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Written & Directed by and Starring Stephen Chow
CJ7 Written & Directed by and Starring Stephen Chow East Coast Publicity West Coast Publicity Distributor IHOP Public Relations Block Korenbrot PR Sony Pictures Classics Jeff Hill Melody Korenbrot Carmelo Pirrone Jessica Uzzan Judy Chang Leila Guenancia 853 7th Ave, 3C 110 S. Fairfax Ave, #310 550 Madison Ave New York, NY 10019 Los Angeles, CA 90036 New York, NY 10022 212-265-4373 tel 323-634-7001 tel 212-833-8833 tel 212-247-2948 fax 323-634-7030 fax 212-833-8844 fax 1 Short Synopsis: From Stephen Chow, the director and star of Kung Fu Hustle, comes CJ7, a new comedy featuring Chow’s trademark slapstick antics. Ti (Stephen Chow) is a poor father who works all day, everyday at a construction site to make sure his son Dicky Chow (Xu Jian) can attend an elite private school. Despite his father’s good intentions to give his son the opportunities he never had, Dicky, with his dirty and tattered clothes and none of the “cool” toys stands out from his schoolmates like a sore thumb. Ti can’t afford to buy Dicky any expensive toys and goes to the best place he knows to get new stuff for Dicky – the junk yard! While out “shopping” for a new toy for his son, Ti finds a mysterious orb and brings it home for Dicky to play with. To his surprise and disbelief, the orb reveals itself to Dicky as a bizarre “pet” with extraordinary powers. Armed with his “CJ7” Dicky seizes this chance to overcome his poor background and shabby clothes and impress his fellow schoolmates for the first time in his life. -
Tabla 1:Festivales Y Premios Cinematográficos
Tabla 1:Festivales y premios American Choreography Arts and Entertainment Critics cinematográficos Awards, USA Awards, Chile http://www.imdb.com/Sections/ American Cinema Editors, USA Artur Brauner Award Awards/Events American Cinema Foundation, Ashland Independent Film USA Festival American Cinematheque Gala Asia-Pacific Film Festival 2300 Plan 9 Tribute Asian American Arts 30th Parallel Film Festival American Comedy Awards, Foundation 7 d'Or Night USA Asian American International American Film Institute, USA Film Festival - A – American Independent Film Asianet Film Awards Festival Aspen Filmfest A.K.A. Shriekfest American Indian Film Festival Aspen Shortsfest ABC Cinematography Award American Movie Awards Association for Library Service ACTRA Awards American Screenwriters to Children AFI Awards, USA Association, USA Athens Film Festival, Georgia, AFI Fest American Society of USA AGON International Meeting of Cinematographers, USA Athens International Film Archaeological Film Amiens International Film Festival ALMA Awards Festival Athens International Film and AMPIA Awards Amnesty International Film Video Festival, Ohio, USA ARIA Music Awards Festival Athens Panorama of European ARPA International Film Amsterdam Fantastic Film Cinema Festival Festival Atlanta Film Festival ASCAP Film and Television Amsterdam International Atlantic City Film Festival Music Awards Documentary Film Festival Atlantic Film Festival ASIFA/East Animation Festival Anchorage International Film Atv Awards, Spain ATAS Foundation College Festival Aubagne International -
Films and Videos on Tibet
FILMS AND VIDEOS ON TIBET Last updated: 15 July 2012 This list is maintained by A. Tom Grunfeld ( [email protected] ). It was begun many years ago (in the early 1990s?) by Sonam Dargyay and others have contributed since. I welcome - and encourage - any contributions of ideas, suggestions for changes, corrections and, of course, additions. All the information I have available to me is on this list so please do not ask if I have any additional information because I don't. I have seen only a few of the films on this list and, therefore, cannot vouch for everything that is said about them. Whenever possible I have listed the source of the information. I will update this list as I receive additional information so checking it periodically would be prudent. This list has no copyright; I gladly share it with whomever wants to use it. I would appreciate, however, an acknowledgment when the list, or any part, of it is used. The following represents a resource list of films and videos on Tibet. For more information about acquiring these films, contact the distributors directly. Office of Tibet, 241 E. 32nd Street, New York, NY 10016 (212-213-5010) Wisdom Films (Wisdom Publications no longer sells these films. If anyone knows the address of the company that now sells these films, or how to get in touch with them, I would appreciate it if you could let me know. Many, but not all, of their films are sold by Meridian Trust.) Meridian Trust, 330 Harrow Road, London W9 2HP (01-289-5443)http://www.meridian-trust/.org Mystic Fire Videos, P.O. -
JOMEC Journal Journalism, Media and Cultural Studies
JOMEC Journal Journalism, Media and Cultural Studies Published by Cardiff University Press From ‘Celluloid Comrades’ to ‘Digital Video Activism’: Queer Filmmaking in Postsocialist China Hongwei Bao The University of Nottingham, Department of Culture, Film and Media Email: [email protected] Keywords Queer Cinema China Identity Politics Abstract Although homosexuality was decriminalised in 1997 and partially depathologised in 2001, LGBTQ issues are still strictly censored in the Chinese media. With the rapid growth of China’s LGBTQ community, an increasing number of independent films featuring LGBTQ issues have emerged in the past two decades. In this article, I trace a brief history of queer cinema in the People’s Republic of China in the postsocialist era (1978 to present). In particular, I chart the significant turn from ‘celluloid comrades’, i.e. queer people being represented by heterosexual identified filmmakers in an ambiguous way, to what leading Chinese queer filmmaker Cui Zi’en calls ‘digital video activism’, in which LGBTQ individuals and groups have picked up cameras and made films about their own lives. In doing so, I unravel the politics of representation, the dynamics of mediated queer politics and the political potential of queer filmmaking in China. I suggest that in a country where public expressions of sexualities and demands for sexual rights are not possible, queer filmmaking has become an important form of queer activism that constantly negotiates with government censorship and the market force of commercialisation. Rather than representing a pre-existing identity and community, queer films and filmmaking practices have brought Chinese gay identities and communities into existence. -
Liang Ming One of the Fifth Generation of Chinese Directors; Photographer; Professor of the Communication University of China. B
Liang Ming One of the Fifth Generation of Chinese Directors; Photographer; Professor of the Communication University of China. Born in Beijing in 1957, he fell in love with painting since childhood. He was recruited by the Feature Film Shooting major in the Department of photography in Beijing Film Academy in 1978, together with Zhang Yimou, Gu Changwei and Zhao Fei. In 1982, he became a teacher in Beijing Film Academy being the top graduate. In 1983, for the first time he worked as the photographer of a fiction film “Road”. Then in 1985, he shot the avant-garde experimental film “Song of Ancient Hunting”. In 2008, he directed the first stereo magic realism horror film “The Lonely Spirit in an Old Building”, which earned him much attention. After 8 years being a teacher, he earned full scholarship and started his Master study in School of the Art Institute of Chicago. After his graduation in 1994, he started the China Television in the US and worked there as the Director and Chief Editor. Back in China in 1997, he worked in the Communication University of China. Now he is the professor, Ph.D. supervisor, Director of the Department of Photography and Director of the Film Laboratory there. Social services: Director of the China Film Association Photography Committee; vice chairman of the Film High-Tech Committee; vice president of China Film and Television Photographers Association; a member of China Film Association, Film Theory Review Committee, China Association of Literary Critics, Beijing Film Directors Association, and China Film Directors Association; Director of China University Film and Television Association; a member of State Press and Publication Administration of Radio Film and Television Commission of CTC, the National Radio, Film and Television Standardization Technical Committee, China Photographers Association, and China Television Artists Association. -
Best-Performing Citieschina 2015
SEPTEMBER 2015 Best-Performing Cities CHINA 2015 The Nation’s Most Successful Economies Perry Wong and Michael C.Y. Lin SEPTEMBER 2015 Best-Performing Cities CHINA 2015 The Nation’s Most Successful Economies Perry Wong and Michael C.Y. Lin ACKNOWLEDGMENTS The authors are grateful to Laura Deal Lacey, managing director of the Milken Institute Asia Center; Belinda Chng, the center’s associate director for innovative finance and program development; and Cecilia Arradaza, the Institute’s executive director of communications, for their support in developing an edition of our Best-Performing Cities series focused on China. We thank Betty Baboujon for her meticulous editorial efforts as well as Ross DeVol, the Institute’s chief research officer, and Minoli Ratnatunga, economist at the Institute, for their constructive comments on our research. ABOUT THE MILKEN INSTITUTE A nonprofit, nonpartisan economic think tank, the Milken Institute works to improve lives around the world by advancing innovative economic and policy solutions that create jobs, widen access to capital, and enhance health. We produce rigorous, independent economic research—and maximize its impact by convening global leaders from the worlds of business, finance, government, and philanthropy. By fostering collaboration between the public and private sectors, we transform great ideas into action. The Milken Institute Asia Center analyzes the demographic trends, trade relationships, and capital flows that will define the region’s future. ©2015 Milken Institute This work is made available under the terms of the Creative Commons Attribution- NonCommercial-NoDerivs 3.0 Unported License, available at http://creativecommons.org/ licenses/by-nc-nd/3.0/ CONTENTS Executive Summary ................................................................................ -
China, Hong Kong, and Taiwan: The
I' Q /vo. 69d. CHINA, HONG KONG, AND TAIWAN: THE CONVERGENCE AND INTERACTION OF CHINESE FILM THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Gwo-chauo Yu, B.A. Denton, Texas May, 1993 Yu, Gwo-chauo, China, Hong Kong, and Taiwan: The Convergence and Interaction of Chinese Film. Master of Arts (Radio, TV, Film), May, 1993, 95 pp., bibliography, 81 titles. This study focuses on the evolution of the movie industries in Taiwan, Hong Kong, and China in the late 1980s and early 1990s, with an emphasis on the interaction and cooperation in movie production among these three areas. The study consists of three sections: a general description of the development of Chinese cinema before 1949; an overview of the movie industries in Taiwan, Hong Kong, and China after the civil war; and an intensive study of the recent changes, interactions, and connections among these industries. In the third section, three models are proposed to explain the changing practices in movie production in these three areas. Obstacles preventing further cooperation and the significance of the reconstruction and integration of Chinese cinema are discussed. ACKNOWLEDGEMENTS Gratitude is expressed to Dr. Steven Fore for his diligent and enthusiastic direction in the writing of this thesis. His invaluable comments and advices are significant improvements to the text. Appreciation is extended to Dr. Donald Staples and Dr. John Kuiper not only for their valued support and suggestions in this study, but also for acting as role models of academic intellect and professionalism throughout my studies at the University of North Texas. -
Chinese Comrade Literature, Queer Political Reality, and the Tongzhi Movement In
Chinese Comrade Literature, Queer Political Reality, and the Tongzhi Movement in Mainland China Rachel Leng Undergraduate Honors Thesis Sanford School of Public Policy Duke University December 2012, Durham, NC Advisors: Professor Judith Kelley, Professor Kenneth Rogerson ABSTRACT This thesis explores the development of Mainland China’s online “Comrade Literature” (同志文学 tongzhi wenxue), a body of fiction linked to the experiences of Chinese homosexuals that emerged in the late 1990s. The central question is: How has Chinese Comrade Literature responded to changes in political rhetoric and government policy affecting queer identity in modern China? This thesis looks at samples of online Comrade stories as they correspond to political developments in China from 1996 to 2006, with an eye to how these narratives problematize the struggles of a marginalized queer Chinese population. An investigation of implicit and explicit references to laws, policies, and government action in Comrade stories reveals how they establish solidarity by communicating messages about China’s repressive political and social environment for homosexuals. The analysis focuses on the fictional texts themselves – on what they tell us about China’s political reality and State control affecting the gay community and what imagery they provide that can be interpreted as social mobilization and political protest. This thesis argues that this emergent queer literary discourse constitutes much more than meets the eye. It is not simply an expression of an underground gay culture; it is a dynamic form of resistance to the particular social and government discrimination towards Chinese homosexuality and protest against the broader environment of political repression in China. [i] ACKNOWLEDGEMENTS I would like to gratefully acknowledge the wholehearted supervision of Professor Judith Kelley and Professor Kenneth Rogerson for this thesis. -
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. -
Censorship in Chinese Cinema Mary Lynne Calkins
Hastings Communications and Entertainment Law Journal Volume 21 | Number 2 Article 1 1-1-1998 Censorship in Chinese Cinema Mary Lynne Calkins Follow this and additional works at: https://repository.uchastings.edu/ hastings_comm_ent_law_journal Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Mary Lynne Calkins, Censorship in Chinese Cinema, 21 Hastings Comm. & Ent. L.J. 239 (1998). Available at: https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol21/iss2/1 This Article is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Communications and Entertainment Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Censorship in Chinese Cinema by MARY LYNNE CALKINS* I. A Brief History of Chinese Cinema ............................ 243 A. The First, Second, and Third Generations .......... 244 B. The Fourth Generation ...................................... 246 C. The Fifth Generation .......................................... 248 D. Contemporary Chinese Filmmakers: The Sixth Generation ................................................ 254 II. The Laws, Regulations and Governmental Bodies That Control Chinese Cinema ....................... 259 A. Governm ent Bodies ............................................ 259 B. Legal M echanism s ............................................. -
Copyright by Yi Lu 2016
Copyright By Yi Lu 2016 The Dissertation Committee for Yi Lu certifies that this is the approved version of the following dissertation: Commercial Renaissance of Chinese Cinema: Movie Industry Reforms, Chinese Blockbusters, and Film Consumption in a Global Age Committee: ___________________________ Thomas Schatz, Supervisor ___________________________ Sung-sheng Chang, Co-Supervisor ___________________________ Shanti Kumar ___________________________ Lalitha Gopalan ___________________________ Michael Curtin Commercial Renaissance of Chinese Cinema: Movie Industry Reforms, Chinese Blockbusters, and Film Consumption in a Global Age By Yi Lu, B.A; M.A; M.A. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree(s) of Doctor of Philosophy The University of Texas at Austin August 2016 Dedication For my parents Acknowledgement This project would not have started without the inspiration of my supervisor Prof. Thomas Schatz. I wish to express my deepest gratitude to Prof. Schatz for his years of thoughtful, patient guidance, and support. He not only helped me grow intellectually through many hours of discussion, but also have set the standard of excellence as a scholar, mentor, instructor, and role model. Prof. Schatz has gracefully devoted time and energy to edit many drafts of the project, offer numerous insightful suggestions, and guide me through every stage of the writing process. I also wish to thank my co-supervisor, Prof. Sung-sheng Yvonne Chang, for her guidance, patience, and unfaltering support during the dissertation writing process and my graduate study. I have benefited greatly from her seminars and scholarships, and every formal and informal discussion with her. -
'Asianness' at the Tokyo International Film Festival Local, Regional And
e-ISSN 2385-3042 Annali di Ca’ Foscari. Serie orientale Vol. 57 – Giugno 2021 Negotiating ‘Asianness’ at the Tokyo International Film Festival Local, Regional and International Dynamics Through Programming Practices and Film Markets Eugenio De Angelis Università Ca’ Foscari Venezia, Italia Abstract In this paper I will trace a brief history of major Asian film festivals to under- stand how the notion of ‘Asianness’ evolved over time and how it is expressed nowadays through programming practices and film markets. Then I will focus on the case study of the Tokyo International Film Festival (TIFF) as a problematic site where cultural and economic dynamics converge. As an A-category festival, TIFF has to balance its international status with regional relevance, negotiating ‘Asianness’ in a complex relationship involving the lo- cal film industry, since questions on ‘Asian cinema’ are deeply linked to the national. Finally, I will draw some conclusions, discussing how TIFF relates to other major film festivals in Asia, where ‘Asianness’ has been used as a shared effort to distinguish themselves from the paradigm set by European film festivals. However, this is an ongoing process, TIFF struggles to use ‘Asianness’ as a unifying element and the specific interests of each festival obstruct the possibility to create a more systematic trans-Asian model. Keywords Tokyo International Film Festival. Asian Film Festivals. Asianness. Festival Programming. Film Festival Network. Summary 1 Film Festival Studies and Programming Practices. – 2 ‘Asian’ Film Festival. – 2.1 The First Asian Film Festival. – 2.2 The Discovery of ‘Asian’ Cinema at the HKIFF. – 2.3 An International Festival for Local Audience: The SIFF.