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The Cutting Edge, March/April 2010, Vol. 21 Issue 2
Marshall University Marshall Digital Scholar The Cutting Edge The Society of American Fight Directors 4-2010 The Cutting Edge, March/April 2010, Vol. 21 Issue 2 The Society of American Fight Directors Follow this and additional works at: https://mds.marshall.edu/cutting Part of the Acting Commons, Other Theatre and Performance Studies Commons, Performance Studies Commons, and the Theatre History Commons Recommended Citation The Society of American Fight Directors, "The Cutting Edge, March/April 2010, Vol. 21 Issue 2" (2010). The Cutting Edge. 89. https://mds.marshall.edu/cutting/89 This Newsletter is brought to you for free and open access by the The Society of American Fight Directors at Marshall Digital Scholar. It has been accepted for inclusion in The Cutting Edge by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. March/April 2010, Volume XXI, Issue 2 Introducing Our New Regional Representatives The staff of The Cutting Edge would like to welcome three new regional HEY, YOU! representatives to the SAFD. Danette GO TO MY WORKSHOP! Baker will be taking over for Mike Speck in the Middle America region, Travis Sims will be taking over for Robert Hamilton in the THEN GO TO THIS OTHER WORK Pacific West region, and Matthew Ellis will SHOP! be taking over for Ann Chandler Harlan in the South West region. A D THE BUY SOME RAFFLE TICKETS! Thanks to Ann, Mike and Robert for their years of service! Your commitment to the betterment of the SAFD and this publication is appreciated and valued beyond words. -
Performing Shakespeare in Contemporary Taiwan
Performing Shakespeare in Contemporary Taiwan by Ya-hui Huang A thesis submitted in partial fulfilment for the requirements of the degree of Doctor of Philosophy at the University of Central Lancashire Jan 2012 Abstract Since the 1980s, Taiwan has been subjected to heavy foreign and global influences, leading to a marked erosion of its traditional cultural forms. Indigenous traditions have had to struggle to hold their own and to strike out into new territory, adopt or adapt to Western models. For most theatres in Taiwan, Shakespeare has inevitably served as a model to be imitated and a touchstone of quality. Such Taiwanese Shakespeare performances prove to be much more than merely a combination of Shakespeare and Taiwan, constituting a new fusion which shows Taiwan as hospitable to foreign influences and unafraid to modify them for its own purposes. Nonetheless, Shakespeare performances in contemporary Taiwan are not only a demonstration of hybridity of Westernisation but also Sinification influences. Since the 1945 Kuomintang (Chinese Nationalist Party, or KMT) takeover of Taiwan, the KMT’s one-party state has established Chinese identity over a Taiwan identity by imposing cultural assimilation through such practices as the Mandarin-only policy during the Chinese Cultural Renaissance in Taiwan. Both Taiwan and Mainland China are on the margin of a “metropolitan bank of Shakespeare knowledge” (Orkin, 2005, p. 1), but it is this negotiation of identity that makes the Taiwanese interpretation of Shakespeare much different from that of a Mainlanders’ approach, while they share certain commonalities that inextricably link them. This study thus examines the interrelation between Taiwan and Mainland China operatic cultural forms and how negotiation of their different identities constitutes a singular different Taiwanese Shakespeare from Chinese Shakespeare. -
Programmed Moves: Race and Embodiment in Fighting and Dancing Videogames
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Programmed Moves: Race and Embodiment in Fighting and Dancing Videogames Permalink https://escholarship.org/uc/item/5pg3z8fg Author Chien, Irene Y. Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Programmed Moves: Race and Embodiment in Fighting and Dancing Videogames by Irene Yi-Jiun Chien A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Film and Media and the Designated Emphasis in New Media in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Linda Williams, Chair Professor Kristen Whissel Professor Greg Niemeyer Professor Abigail De Kosnik Spring 2015 Abstract Programmed Moves: Race and Embodiment in Fighting and Dancing Videogames by Irene Yi-Jiun Chien Doctor of Philosophy in Film and Media Designated Emphasis in New Media University of California, Berkeley Professor Linda Williams, Chair Programmed Moves examines the intertwined history and transnational circulation of two major videogame genres, martial arts fighting games and rhythm dancing games. Fighting and dancing games both emerge from Asia, and they both foreground the body. They strip down bodily movement into elemental actions like stepping, kicking, leaping, and tapping, and make these the form and content of the game. I argue that fighting and dancing games point to a key dynamic in videogame play: the programming of the body into the algorithmic logic of the game, a logic that increasingly organizes the informatic structure of everyday work and leisure in a globally interconnected information economy. -
Eu /Scenekn~ - Best of Golmaal Returns HD - All Comedy Scene- Arshad Warsi - Ajay Devgn - Kareena - Tushar
eu /scenekn~ - Best Of Golmaal Returns HD - All Comedy Scene- Arshad Warsi - Ajay Devgn - Kareena - Tushar Asheville entertainment, culinary and culture guide Scene Member Benefits. Scene members get the best value on Friday night tickets to performances as well as unique opportunities to support the Alley! SCENE - The movie reward program from Scotiabank and ... Scene on 7. 14,399 likes 125 talking about this. Scene were all about the people, places, and things that define our Southern Lifestyle! Scenebot FORMER porn star and controversial online figure Mia Khalifa has recalled the shocking threats she received after filming a scene where she had sex wearing a hijab. SceneDoc | Home | 'Mobile-First' Platform for Public Safety As the box says, Scene It? Is all about movie magic. It's a very simple trivia game. You move about the board and answer questions about movies, such as what was Alien III's tag line, or what composer was nominated for an Oscar 18 times but never won. Chicago Destination Management Company - On The Scene Synonyms for scene at T with free online thesaurus, antonyms, and definitions. Dictionary and Word of the Day. Scene Complete Family Pack - F Scene. 584,738 likes 1,749 talking about this. Get a SCENE card for FREE today and earn points for FREE movies, meals, and more. #AreYouIn? Follow us... Scene: Dhoom:2 The Perfect Thief Hrithik Roshan Abhishek Bachchan Uday Chopra Subscribe Now: Stay updated! Love brings along a lot of challenges with itself. For Suri, it came in form of Gol Gappa & Biryani. Watch this fun scene from 'Rab.. -
Teaching Post-Mao China Not Connected
RESOURCES FILM REVIEW ESSAY documentary style with which filmmaker Zhang Yimou is normally Teaching Post-Mao China not connected. This style—long shots of city scenes filled with people Two Classic Films and a subdued color palette—contribute to the viewer’s understand - ing of life in China in the early 1990s. The village scenes could be By Melisa Holden from anytime in twentieth century China, as the extent of moderniza - tion is limited. For example, inside peasants’ homes, viewers see Introduction steam spewing from characters’ mouths because of the severe cold The Story of Qiu Ju and Beijing Bicycle are two films that have been and lack of central heating. However, when Qiu Ju travels to the ur - used in classrooms since they were produced (1992 and 2001, respec - banized areas, it becomes obvious that the setting is the late twentieth tively). Today, these films are still relevant to high school and under - century. The film was shot only a couple of years after the Tiananmen graduate students studying history, literature, and related courses Square massacre in 1989. Zhang’s previous two films ( Ju Dou and about China, as they offer a picture of the grand scale of societal Raise the Red Lantern ) had been banned in China, but with The Story change that has happened in China in recent decades. Both films il - of Qiu Ju , Zhang depicts government officials in a positive light, lustrate contemporary China and the dichotomy between urban and therefore earning the Chinese government’s endorsement. One feels rural life there. The human issues presented transcend cultural an underlying tension through Qiu Ju’s search for justice, as if it is not boundaries and, in the case of Beijing Bicycle , feature young charac - only justice for her husband’s injured body and psyche, but also jus - ters that are the age of US students, allowing them to further relate to tice supposedly found through democracy. -
TT-980403-Section 2-P17-TV Guides-IB
A R O U N D T O W N 發光的城市 17 TAIPEI TIMES • FRIDAY, APRIL 3, 2009 aving built a reputation as a articulate genre director H through works such as One Nite in Mongkok (旺角黑夜, 2004) and Protege (門徒, 2007), Derek Yee (爾冬 SHINJUKU INCIDENT 陞) returns with Shinjuku Incident (新宿事件) (新宿事件), a crime drama about the plight of Chinese illegal immigrants DIRECTED BY: DEREK YEE (爾冬陞) in Japan that has been banned in China for its violent scenes. STARRING: JACKIE CHAN (成龍) AS Yee’s first collaboration with Jackie STELLHEAD, DANIEL WU (吳彥祖) AS JIE, Chan (成龍) is being hyped as the XU JINGLEI (徐靜蕾) AS XIU XIU, MASAYA action star’s first attempt at serious This time, Jackie Chan KATO AS EGUCHI, NAOTO TAKENAKA acting, as Chan plays a character AS KITANO fighting to survive in a dark, grimy and morally complex underworld. LANGUAGE: IN MANDARIN, Set in the 1990s, the film begins CANTONESE AND JAPANESE WITH when Chinese refugees are swept CHINESE AND ENGLISH ashore on a Japanese beach. Among RUNNING TIME: 119 MINUTES them is Steelhead (Chan), a simple, isn’t joking honest mechanic from northern TAIWAN RELEASE: TODAY China who has come to find his long- The Hong Kong funnyman and martial arts star’s first foray into lost love, Xiu Xiu (Xu Jinglei, 徐靜蕾). From migrant workers toiling Steelhead joins hometown pal serious acting has been banned in China for its gruesome scenes in sewer drains and landfills to the Jie (Daniel Wu, 吳彥祖) and other turf wars between rival gangsters, illegal immigrants in Tokyo’s BY HO YI each segment of this bulky narrative Shinjuku district, where they eke STAFF REPORTER is strong and gripping. -
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Mark Parascandola ONCE UPON A TIME IN SHANGHAI Cofounders: Taj Forer and Michael Itkoff Creative Director: Ursula Damm Copy Editors: Nancy Hubbard, Barbara Richard © 2019 Daylight Community Arts Foundation Photographs and text © 2019 by Mark Parascandola Once Upon a Time in Shanghai and Notes on the Locations © 2019 by Mark Parascandola Once Upon a Time in Shanghai: Images of a Film Industry in Transition © 2019 by Michael Berry All rights reserved. ISBN 978-1-942084-74-7 Printed by OFSET YAPIMEVI, Istanbul No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without the prior permission in writing of copyright holders and of the publisher. Daylight Books E-mail: [email protected] Web: www.daylightbooks.org 4 5 ONCE UPON A TIME IN SHANGHAI: IMAGES OF A FILM INDUSTRY IN TRANSITION Michael Berry THE SOCIALIST PERIOD Once upon a time, the Chinese film industry was a state-run affair. From the late centers, even more screenings took place in auditoriums of various “work units,” 1940s well into the 1980s, Chinese cinema represented the epitome of “national as well as open air screenings in many rural areas. Admission was often free and cinema.” Films were produced by one of a handful of state-owned film studios— tickets were distributed to employees of various hospitals, factories, schools, and Changchun Film Studio, Beijing Film Studio, Shanghai Film Studio, Xi’an Film other work units. While these films were an important part of popular culture Studio, etc.—and the resulting films were dubbed in pitch-perfect Mandarin during the height of the socialist period, film was also a powerful tool for education Chinese, shot entirely on location in China by a local cast and crew, and produced and propaganda—in fact, one could argue that from 1949 (the founding of the almost exclusively for mainland Chinese film audiences. -
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. -
Poh Cheng Khoo Interrogating the Women Warrior
MIT4 Panel: "Asian Warrior Womanhood in Storytelling." Poh Cheng Khoo Interrogating the Women Warrior: War, Patriotism and Family Loyalty in Lady Warriors of the Yang Family (2001). The medieval Chinese are known to be heavily patriarchal, but even such a culture produced many formidable women warriors…Daughters of prominent military families trained in the martial arts. Wives of generals were often chosen for their battle skills. The Yang family of the Song Dynasty (960-1279 CE) was one such military family. When the men were decimated on various military assignments, their wives, mothers, sisters and even maidservants took their places on the battlefield. (“Warriors: Asian women in Asian society”) “No group of women in Chinese history has commanded so much prestige and respect as the ladies of the Yang family. They are revered as great patriots who were willing to lay down their lives for the sake of their country” (Lu Yanguang, 100 Celebrated Chinese Women, 149). The genesis of this paper lies in a 40-part retelling of one of the more enduring woman warrior stories of historical China. When I saw this particular 2001 TV series which loosely translates into Lady Warriors of the Yang Family, I was working on my dissertation involving Maxine Hong Kingston’s The Woman Warrior and hence the iconic figure of Fa Mu Lan. Contrary to Mulan’s concealment of gender in battle, here was a family of woman warriors from some ten centuries ago, none of whom had to compromise their true biological identity by cross-dressing or, according to Judith Lorber’s definition, turning “transvestite” (Richardson et al [eds.] 42). -
Confucius Kong Zi (China-Hong Kong) by DEREK ELLEY
Confucius Kong Zi (China-Hong Kong) By DEREK ELLEY 'Confucius' A China Film Group release of a Beijing Dadi Century, China Film Group Corp. (China)/Dadi Entertainment (Hong Kong) production. (International sales: Dadi Entertainment, Hong Kong.) Produced by Han Sanping, Chui Po-chu, Rachel Liu. Executive producers, Han, Liu, John Sham. Directed by Hu Mei. Screenplay, Chan Khan, He Yanjiang, Jiang Qitao, Hu. Though he was probably the last person on most people's lists to play the venerable Chinese philosopher, Chow Yun-fat makes a commanding screen presence as "Confucius." Combining calm sagacity with a potent physicality that more than fills helmer Hu Mei's big visual stage, Chow carries the biopic almost single-handedly and prevents it from becoming overly respectful. Released Jan. 22 in China amid the "Avatar" tsunami, "Confucius" hauled a very wise but not heaven-storming 99.5 million yuan ($14.6 million) in its first three frames. Beyond Asia, this entertaining, often thoughtful pic mostly will be seen, alas, on the smallscreen. The media brouhaha over the 2D version of "Avatar" being bumped off many screens to make way for "Confucius" -- supposedly for political/patriotic reasons -- has obscured the fact that the pic is an exceptionally good-looking and largely well-played historical drama. Released at any other time -- its original date was last fall, to coincide with the 2,560th anniversary of the sage's birth -- the film would never have been bruised by what became a fabricated Hollywood-vs.-China media-cultural war. Since "Curse of the Golden Flower," Chow has shown he can bring a physical heft to mature costume-drama roles that's equaled only in Chinese-speaking cinema by mainlanders such as Zhang Fengyi, Wang Xueqi or Hu Jun. -
Perspectives in Flux
Perspectives in Flux Red Sorghum and Ju Dou's Reception as a Reflection of the Times Paisley Singh Professor Smith 2/28/2013 East Asian Studies Thesis Seminar Singh 1 Abstract With historical and critical approach, this thesis examined how the general Chinese reception of director Zhang Yimou’s Red Sorghum and Ju Dou is reflective of the social conditions at the time of these films’ release. Both films hold very similar diegeses and as such, each generated similar forms of filmic interpretation within the academic world. Film scholars such as Rey Chow and Sheldon Lu have critiqued these films as especially critical of female marginalization and the Oedipus complex present within Chinese society. Additionally, the national allegorical framing of both films, a common pattern within Chinese literary and filmic traditions, has thoroughly been explored within the Chinese film discipline. Furthermore, both films have been subjected to accusations of Self-Orientalization and Occidentalism. The similarity between both films is undeniable and therefore comparable in reference to the social conditions present in China and the changing structures within the Chinese film industry during the late 1980s and early 1990s. Although Red Sorghum and Ju Dou are analogous, each received almost opposite reception from the general Chinese public. China's social and economic reform, film censorship, as well as the government’s intervention and regulation of the Chinese film industry had a heavy impact upon each film’s reception. Equally important is the incidence of specific events such as the implementation of the Open Door policy in the 1980s and 1989 Tiananmen Square Massacre. -
IFFAM 2943 – East & West Masterpieces on the Big Screen
SUPPLEMENT THU 07.12.2017 SHOWING INSIDE Crossfire Special Presentation Flying Daggers FAQs II Int’l Film Festival EAST & WEST MASTERPIECES ON THE BIG SCREEN he Crossfire feature of the IFFAM, described by organizers as a “retrospective” element of the festival, will showcase six master films selected by renowned filmmakers. From the black and white motion pictures of the 1940s to Kubrick’s sci-fi masterpiece “2001: Space Odyssey” of the 60s and the psychological thriller “Silence of the Lambs”, the genre films hail from THollywood and Asia, the latter represented with seminal works from Kurosawa, Johnnie To and Derek Yee. International Film Festival & Awards Macao CROSSFIRE: A RETROSPECTIVE OF CINEMA FROM KUBRICK TO KUROSAWA The Crossfire feature of the IFFAM will showcase six master films selected by renowned filmmakers. The pictures will be shown on the big screen at The Cinematheque Passion, from December 8 to 12 ONE NITE IN MONGKOK Mongkok, Hong Kong: a densely populated hot- KIND HEARTS AND CORONETS MAD DETECTIVE bed of criminal activity. Mainland Chinese farm Hotshot Inspector Ho seeks out his former boss Bun boy Lai Fu is a hired killer who enters the neon-lit English actors Dennis Price and Sir Alec Guinness underbelly of this infamous district. When he res- star in this 1949 black comedy. Price plays the for help in cracking a serial murder case. Bun, a gifted criminal profiler, went mad years ago and now lives cues a call girl from gangsters, the two must go lead role of Louis d’Ascoyne Mazzini, ninth in line on the run from policemen and triads alike.