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Happy Times Review
EBSCOhost 07/12/2007 05:34 PM Sign In | Folder | Preferences | New Features! | Ask-A-Librarian | Help Basic Advanced Visual Choose Search Search Search Databases New Search Keyword | Publications | Cited References | Indexes 1 of 2 Result List | Refine Search Print E-mail Save Export Add to folder View: Citation HTML Full Text Title: HAPPYTIMES (motion picture)., By: Garcia, Maria, Film Journal International, 15269884, May2002, Vol. 105, Issue 5 Database: Film & Television Literature Index with Full Text HAPPYTIMES (MOTION PICTURE) Find More Like This SONY PICTURES CLASSICS/Color/1.85/Dolby SR/ 106 Mins./Rated PG Cast: Zhao Benshan, Dong Jie, Dong Lihua, Fu Biao, Li Zuejian, Leng Qibin, Niu Ben, Gong Jinghua, Zhang Hongjie, Zhao Bingkun. Credits: Directed by Zhang Yimou. Produced by Zhao Yu, Yang Qinglong, Zhou Ping, Zhang Weiping. Screenplay by Gui Zi, based on the novella Shifu, You'll Do Anything for a Laugh by Mo Yan. Executive producers: Edward R. Pressman, Terrence Malick, Wang Wei. Director of photography: Hou Yong. Production designer: Cao Jiuping. Edited by Zhai Ru. Costume designer: Tong Huarniao. A Guangxi Film Studios, Zhu Hai Guo Gi Enterprise Development Co. and Beijing New Picture Distribution Co. production. In Mandarin with English subtitles. China's Zhang Yimou fashions yet another allegorical masterpiece with this story of an aging pensioner and a young blind woman. 02-113 In this ostensibly simple story about an elderly bachelor and a blind girl, director Zhang Yimou creates yet another masterpiece of allegory, as he did in The Story of Qiu Ju (1992) and The Road Home (2000). Happy Times is filmed from the point of view of the bachelor, Zhao (Zhao Benshan), but its undeniable hero is Wu Ying (Dong Jie), a slip of a girl whose boundless spirit--like the mother's in The Road Home and like Qiu Ju's--is, for the Chinese filmmaker, emblematic of his homeland. -
Diplomarbeit
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES DIPLOMARBEIT Titel der Diplomarbeit „Kino gegen das Vergessen“ Die filmischen Metamorphosen des Zhang Yimou Verfasserin Stefanie Rauscher angestrebter akademischer Grad Magistra der Philosophie (Mag. a phil.) Wien, 2009 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuer: Univ.-Prof. Dr. Michael Gissenwehrer I want to bring Chinese film to the world Zhang Yimou Abstract In ihrem inhaltlichen Schwerpunkt gewährt die Arbeit einen umfangreichen Einblick in die Entwicklungsgeschichte des chinesischen Films von seinen Anfängen im ausgehenden 19.Jahrhundert bis in das frühe 21.Jahrhundert. In der konkreten Untersuchung des definierten Forschungsgegenstandes entsteht eine differenzierte Analyse der fundamentalen politischen Dimension hinsichtlich ihrer determinierenden Wirkung auf die Entfaltung kultureller Phänomene. Dabei wird besonders die sich wandelnde Positionierung des Mediums Film im Kontext der Etablierung des kommunistischen Staatssystems betrachtet. Anhand des innovativen Mediums werden die Parameter der politischen und sozialen Wirklichkeit - die eine umfassende Einschränkung der künstlerischen Freiheit bedeuten - mit der historischen Realität abgeglichen. Im Hinblick auf die signifikante Intermedialität des chinesischen Films wird der analytische Fokus ergänzend auf traditionelle Volkskünste – wie Pekingoper, chinesisches Schattenspiel und Sprechtheater verweisen, -
Volume 10-11, 2009
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Archivio Ricerca Ca'Foscari VOLUME 10-11, 2009 Verbi attributivi come determinanti verbali o come complementi di grado in cinese moderno Magda ABBIATI ........................................................................................................3 Literary Arts And Ways of Korean Kinyŏ Vincenza D’URSO....................................................................................................25 Adozione di termini vernacolari nella letteratura hindī contemporanea Gian Giuseppe FILIPPI ..........................................................................................51 The Historiography of Harbin and the Imagery of Inter-Ethnic Contact Mark GAMSA .........................................................................................................63 Nuovi modi di rappresentazione della Cina e dei Cinesi nel cinema e nella narrativa occidentali Federico GRESELIN..........................................................................................................81 Rethinking Imperial Impact and Autonomous History in Modern China: a Historiographical Survey Michael HAWKINS..........................................................................................................103 Hollywood/Hong Kong: zone di transito Corrado NERI........................................................................................................117 Il “caso di zia Gong Li”: la pubblicità sociale cinese in bilico tra finalità opposte -
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Wettbewerb/IFB 2002 XINGFU SHIGUANG Außer Konkurrenz HAPPY TIMES HAPPY TIMES HAPPY TIMES Regie: Zhang Yimou Volksrepublik China 2000 Darsteller Zhao Zhao Benshan Länge 96 Min. Wu Ying Dong Jie Format 35 mm, 1:1.85 Li Li Xuejian Farbe Tante Liu Gong Jinghua Marna Dong Lihua Stabliste Fu Fu Biao Buch Gui Zi,nach der Fatty Leng Qibin Erzählung Niu Niu Ben „Shifu,yue lai yue Lao Zhang Zhang Hongjie youmo“ von Mo Yan Lao Bai Zhao Bingkun Kamera Hou Yong Kameraführung Wang Min Kameraassistenz Zhao Zhigang Sun Yieping Schnitt Zhai Ru Schnittassistenz Zhang Wenjun Liu Yanjuan Ton Wu Lala Tonassistenz Zhang Zhigang Wen Bo Dong Jie, Zhao Benshan Musik San Bao Ausstattung Cao Jiuping Requisite Chen Zhigang HAPPY TIMES Hu Zhongquan Zhao,knapp über 50 und Frührentner,hat sich von einer korpulenten Witwe Kostüm Tong Huamiao betören lassen und ihr die Ehe versprochen.Fatalerweise glaubt die eher ins Maske Yuan Bin Geld verliebte Dame, dass Zhao ein florierendes Hotel besitzt, und verlangt Regieassistenz Xie Dong als Morgengabe 50.000 Yuan. Zhou Wie Liu Guonan Um dies kleine Vermögen aufzutreiben, versucht sich Zhao tatsächlich als Produktionsltg. Zhang Zhenyan „Hotelier“. Zusammen mit seinem alten Freund Li wandelt er einen ausran- Hu Xiaofeng gierten Bus in eine Unterkunft für junge Liebespaare um, deren „Zimmer“ er Produzenten Zhao Yu stundenweise vermietet. Ein gutes Geschäft ist das nicht, besteht der sit- Edward R.Pressman tenstrenge Zhao doch darauf, dass seine Gäste beim Rendezvous die Türen Terrence Malick ieb Wang Wei offen lassen. tr Kurz darauf lernt er bei einem Abendessen die Stieftochter seiner Zukünfti- er Executive Producers Yang Qinglong Zhang Weiping gen kennen: Wu Ying ist 18, zierlich, hübsch – und blind. -
"Dialect and Modernity in 21St Century Sinophone Cinema" by Sheldon Lu 1/10/08 12:12 PM
"Dialect and modernity in 21st century Sinophone Cinema" by Sheldon Lu 1/10/08 12:12 PM JUMP CUT A REVIEW OF CONTEMPORARY MEDIA Dialect and modernity in 21st century Sinophone cinema by Sheldon Lu Just as China has the largest population in the world, its citizens speak a bewildering array of dialects City of Sadness employs (fangyan) and languages (yuyan). In modern times, a plurality of dialects new communication technologies such as radio and spoken in Taiwan at the film potentially promise to speak to the ears of all time ... citizens in the nation-state. But what language should be used as the standard for all citizens? As a modern and modernizing media, cinema could mold and unify the language of the nation. In this regard, unsurprisingly, language and dialect have been a particularly important issue in Chinese cinema from early twentieth century to the present time. Indeed, the use of a specific dialect in a film pertains to nothing less than the symbolic construction of the modern Chinese nation-state. As Chinese film historians well know, the Nationalist Party (Kuomintang, or Guomindang) in Nanjing established a film censorship board soon after its unification of China in 1927. The ... and thus contests the Republic of China stipulated that Mandarin be the formation of an official lingua franca of Chinese cinema and banned the use of Chinese language ... local dialects such as Cantonese. A unified China must have a unified Chinese language. As a result, Cantonese-language cinema could only be made outside the sovereignty of the Chinese nation, the http://www.ejumpcut.org/currentissue/Lu/index.html Page 1 of 17 "Dialect and modernity in 21st century Sinophone Cinema" by Sheldon Lu 1/10/08 12:12 PM island of Hong Kong. -
Signifying the Local China Studies
Signifying the Local China Studies Edited by Glen Dudbridge Frank Pieke VOLUME 25 The titles published in this series are listed at brill.com/CHS Signifying the Local Media Productions Rendered in Local Languages in Mainland China in the New Millennium By Jin Liu LEIDEN • bOSTON 2013 Library of Congress Cataloging-in-Publication Data Liu, Jin Signifying the local : media productions rendered in local languages in mainland China in the new millennium / by Jin Liu. pages cm. — (China studies ; v. 25) Includes bibliographical references and index. ISBN 978-90-04-25901-0 (hardback : alk. paper) — ISBN 978-90-04-25902-7 (e-book) 1. Mass media and language—China. 2. Local mass media—China. 3. Mass media and minori- ties—China. 4. Communication and culture—China. 5. China—Languages. 6. Chinese language—Dialects. I. Title. P96.L342.C4325 2013 302.23’0951—dc23 2013026601 This publication has been typeset in the multilingual “Brill” typeface. With over 5,100 characters covering Latin, IPA, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities. For more information, please see www.brill.com/brill-typeface. ISSN 1570-1344 ISBN 978-90-04-25901-0 (hardback) ISBN 978-90-04-25902-7 (e-book) Copyright 2013 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Global Oriental, Hotei Publishing, IDC Publishers and Martinus Nijhoff Publishers. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher.