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Xikang: Han Chinese in Sichuan's Western Frontier
XIKANG: HAN CHINESE IN SICHUAN’S WESTERN FRONTIER, 1905-1949. by Joe Lawson A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy in Chinese Victoria University of Wellington 2011 Abstract This thesis is about Han Chinese engagement with the ethnically diverse highlands west and south-west of the Sichuan basin in the first half of the twentieth century. This territory, which includes much of the Tibetan Kham region as well as the mostly Yi- and Han-settled Liangshan, constituted Xikang province between 1939 and 1955. The thesis begins with an analysis of the settlement policy of the late Qing governor Zhao Erfeng, as well as the key sources of influence on it. Han authority suffered setbacks in the late 1910s, but recovered from the mid-1920s under the leadership of General Liu Wenhui, and the thesis highlights areas of similarity and difference between the Zhao and Liu periods. Although contemporaries and later historians have often dismissed the attempts to build Han Chinese- dominated local governments in the highlands as failures, this endeavour was relatively successful in a limited number of places. Such success, however, did not entail the incorporation of territory into an undifferentiated Chinese whole. Throughout the highlands, pre-twentieth century local institutions, such as the wula corvée labour tax in Kham, continued to exercise a powerful influence on the development and nature of local and regional government. The thesis also considers the long-term life (and death) of ideas regarding social transformation as developed by leaders and historians of the highlands. -
A Survey of Taoist Literature : Tenth to Seventeenth Centuries
32 INSTITUTE OF EAST ASIAN STUDIES UNIVERSITY OF CALIFORNIA • BERKELEY CENTER FOR CHINESE STUDIES A Survey of Taoist Literature Tenth to Seventeenth Centuries Judith M. Boltz • \r<ye ^855#* INTERNATIONAL AND AREA STUDIES Richard Buxbaum, Dean International and Area Studies at the University of California, Berkeley, comprises four groups: international and comparative studies, area studies, teaching pro grams, and services to international programs. INSTITUTE OF EAST ASIAN STUDIES UNIVERSITY OF CALIFORNIA, BERKELEY The Institute of East Asian Studies, now a part of Berkeley International and Area Studies, was established at the University of California at Berkeley in the fall of 1978 to promote research and teaching on the cultures and societies of China, Japan, and Korea. It amalgamates the following research and instructional centers and programs: the Center for Chinese Studies, the Center for Japanese Studies, the Center for Korean Studies, the Group in Asian Studies, the Indochina Studies Pro ject, and the East Asia National Resource Center. INSTITUTE OF EAST ASIAN STUDIES Director: Frederic E. Wakeman, Jr. Associate Director: Joyce K. Kallgren Assistant Director: Joan P. Kask Executive Committee: Mary Elizabeth Berry Lowell Dittmer Thomas Gold Thomas Havens Joyce K. Kallgren Joan P. Kask Hong Yung Lee Jeffrey Riegel Ting Pang-hsin Wen-hsin Yeh CENTER FOR CHINESE STUDIES Chair: Wen-hsin Yeh CENTER FOR JAPANESE STUDIES Chair: Mary Elizabeth Berry CENTER FOR KOREAN STUDIES Chair: Hong Yung Lee GROUP IN ASIAN STUDIES Chair: Lowell Dittmer INDOCHINA STUDIES PROJECT Chair: Douglas Pike EAST ASIA NATIONAL RESOURCE CENTER Director: Frederic E. Wakeman, Jr. A Survey of Taoist Literature, Tenth to Seventeenth Centuries A publication of the Institute of East Asian Studies University of California Berkeley, California 94720 The China Research Monograph series is one of several publications series sponsored by the Institute of East Asian Studies in conjunction with its constituent units. -
Alternative Titles Index
VHD Index - 02 9/29/04 4:43 PM Page 715 Alternative Titles Index While it's true that we couldn't include every Asian cult flick in this slim little vol- ume—heck, there's dozens being dug out of vaults and slapped onto video as you read this—the one you're looking for just might be in here under a title you didn't know about. Most of these films have been released under more than one title, and while we've done our best to use the one that's most likely to be familiar, that doesn't guarantee you aren't trying to find Crippled Avengers and don't know we've got it as The Return of the 5 Deadly Venoms. And so, we've gathered as many alternative titles as we can find, including their original language title(s), and arranged them in alphabetical order in this index to help you out. Remember, English language articles ("a", "an", "the") are ignored in the sort, but foreign articles are NOT ignored. Hey, my Japanese is a little rusty, and some languages just don't have articles. A Fei Zheng Chuan Aau Chin Adventure of Gargan- Ai Shang Wo Ba An Zhan See Days of Being Wild See Running out of tuas See Gimme Gimme See Running out of (1990) Time (1999) See War of the Gargan- (2001) Time (1999) tuas (1966) A Foo Aau Chin 2 Ai Yu Cheng An Zhan 2 See A Fighter’s Blues See Running out of Adventure of Shaolin See A War Named See Running out of (2000) Time 2 (2001) See Five Elements of Desire (2000) Time 2 (2001) Kung Fu (1978) A Gai Waak Ang Kwong Ang Aau Dut Air Battle of the Big See Project A (1983) Kwong Ying Ji Dut See The Longest Nite The Adventures of Cha- Monsters: Gamera vs. -
Shaw Brothers Films List
The Shaw Brothers Collection of Films on DVD Distributed by Celestial Pictures Collection 23 Titles grouped by year of original theatrical release (Request titles by ARSC Study Copy No.) ARSC Study Film Id English Title Chinese Title Director Genre Year Casts Copy No. Lin Dai 林黛, Chao Lei 趙雷, Yang Chi-ching 楊志卿, Lo Wei 1 DVD5517 M 156012 Diau Charn 貂蟬 Li Han-hsiang 李翰祥 Huangmei Opera 1956 羅維 DVD5518 M 1.1 (Karaoke Diau Charn 貂蟬 disc) Lin Dai 林黛, Chao Lei 趙雷, Chin Chuan 金銓, Yang Chi- 2 DVD5329 M 158005 Kingdom And The Beauty, The 江山美人 Li Han-hsiang 李翰祥 Huangmei Opera 1958 ching 楊志卿, Wong Yuen-loong 王元龍 Enchanting Shadow Lo Tih 樂蒂, Chao Lei 趙雷, Yang Chi-ching 楊志卿, Lo Chi 3 DVD5305 M 159005 倩女幽魂 Li Han-hsiang 李翰祥 Horror 1959 洛奇 Rear Entrance Butterfly Woo 胡蝶, Li Hsiang-chun 李香君, Chao Ming 趙明, 4 DVD5149 M 159016 後門 Li Han-hsiang 李翰祥 Drama 1959 (B/W) Chin Miao 井淼, Wang Ai-ming 王愛明, Wang Yin 王引 Lin Dai 林黛, Chao Lei 趙雷, Hung Por 洪波,Wang Yueh-ting 5 DVD5212 M 159021 Beyond The Great Wall 王昭君 Li Han-hsiang 李翰祥 Huangmei Opera 1959 王月汀, Chang Tsui-yin 張翠英, Li Yin 李英 Lin Dai 林黛, Chen Ho 陳厚, Fanny Fan 范麗, Kao Pao-shu 6 DVD5209 M 160004 Les Belles 千嬌百媚 Doe Chin 陶秦 Musical 1960 高寶樹, Mak Kay 麥基 7 DVD5433 M 160006 Magnificent Concubine, The 楊貴妃 Li Han-hsiang 李翰祥 Huangmei Opera 1960 Li Li-hua 李麗華, Yen Chuan 嚴俊, Li Hsiang-chun 李香君 Li Li-hua 李麗華, Chao Lei 趙雷, Chiao Chuang 喬莊, Lo Chi 8 DVD5452 M 160011 Empress Wu 武則天 Li Han-hsiang 李翰祥 Period Drama 1960 洛奇, Yu Feng-chi 俞鳳至 Loh Tih 樂蒂, Diana Chang Chung-wen 張仲文, Ting Ning 9 DVD5317 M 160020 Bride Napping, The -
Wuxia Cinema of Chor Yuen
Re-Dreaming China: Reflexivity, Revisionism, and Orientalism in the Wuxia Cinema of Chor Yuen by Zachariah Campbell A Thesis in the Mel Hoppenheim School of Cinema Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Film Studies) at Concordia University Montréal, Québec, Canada February, 2016 © Zachariah Campbell 2016 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Zachariah Campbell Entitled: Re-Dreaming China: Reflexivity, Revisionism, and Orientalism in the Wuxia Cinema of Chor Yuen and submitted in partial fulfillment of the requirements for the degree of Master of Arts ( Film Studies ) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: _______Haidee Wasson___________________ Chair _______John Locke______________________ Examiner _______Bart Testa_______________________ Examiner _______Peter Rist_______________________ Supervisor Approved by ____ ______________________________________ Date Graduate Program Director ____ ______________________________________ Date Dean of Faculty iii ABSTRACT Re-Dreaming China: Reflexivity, Revisionism, and Orientalism in the Wuxia Cinema of Chor Yuen Zachariah Campbell Although significant scholarship has been devoted to Hong Kong martial arts cinema in recent decades, with emphasis on King Hu and Change Cheh as key creative figures, relatively little attention has been devoted to Chor Yuen, who directed over forty-seven feature films for the Shaw Brothers studio between 1971 and 1985, most of them in the wuxia genre. In this paper I argue that a critical investigation of Chor Yuen’s work through an auteurist lens reveals a director with a distinct vision and formal sensibility, and encourages a reconsideration of his role in shaping the development of the genre. -
Manjun Zhao Mp
An Amorous Prehistory of Hong Kong Queer Cinema Manjun Zhao Faculty Advisor: Guo-juin Hong Asian and Middle Eastern Studies May 2016 This project was submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate Liberal Studies Program in the Graduate School of Duke University. Copyright by Manjun Zhao May 2016 Contents Abstract ......................................................................................................................................... III List of Figures ................................................................................................................................ IV Acknowledgement ......................................................................................................................... V Introduction ................................................................................................................................... 1 Chapter 1: Cinematic Construction of Lesbian Images in Intimate Confessions of A Chinese Courtesan (1972) ............................................................................................................................ 7 EXTRA-FILMIC ELEMENTS .................................................................................................................. 7 STARDOM AND PROMOTION: A PROCESS OF ENGAGING THE AUDIENCE ................................................... 21 TEXT ANALYSIS - HETERONORMATIVE IDEOLOGY .................................................................................. 29 -
The Films of King Hu, a 15-Film Tribute to the Chinese Cinematic Titan, Jun 6—17
BAMcinématek and the Taipei Cultural Center of TECO in New York present All Hail the King: The Films of King Hu, a 15-film tribute to the Chinese cinematic titan, Jun 6—17 “An extravagantly talented visual stylist with a gift for illuminating the borderland where myth, history, magic, faith, heroism, and regret intertwine.”—Bruce Bennett, The New York Sun Features a sidebar of films revealing Hu’s own influences and those influenced by his legacy 14 films in 35mm! The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas. Brooklyn, NY/May 5, 2014—From Friday, June 6 through Tuesday, June 17, BAMcinématek presents All Hail the King: The Films of King Hu, a 15-film tribute to the Chinese cinematic titan. Master of the martial arts movie, King Hu revolutionized the wuxia/swordplay film, introducing a refined sense of aesthetics, attention to mise-en-scène, and an aura of mysticism to the genre that was borne out of his lifelong love for Chinese opera. With his unique blend of stoic, iconic heroes, realistic violence, and dance-styled fight choreography, Hu’s style influenced decades of subsequent Asian cinema, modernizing the wuxia in the same way that Sam Peckinpah and Sergio Leone changed the Western. The series includes nine features by Hu alongside a globe- spanning sidebar of films that both influenced and paid homage to him, with many screening in rare and imported 35mm prints from around the world. All Hail the King is programmed by Andrew Chan and Nellie Killian and presented in conjunction with the Taipei Cultural Center of the Taipei Economic and Cultural Office in New York. -
New Film Season Celebrates the Original Ass Kickers
New film season celebrates The Original Ass Kickers Anita Mui in Executioners, part of the new season The Original Ass Kickers at HOME For immediate release Images and video can be downloaded here: http://bit.ly/2lWnFGh A NEW season of films at HOME will celebrate the original female action heroes – the women who brought feisty femininity to the screen long before Hollywood rediscovered the star power of Wonder Woman or Captain Marvel. From Sunday, 20 October to Monday, 18 November, The Original Ass Kickers: Hong Kong Cinema’s Female Action Heroes from Shaw Brothers and Beyond will celebrate four decades of Hong Kong cinema’s female action heroes including Michelle Yeoh, Maggie Cheung and Cheng Pei-Pei. Starting in the 1960s with the Shaw Brothers films Come Drink With Me and Golden Swallow, the season will continue through the 1970s with The 14 Amazons, into the 1980s and 90s with My Young Auntie, The Heroic Trio and Executioners. Andy Willis, Senior Visiting Curator: Film and Professor of Film Studies at University of Salford, said: “HOME’s selection of ‘Original Ass Kickers’ are the film stars who are the role models for today’s global female action heroes. For these women, the parts of demure courtesans, shy adolescents or wallflowers were just not enough. They were more than happy to punch and kick their way into new roles, and their formidable acting, fighting and stunt skills ensured that they have become legends of East Asian cinema.” In Come Drink With Me and its follow-up Golden Swallow, Cheng Pei-Pei stars as martial arts prodigy Golden Swallow who first seeks to rescue her brother from bandits, and then fights to prove her innocence after being framed for a series of bloodthirsty killings. -
RIGHTING WRONGS a Study of Certain Socio-Legal Phenomena in Wuxia Films Hugo J.T
RIGHTING WRONGS A Study of Certain Socio-Legal Phenomena in Wuxia Films Hugo J.T. Kolstee MA East Asian Studies Thesis Hugo Jacob Theodoor Kolstee, S1119885 E-mail: [email protected] Thesis Supervisor: Ms. A.S. Keijser MA Date of Submission: 1 July 2018 Words: 15866 2 Table of Contents TABLE OF CONTENTS .............................................................................................................. 3 CHAPTER ONE: INTRODUCTION ............................................................................................. 5 Introduction ................................................................................................................................. 5 The contents and structure of this essay ..................................................................................... 6 A brief note on language and transcription .................................................................................. 7 CHAPTER TWO: THEORETICAL UNDERPINNINGS ................................................................ 8 Introduction ................................................................................................................................. 8 Film as medium; viewing ............................................................................................................. 8 Approaching film ......................................................................................................................... 9 Wuxia films .............................................................................................................................. -
HKFA Newsletter 40
Editorial@ChatRoom Farewell to Mr Albert Lee Ms Angela Tong (left) and Ms Cynthia Liu © www.filmarchive.gov.hk Hong Kong Film Archive Head Richie Lam Section Heads [[email protected]] Venue Mgt Rebecca Lam IT Systems Lawrence Hui A whole decade has slipped by since the publication of HKFA’s Newsletter in August, 1997. How time flies! ‘We Acquisition Mable Ho sincerely hope that through this Newsletter, we shall witness together the growth of the Hong Kong Film Conservation Edward Tse Archive’, wrote HKFA former Head Cynthia Liu in the Foreword printed in the first issue. Three years later, the Resource Centre Chau Yu-ching HKFA opened its doors at its present site in January, 2001. Upon successfully fulfilling her daunting mission to Research Wong Ain-ling establish the Archive, Ms Liu was called upon to undertake the equally challenging West Kowloon Cultural Editorial Kwok Ching-ling Programming Sam Ho District project. Since then, the duty of ensuring the HKFA’s smooth operation and development has fallen on Winnie Fu the shoulders of Angela Tong. She has been with us through thick and thin, until February this year, when she has been requested to take over the post of Head of LCSD’s Film Programmes Office. Ms Tong’s transfer coincided Newsletter with the retirement of Mr Albert Lee, LCSD’s Chief Manager (Film & Cultural Exchange). We will surely miss Issue 40 (May 2007) Editorial Kwok Ching-ling them in days to come. Edith Chiu All the staff of HKFA would like to extend sincere gratitude and best wishes to Ms Tong and Mr Lee. -
Historic Building Appraisal of the Two New Items
N221 Historic Building Appraisal Shaw Studio (邵氏片場), Clear Water Bay Road, Sai Kung, N.T. Hong Kong was once the world’s largest film producing centre. The annual Historical output reached 310 in 1963, compared with 271 made in New Delhi, 225 in Interest Tokyo and 155 made by Hollywood film producers. The illustrious film industry gave this tiny city the title of “Hollywood of the East”. Amid this background, on a scenic site in Hong Kong’s Clear Water Bay stood a film giant which created numerous popular films under the company name, Shaw Brothers, from early 1960s until 1980s. The main gate to the complex is distinguished by a prominent signage: SHAW STUDIO and 邵氏片場. This film studio is also valued for its association with Television Broadcasts Ltd (known locally by its initials, ‘TVB’) which remains a dominant force in Hong Kong. Its head man was a media magnate, the late Sir Run Run Shaw (1907-2014) or 邵逸夫 as he is styled in Chinese, who built up his international film empire comparable to any of the large film companies in the US and Europe. Run Run was born to a wealthy textile merchant in Ningbo (寧波), near Shanghai. At 19, he joined his three elder brothers on their pioneering efforts to venture into the cinematographic industry. The brothers started with one cinema, but by the Pacific War, they had their own film studio and opened more than 130 cinemas in Southeast Asia. In 1925, the eldest brother Runje (仁杰) established a silent film studio, Tianyi Film Co (天一影片公司) which evolved into several companies, each more famous than its predecessor. -
Newsletter 22
Chang Cheh and His Never-Ending Quest for Change Director Chang Cheh (1924-2002) is almost a synonym with yang gang martial arts. We started to receive his manuscripts on Memoirs last year, at a rate of one article per week. To us, it was like a pilgrim's progress back to his martial arts world. Memoirs comprises 'Remembrances', 'Shaws Times', 'Chang's Film Companies', 'On Directing', 'On Self and Others' and 'Back to the Origin'. Chang did not have a happy childhood and he never reminisced on it. It was the idea of reaching his twilight years that urged Chang to write it down, for the first time, in 'Remembrances'. He and Shaws have had a long and fruitful relationship, and when he established the Chang's Film Co and the Chang He Motion Picture Co, Ltd, he gave many budding stars their first break. 'On Directing' was full of bittersweet stories, many a time did he come back from the brink. His yang gang martial arts world was actually a world of trendsetting attempts: Vengeance (1970) was his first action piece set in the Early Republican period, The Blood Brothers (1973) first adopted the Qing dynasty setting and Disciples of Shaolin (1975) established the 'Kung-fu Kid' image on the screen. Opportunities seized or missed became more vivid with time and the benefit of hindsight. When going over the research materials on him and preparing the filmography, it is clear that his works are interlaced with achievements and shortcomings, which all the more confirmed his importance in the development of martial arts films in Hong Kong.