Dossier Nits
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Association for Asian Studies, Inc., Committee on East Asian Libraries
Journal of East Asian Libraries Volume 1991 Number 94 Article 16 10-1-1991 No. 094 Bulletin - Association for Asian Studies, Inc., Committee on East Asian Libraries Committee on East Asian Libraries Follow this and additional works at: https://scholarsarchive.byu.edu/jeal BYU ScholarsArchive Citation Libraries, Committee on East Asian (1991) "No. 094 Bulletin - Association for Asian Studies, Inc., Committee on East Asian Libraries," Journal of East Asian Libraries: Vol. 1991 : No. 94 , Article 16. Available at: https://scholarsarchive.byu.edu/jeal/vol1991/iss94/16 This Full Issue is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Journal of East Asian Libraries by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. ISS^C 0148 - 6225 Committee on 'East Asian Libraries <B<ULL<BlI9t 9{p.94 October 1991 The Association for Asian Studies, Inc. COMMITTEE ON EAST ASIAN LIBRARIES (CEAL) Association for Asian Studies, Inc. Chairperson Maureen H. Donovan (Ohio State) 1991-1994 Executive Group TerukoKyumaChin (Washington) 1989- 1992 BoksoonHahn (Yale) 1991- 1994 Thomas H. Lee (Indiana) 1991 - 1994 Tai-loi Ma (Chicago) 1989 - 1992 Antony Marr (Princeton) 1990 - 1993 Raymond Tang (UC-Berkeley) 1989- 1992 Marsha L. Wagner (Columbia) 1990 - 1993 Subcommittees Subcommittee on Chinese Materials Chairperson: Chi Wang (Library of Congress) 1989- 1993 Subcommittee on Japanese Materials Chairperson: MihokoMiki -
Journal of Asian Studies Contemporary Chinese Cinema Special Edition
the iafor journal of asian studies Contemporary Chinese Cinema Special Edition Volume 2 – Issue 1 – Spring 2016 Editor: Seiko Yasumoto ISSN: 2187-6037 The IAFOR Journal of Asian Studies Volume 2 – Issue – I IAFOR Publications Executive Editor: Joseph Haldane The International Academic Forum The IAFOR Journal of Asian Studies Editor: Seiko Yasumoto, University of Sydney, Australia Associate Editor: Jason Bainbridge, Swinburne University, Australia Published by The International Academic Forum (IAFOR), Japan Executive Editor: Joseph Haldane Editorial Assistance: Rachel Dyer IAFOR Publications. Sakae 1-16-26-201, Naka-ward, Aichi, Japan 460-0008 Journal of Asian Studies Volume 2 – Issue 1 – Spring 2016 IAFOR Publications © Copyright 2016 ISSN: 2187-6037 Online: joas.iafor.org Cover image: Flickr Creative Commons/Guy Gorek The IAFOR Journal of Asian Studies Volume 2 – Issue I – Spring 2016 Edited by Seiko Yasumoto Table of Contents Notes on contributors 1 Welcome and Introduction 4 From Recording to Ritual: Weimar Villa and 24 City 10 Dr. Jinhee Choi Contested identities: exploring the cultural, historical and 25 political complexities of the ‘three Chinas’ Dr. Qiao Li & Prof. Ros Jennings Sounds, Swords and Forests: An Exploration into the Representations 41 of Music and Martial Arts in Contemporary Kung Fu Films Brent Keogh Sentimentalism in Under the Hawthorn Tree 53 Jing Meng Changes Manifest: Time, Memory, and a Changing Hong Kong 65 Emma Tipson The Taste of Ice Kacang: Xiaoqingxin Film as the Possible 74 Prospect of Taiwan Popular Cinema Panpan Yang Subtitling Chinese Humour: the English Version of A Woman, a 85 Gun and a Noodle Shop (2009) Yilei Yuan The IAFOR Journal of Asian Studies Volume 2 – Issue 1 – Spring 2016 Notes on Contributers Dr. -
Xiaoqingxin Film As the Possible Prospect of Taiwan Popular Cinema
The IAFOR Journal of Asian Studies Volume 2 – Issue 1 – Spring 2016 The Taste of Ice Kacang: Xiaoqingxin Film as the Possible Prospect of Taiwan Popular Cinema Panpan Yang Abstract Although Xiaoqingxin Film has been widely recognized as a new sub-genre in Chinese- language film circle, it rarely received sustained academic attention in either Chinese or English publications. In this article, I would explore the contours of Xiaoqingxin Film in four aspects: (1) a tentative definition; (2) a style analysis; (3) a cause analysis: why Taiwan has overwhelming superiority in making this sub-genre; (4) a unique distribution mode. To provide a style analysis of Xiaoqingxin Film, I will not only observe its script, sound and cinematography, but also look into its genre bending. To conduct a media capital analysis of Xiaoqingxin Film, I would borrow the concept of “media capital” from Michael Curtin and pay particular attention to the fact that co-productions between Taiwan and Mainland China are popping up as Taiwan has relaxed trade embargoes with Mainland China. As shown by the successive box-office hits, the pan-Asian commercial success of Xiaoqingxin Film is not a one- hit wonder. Rather, in this sub-genre, I believe, lies the possible prospect of Taiwan popular cinema. Key Words: Xiaoqingxin, genre, media capital, Taiwan cinema, J-style photography, Pan- Asian Cinema 74 The IAFOR Journal of Asian Studies Volume 2 – Issue 1 – Spring 2016 Introduction: A Fresh Wind on Taiwan Screens Much has been said about the long-standing sickness of Taiwan’s popular cinema. For instance, Yueh-yu Yeh (2006) wrote in a pessimistic tone, “There was a popular Taiwan cinema until 1994” (165). -
Taipei Becoming-Paris in Yi Ye Taibei/Au Revoir Taipei (2010). Asian Cinema, 25(1), Pp
n Martin-Jones, D. (2014) Branded city living: Taipei becoming-Paris in Yi ye Taibei/Au Revoir Taipei (2010). Asian Cinema, 25(1), pp. 15-31. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/ 94151/ Deposited on: 15 December 2015 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk 1 Branded City Living: Taipei becoming-Paris in Yi ye Taibei /Au Revoir Taipei (2010). KEYWORDS Au Revoir Taipei, branded city, film tourism, becoming-Paris, time-image, Gilles Deleuze ABSTRACT This article analyses Yi ye Taibei/Au Revoir Taipei (Chen, 2010). Due to its status as a coproduction (with talent drawn from across borders, its various international funding sources and its deliberate appeal to global audiences through the festival circuit), the film is seen to provide a transnational perspective on Taipei. In this the film’s relationship with a film tourism agenda, a branding process pursued by the Taipei authorities, is stressed. Au Revoir Taipei’s consideration of life in Taipei, as a ‘branded city’, is analysed in terms of its three becomings (becoming-Paris, becoming-imperceptible, becoming-dance), in relation to Gilles Deleuze’s idea of the time-image (a striking example of which concludes the film) and it’s intertextual referencing of several “world” or “art” cinema classics, including Jean-Luc Godard’s Bande à Part (1964). The film’s transnational view of life in the branded city is thus understood to emerge at the conjunction of global production and distribution realities for filmmaking, and contemporary work and lifestyle opportunities in Taipei, the convergence of which create a cinematic construction of Taipei city that can be deciphered using Deleuze’s concepts. -
Mediendossier Trigon-Film
Mediendossier trigon-film Au revoir Taipei Arvin Chen Taiwan VERLEIH: trigon-film Limmatauweg 9 5408 Ennetbaden Tel. 056 430 12 30 Fax 056 430 12 31 [email protected] www.trigon-film.org MEDIENKONTAKT Tel: 056 430 12 32 [email protected] BILDMATERIAL www.trigon-film.org MITWIRKENDE Regie: Arvin Chen Land: Taiwan Produktionsjahr: 2010 Sprache/Untertitel: Mandarin, Taiwanisch; d/f Dauer: 85 Minuten Drehbuch: Arvin Chen Kamera: Michael Fimognari Montage: Justin Guerrieri Ton: Du-Chih Du Mitwirkender Produzent: Wim Wenders Musik: Wen Hsu Ausstattung: Mei Ching Huang Produktion: Atom Cinema, Taipeh; Greenskyfilms Inc., LA Darstellerinnen und Darsteller Susie: Amber Kuo Kai: Jack Yao Ji-Yong: Joseph Chang Hong: Lawrence Ko Bruder Bao: Frankie Gao Preise NETPAC-Preis für den besten asiatischen Film an der Berlinale 2010 KURZINHALT Kai lebt in Taiwans Hauptstadt Taipei. Er hat Liebeskummer, denn seine Faye ist nach Paris gereist. Tagsüber arbeitet er im Nudelrestaurant seiner Eltern, und Abend für Abend sitzt er in der Buchhandlung, wo er in Französischbüchern die ihm fremde Sprache lernt. „Sans vous, Taipei est très triste“, lässt er seine Geliebte wissen. Als ihm ein alternder Gangster aus dem Quartier ein Flugticket nach Paris anbietet und Kai im Gegenzug dafür einen „einfachen Kurierdienst“ übernimmt, wird's turbulent: Aufs Tapet treten Möchtegern-Ganoven in orangefarbenen Anzügen, die sich das Paket schnappen, gefolgt von einem Polizisten mit aufgewühltem Liebesleben. Kai lernt die Buchhändlerin Susie näher kennen und merkt schliesslich: Paris ist weit weg und das Gute doch so nah. LANGINHALT Die endlose Hektik des Lebens in Taipei ist für Kai sinnlos geworden, seit seine Freundin Faye nach Paris abgereist ist. -
Negotiating Transnational Collaborations with the Chinese Film Industry
University of Wollongong Research Online University of Wollongong Thesis Collection 2017+ University of Wollongong Thesis Collections 2019 Negotiating Transnational Collaborations with the Chinese Film Industry Kai Ruo Soh University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses1 University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Soh, Kai Ruo, Negotiating Transnational Collaborations with the Chinese Film Industry, Doctor of Philosophy thesis, School of the Arts, English and Media, University of Wollongong, 2019. -
3. Dictionaries Introduction
Handbook of Reference Works in Traditional Chinese Studies (R. Eno, 2011) 3. DICTIONARIES INTRODUCTION The earliest Chinese dictionary was probably composed during the Western Han Dynasty (202 BCE – 8 CE). It is known as the Erh-ya 爾雅 (the meaning of this title is not entirely clear), and it is more a classified list of near-synonyms than a dictionary. The evolution from the Erh-ya to modern dictionaries basically included six subsequent stages: 1. Shuo-wen chieh-tzu 說文解字 (compiled by Hsu Shen 許慎, c. 100 CE). The Shuo-wen (as it is generally known) established the precedents of individual word definition, word etymology, and radical organization. (We will explore the Shuo-wen more thoroughly in considering Philological Studies.) 2. Ch’ieh-yun 切韻 (compiled by Lu Fa-yen 陸法言 in 601). This was the first of the great rhyming wordbook-dictionaries, intended to guide the art of poetic composition. The T’ang enlargement and annotation of this book was known as the T’ang-yun 唐韻, and this text was in turn enlarged during the Sung; the extant text is known under the Sung title of Kuang-yun 廣韻. (We will consider the Kuang-yun more fully in the section on Literary Studies.) 3. P’ei-wen yun-fu 佩文韻府 (compiled under Imperial auspices, 1711). A huge rhyming word book which, although including definitions only for characters (tzu), was the first “dictionary” to include encyclopaedic lists of precedents for compound words (tz’u). (We will consider the P’ei-wen yun-fu further in the Literary Studies section.) 4. -
DP Au Revoir Taipei
Dossier de presse trigon-film AU REVOIR TAIPEI Un film de Arvin Chen Taïwan, 2010 DISTRIBUTION trigon-film Limmatauweg 9 5408 Ennetbaden Tél: 056 430 12 30 Fax: 056 430 12 31 [email protected] www.trigon-film.org CONTACT MÉDIAS Régis Nyffeler 077 410 76 08 [email protected] MATÉRIEL PHOTOGRAPHIQUE www.trigon-film.org FICHE TECHNIQUE Réalisation & scénario: Arvin Chen Pays: Taïwan Année: 2010 Langue, sous-titres: Mandarin, taïwanais, f/a Durée: 85 minutes Image: Michael Fimognari Montage: Justin Guerrieri Son: Du-Chih Du Musique: Hsu Wen Décors: Mei Ching Huang Production: Atom Cinema, Taipei ; Greenskyfilms Inc., L.A. FICHE ARTISTIQUE Amber Kuo Susie Jack Yao Kai Joseph Chang Ji-Yong Lawrence Ko Hong Frankie Gao Frère Bao FESTIVALS NETPAC Award (prix du meilleur film asiatique), Berlinale Prix du Jury, Festival du film asiatique de Deauville Audience Award, San Francisco Asian Film Festival Opening Film, L.A. Asian Film Festival 2 SYNOPSIS Kai ne semble même plus remarquer la folle et interminable agitation de la capitale taïwanaise. Depuis que sa fiancée est partie vivre à Paris, il passe toutes ses soirées dans une librairie ouverte 24 heures sur 24, à feuilleter des manuels de français. Sans elle, il est triste, et espère bien trouver un peu d’argent pour pouvoir la rejoindre. Lorsqu’un vieux et sympathique gangster lui propose de l’aider, en échange d’un petit service, Kai accepte immédiatement. Au fil d’une nuit extraordinaire particulièrement mouvementée, il va réaliser que la véritable romance se trouve peut-être bien plus près que ce qu’il imaginait. -
One Big Hapa Family Looks at the Incredibly High Rate of Mixed Race Marriages in Japanese M5V 3A8, CANADA Canadian Communities
Sewing new narratives into the picture Major Sponsor: 14th ANNUAL EDITION NOVEMBER 9-15, 2010 www.reelasian.com 1 CONTENTS Left to Right: Raymond Phathanavirangoon, Siya Chen, Chris Chin, Heather Keung, Eva Ho, Joyce Wong, Gina Rim, Sonia Sakamoto-Jog, Louanne Chan CREDITS & ACKNOWLEDGEMENTS 2 On behalf of our staff, board of directors and advisory board, I would like to welcome you to the 14th edition of the Toronto Reel Asian International Film Festival. This year we are excited to announce two additional days of special programming, parties and thought-provoking films from across Canada and around the VENUE MAP & TICKETING 3 world. We also invite you to join us for two special screenings at the Richmond Hill Centre for the Performing Arts, part of Reel Asian’s initiative to reach new audiences beyond the downtown core (see page 14 and 54 SCHEDULE AT A GLANCE 4 for more details). SPONSORS & GOVERNMENT FUNDERS 6 Our Opening Night Gala film will start things off with a bang. Director Clement Cheng is joining us from Hong Kong to present Gallants (co-directed with long-time collaborator Derek Kwok), a contemporary JURY MEMBERS & AWARDS 12 and zany take on the classic 1970s kung fu film genre. Our Centrepiece Presentation brings back director Yoshihiro Nakamura (2009 Audience Choice Award Winner for Fish Story) with his conspiracy theory caper Golden Slumber, and the festival closes with a whirlwind adventure through Taipei in Arvin Chen’s romantic comedy Au Revoir Taipei. PRESENTATIONS BY DAY Special guests this year also include Oscar-nominated Koji Yamamura, arguably one of Japan’s greatest short-form auteur animators. -
'Moneyboys': Cannes Review
‘Moneyboys’: Cannes Review | Reviews | Screen https://www.screendaily.com/reviews/moneyboys-cannes-review/516095... ‘Moneyboys’: Cannes Review BY JOHN BERRA | 12 JULY 2021 A gay Chinese hustler struggles to cope with the disapproval of his rural family SOURCE: TOTEM FILMS ‘MONEYBOYS’ Dir: CB Yi. Taiwan/Austria/France. 2021. 120 mins This site uses cookies. By using this site you are Writer-director CB Yi makes an auspicious debut with Moneyboys, a profoundly melancholic tale of a agreeing to our privacy and cookie policy. gay hustler who is unable to let go of the past. Although set in South China, it was actually shot in Taiwan with support from the Taipei Film Commission after securing mainland production approval ran aground on the ostensible subject matter. Yet, Yi is less focused on depicting sex work than 1 von 4 09.08.21, 11:57 ‘Moneyboys’: Cannes Review | Reviews | Screen https://www.screendaily.com/reviews/moneyboys-cannes-review/516095... exploring the impact of migration on China’s rural youth. In addition to establishing Yi as a talent to watch, the film also cements the comeback of star Kai Ko, who found fame in Giddens Ko’s romance You Are the Apple of My Eye (2011) only to be blacklisted in 2014 after being arrested in Beijing for drug possession. The actor’s immensely empathic performance as a considerate young man who denies himself happiness will surely put him on the casting lists of independently minded Chinese filmmakers, even if roles in mainland-oriented commercial fare remain off limits. A graduate of the Vienna Film Academy where he received tutelage from Michael Haneke, Yi adopts a formal style Screening in the Un Certain Regard section at Cannes, this elegantly framed and affectingly played drama should receive sufficient international attention for Yi to realise his stated ambitions of a trilogy. -
GIGS Boon Chan Assistant Life Editor Recommends TGIF Music Station This Series of Music Performances ELECTRO-POP
D4 life happenings | THE STRAITS TIMES | FRIDAY, DECEMBER 20, 2019 | GIGS Boon Chan Assistant Life Editor recommends TGIF Music Station This series of music performances ELECTRO-POP features some of Singapore’s artists Picks and rising stars. JUVENILE A WHERE: OCBC Square, Singapore Sandee Chan Sports Hub, Stadium Walk PQPMusic MRT: Stadium WHEN: Jan 3, 7.30 - Music 9.45pm ADMISSION: Free INFO: www.singaporeccc.org.sg/ Don’t worry, indie event/tgif-music-station-3/ music stalwart Sandee Chan has not done the Pentatonix – The World Tour unthinkable and dropped an album of Singapore 2020 kiddy music. The acclaimed a cappella-pop group The Taiwanese singer-songwriter is are best known for their pop-style still making intriguing electro-pop on arrangements of modern hits with her 12th studio album, which seems to powerful vocal harmonies, basslines, be a wake-up call of sorts. riffing, percussion and beatboxing. Where Are You Headed? poses a WHERE: The Star Theatre, 04-01 The question which is answered in the Star Performing Arts Centre, 1 Vista album closer Be An Extraordinary Exchange Green MRT: Buona Vista Ordinary Person. A highlight here is WHEN: Feb 11, 8pm ADMISSION: $88 - 35, a darkly sinuous track featuring $ 228 INFO: www.sistic.com.sg singer-actor Kai Ko on the anxieties of 30-somethings. A Date With Friends 2020 – An album on adulting. Relive The Memories With Fredo By Fredo Flybaits Fredo, frontman of legendary 1970s Singapore band The Flybaits, SOUL/POP performs for the first time at the I, ME, MINE Esplanade. He will be singing his Jia Jia original hits from his decades-long B’in Music career in Singapore and Malaysia. -
Filmart Daily Mar
FILMART DAILY MAR. 23, 2015 №1 THR.COM/FILMART Contents Panda Cover D1 032315.indd 1 3/18/15 1:52 PM MARCH 23, 2015 THR.COM/FILMART HONG KONG №1 HK TODAY TOMORROW WEATHER AND HIGH 72° F 71° F TEMPS 22° C 22° C KOREA’S MBC U.S. Pins Asia Hopes on Filmart INKS ISLAND The Hong Kong market sees a record number of Hollywood dealmakers looking to crack the TV DEAL world’s hottest film sector. “It’s essential to attend” says one insider By Clifford Coonan By Clifford Coonan ollywood-Asia links are in focus as a accessing the China market given its prime location erenity Media Group’s record 47 American companies and as one of the most bustling, cosmopolitan cities in Christie Hsiao has signed Hindividuals have signed up to take part the region,” she tells THR. Sa partnership with South in Filmart this year. She is in the territory with two titles announced Korea’s Munhwa Broadcasting Links between Hollywood and China are deep- at Berlin: Chronically Metropolitan with Shiloh Corporation (MBC) network ening: in the last week alone Huayi Bros. partnered Fernandez, Chris Noth, Mary-Louise Parker to make a TV series and stage with Robert Simonds’ STX Entertainment, while and Ashley Benson and Untot with Hayden musical of her novel Journey to Lionsgate signed a $375 million film financing Christensen. Rainbow Island. deal with Hunan TV. “Filmart has grown in importance over Hsiao believes the Korean Hollywood companies hoping to move the years as Asia continues to dominate and deal will be a stepping stone to their projects in the region include The exert its force in the international market- further sales in Asia.