiwan and Hong Kong will also be discussed, to problemaTise notions of naTional, regional, TransnaTional and world cinema. LEARNING OUTCOMES STudents on The module can expecT to • engage criTically wiTh debaTes in the field of Chinese cinemas, world cinema, different forms of independent cinema and art cinema, and put them in producTive use. • make criTical judgements in the undersTanding and evaluaTion of a varieTy of film pracTices in contemporary China.