DOCSLIB.ORG

WU Yonggang (1934) N & B - 1H22 - Stéréo Numérique

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
WU Yonggang (1934) N & B - 1H22 - Stéréo Numérique ARTE France 8, rue Marceau 92130 Issy-les-Moulineaux Contact presse : 01 55 00 70 47 / 73 43 Agnès Buiche / Laure Coenca [email protected] / [email protected] Contact cinéma : Jacques Poitrat [email protected] dossier de presse en ligne sur www.artepro.com plus d’infos sur www.arte-tv.com La Divine (Shennü), avec RUAN Lingyu Un film muet de WU Yonggang N & B - 1h22 - Stéréo numérique(1934) Musique originale : XU Yi (2004) jeudi 27 mai 2004 à 0.30 Présentation en avant-première mardi 27 avril 2004 à 20h00 à la Cinémathèque française - Palais de Chaillot pantone : 1505 0 quadri : M69 J10 La Divine (La Déesse) Shennü (The Goddess aka Street-Walker) Scénario et réalisation ..........................Wu Yonggang Prise de vues ......................................Hong Weilie Décors..................................................Wu Yonggang Direction de production ........................Li Minwei Producteur ..........................................Luo Mingyou Production............................................Lianhua Yingye Gongsi (Studio n° 1) Interprétation : Ruan Lingyu ........................................la Divine Zhang Zhizhi .......................................Laoda, le souteneur Li Keng ................................................l’enfant Li Junpan ............................................le proviseur Sortie en salle : 7 décembre 1934, Shanghai’s Lyric Theatre. 1934 – 35 mm. – N. & B. – 9 bobines – 77 min. env. (24 i./s.) – Muet – Int./t chinois. Film sauvegardé en 1981, développement et tirage du deuxième atelier du Zhongguo Dianying Ziliaoguan (China Film Archive). Nouvelle restauration inédite (2004) : ZZ Productions (Paris), avec la participation d’ARTE France et le concours de Zhongguo Dianying Ziliaoguan (Pékin). Spatialisation sonore (7.1) originale : XU Yi, interprétée par 10 instrumentistes : pipa, liuqin (2 instruments traditionnels chinois) & flûte, clarinette, cor, percussions (2), violon, alto, violon- celle (Solistes de l’EOC-Ensemble Orchestral Contemporain de Lyon) ; sous la direction de Daniel Kawka. Producteur Associé : GRAME - Centre National de Création Musicale (Lyon). 1934/2004 – TVHD – 1/1.33 – N & B – 82 min. (24 i./s.) – V. O. Int./t chinois – Stéréo . 1 Synopsis héroïne est une jeune femme pauvre qui se prostitue afin de pouvoir élever L'son enfant. Tombée entre les mains d'un gredin qui l'exploite, elle tente en vain de lui échapper. L'enfant grandit et entre à l'école. Mais ayant appris son "origine", les parents des élèves font pression pour qu'il soit renvoyé. Malgré la sympathie du directeur pour la situation de la jeune femme, les "patrons" de l'école donnent raison aux parents. Elle décide alors d'emmener son enfant dans une autre ville où il continuera ses études. Mais c'est seulement alors qu'elle s'aperçoit que le souteneur a volé ses économies et les a perdues au jeu. Prise de colère, elle le tue. Arrêtée pour meurtre, elle est condamnée à 12 ans de prison. C’est le premier film de Wu Yonggang, et le plus célèbre. C’est aussi un des grands rôles de Ruan Lingyu, un de ceux où elle est la plus expressive et touchante. Sa seule présence est bouleversante et la prise de vues, sobre et lente, met admirablement en valeur l’élégante beauté de cette star du muet qui fut l’idole des jeunes intellectuels avant de se suicider [le 8 mars 1935, jour de la fête des femmes] à l’âge de vingt-cinq ans, entrant ainsi dans la légende. 2 Sommaire À propos de La Divine ..............................p. 4 La Divine et la critique.............................p. 5 La Divine par WU Yonggang.....................p. 6 WU Yonggang, le réalisateur ....................p. 8 WU Yonggang, filmographie .....................p. 10 RUAN Lingyu, l’interprète principale .......p. 12 RUAN Lingyu, filmographie......................p. 14 ZHANG Zhizhi, filmographie ....................p. 16 Lianhua Yingye Gongsi.............................p.17 (Compagnie Cinématographique Lianhua) La re-production de La Divine ..................p. 20 XU Yi, la compositrice..............................p. 21 Grame, l’EOC, Daniel Kawka ....................p. 22 Les musiciens ...........................................p. 23 Le générique de la restauration ................p. 24 Recherches, documentation, traductions et rédaction : Christophe FALIN . 3 À propos de La Divine La Divine est l’histoire d’une mère-prostituée qui tente de donner une éducation à son fils et qui rencontre sur son chemin un souteneur qui l’exploite et un insti- tuteur qui essaie de l’aider. Sortie en salle le 7 décembre 1934 dans le Lyric’s Theatre de Shanghai, La Divine est le premier film de Wu Yonggang, qui en est aussi le scénariste et le décorateur, et l’un des derniers films de Ruan Lingyu, la grande star féminine du cinéma shanghaien des années trente qui se suicide quelques mois après la sortie du film, le 7 mars 1935, le jour de la fête des femmes. La Divine est réalisé pendant la dernière période de la transition du cinéma muet au cinéma parlant, alors que le cinéma shanghaien est traversé par deux mouvements culturels opposés, le mouvement des films de « gauche » soutenu par les communistes, et le mouvement « Vie nouvelle », dirigé par le Guomingdang. Pendant la réalisation du film, en octobre et novembre 1934, le tournage est régulièrement visité par des membres de l’organisation de ce mouvement « Vie nouvelle ». Ces visites ont sans doute empêché Wu Yonggang de montrer le vrai visage de la prostitution à Shanghai, c’est en tout cas ce que l’on peut comprendre lorsque Wu Yonggang écrit, dans une lettre publiée peu après la sortie du film : « Au début de l’écriture de La Divine, je voulais beaucoup décrire la vie réelle des prostituées, mais l’environnement ne pouvait pas me permettre de le faire ». Dénoncer la prostitution était l’intention initiale de Wu Yonggang. Il explique, dans son aubiographie, que c’est en voyant des prostituées sur le trottoir qu’il eut l’idée de faire ce film. Mais, compte tenu de la censure, et peut être inspiré par Blonde vénus de Sternberg (1932), il modifia ses intentions pour se concentrer sur les liens très forts qui unissent La Divine et son enfant. Cet amour d’une mère pour son enfant est merveilleusement interprété par Ruan Lingyu et son jeu naturel qui faisait dire à Wu Yonggang qu’elle était une « pellicule très sensible ». Accusé par certains critiques de « gauche » de ne pas aller assez loin dans la critique de la société, La Divine est en revanche bien accueilli par d’autres critiques qui mettent en avant la « maturité artistique » de Wu Yonggang. Celui-ci répond à ses détracteurs en expliquant ses intentions et en admettant que la fin du film n’est pas réussie. Il modifiera d’ailleurs cette fin dans le remake de La Divine, Le fard et les larmes, qu’il réalise en 1938. Film majeur de ce qui est considéré comme le premier âge d’or du cinéma chinois, un des derniers films muets shanghaiens, La Divine est aujourd’hui l’un des très rares films shanghaiens de cette époque à être restauré en Europe et être ainsi reconnu comme un film appartenant au patrimoine du cinéma mondial. 4 La Divine et la critique CHEN BAO, Meiri Dianying (L’AURORE, Le Quotidien du Cinéma), décembre 1934. « En raison de l’environnement général depuis un an, les films qui dénoncent l’oppression des femmes sont devenus le courant principal du cinéma chinois et, dans ce courant principal, La Divine est un bon film. Aujourd’hui, la plupart des films chinois sont encore des œuvres d’intellectuels progres- sistes au style et au contenu identiques. À supposer que l’on puisse faire une sélection parmi les œuvres de 1934, alors La vie [Rensheng de Fei Mu], Femme [Nuren de Shi Dongshan] et ce film La Divine peuvent être considérées comme les plus belles. La Divine exprime l’esprit progressiste des petits possédants, le sens de la justice des intel- lectuels, et en même temps exprime aussi leur timidité… « C’est le problème de toute la société ». Oui, nous sommes tout à fait d’accord avec les paroles de l’instituteur, mais un problème de toute la société demande une solution de toute la société. Cependant, l’auteur ne propose qu’une fin timide… Nous n’avons pas du tout besoin que l’auteur crée un espoir artificiel, nous savons aussi que dans l’ombre de la roue de l’histoire il y a vraiment de pauvres personnes qui vivent comme cela. Cette petite histoire montre du progrès, de l’avenir, mais il pourrait aller plus loin en montrant qu’il y a vraiment des gens courageux pour détruire le système qui force ces femmes à se prostituer et ces enfants à ne pas pouvoir étudier. Mais dans La Divine, il n’y a rien de tout cela. J’ai déjà dit plus haut que La Divine est l’œuvre d’un intellectuel progressiste. Son style est unique. » CHEN Wu « …Ici, je ne veux pas faire d’éloge extravagante. Pour l’avenir du cinéma chinois, nous devons recommander ce film au public. Cela ne veut pas du tout dire que La Divine repré- sente le cinéma chinois d’aujourd’hui. Mais, dans le monde troublé du cinéma, La Divine est capable de se servir d’un sentiment de justice énergique et courageux pour révéler le côté sombre de la société. Le film n’essaie pas de dissimuler la société morbide mais l’exhume par le sujet réaliste et avec une technique parfaite pour l’exprimer. On ne peut pas dire que La Divine n’est pas une fleur pure sortie d’un bourbier malpropre. Certains cinéastes « révolutionnaires » devraient avoir honte d’eux. Les sujets réalistes des films ne sont pas tirés de slogans ou d’intertitres éloquents. Les échecs du passé ne l’ont- ils pas déjà prouvé ? Une partie des cinéastes aux idées claires sont capables de ne pas recevoir l’influence de ces conceptions superficielles, et il faut les en féliciter. Que le premier film de Wu Yonggang en tant que réalisateur soit une telle réussite est un succès insolite pour le cinéma chinois.
Load more

Recommended publications
  • JUNE 2008 Tragic Earthquake Gives Rise to Unity and Hope Devastating Earthquake Which Nese.” This Is Child
    CHINAInsight Fostering Business and Cultural Harmony between China and the U.S. VOL. 7 NO. 6 www.chinainsight.info JUNE 2008 Tragic earthquake gives rise to unity and hope devastating earthquake which nese.” This is child. A teach- measured 8.0 on the Richter scale reminiscent of er gave his life hit Sichuan Province on May 12, Americans’ re- to protect four at 2:28 p.m. local time (May 11, sponse after the students. A A1:28 a.m. in Minnesota). As of May 21, the attacks of 9/11 homeless beg- region had experienced over 7,000 after- when people gar, Xu Chao shocks, some as strong as 6.0 on the Richter rallied to help in Nanjing, scale. The official report of victims of the victims of the Jiangsu prov- earthquake as of noon on May 21 was grim: terrorist attacks ince, returned and all Ameri- to a donation PASSAGE TO CHINA 41,353 dead, 274,683 injured, 32,666 miss- Pages 8 & 9 ing. Experts estimate that the death toll will cans became center numer- New Yorkers climb above 50,000. Not since 1976, when An earthquake survivor cooks outside rubble in ous times with P e o p l e an earthquake measuring 7.5 on the Richter Guangji Township (Getty Images) more money to scale hit Beijing, has an earthquake been so throughout Chi- help victims of deadly. (The 1976 earthquake claimed over na are donating the earthquake. 240,000 lives and is considered the deadliest time, money and resources to help earth- When asked why he donates his standard earthquake in modern history.) quake victims.
    [Show full text]
  • Das Asiatische Kino Der 1990Er Jahre
    Lukas Böck Das asiatische Kino der 1990er Jahre Diplomarbeit „Das asiatische Kino der 1990er Jahre.“ Ausgeführt zum Zweck der Erlangung des akademischen Grades Dipl. Ing. (FH) Telekommunikation und Medien am Fachhochschul-Diplomstudiengang Telekommunikation und Medien St. Pölten unter der Erstbetreuung von Dr. Arnulf Eggers Zweitbegutachtung ausgeführt von Dipl.-Ing. Franz Zotlöterer Lukas Böck tm021013 Wien, am 10.08.2007 Unterschrift: Seite 1 Lukas Böck Das asiatische Kino der 1990er Jahre Ehrenwörtliche Erklärung Ich versichere, dass - ich diese Diplomarbeit selbständig verfasst, andere als die angegebenen Quellen und Hilfsmittel nicht benutzt und mich auch sonst keiner unerlaubten Hilfe bedient habe. - ich dieses Diplomarbeitsthema bisher weder im Inland, noch im Ausland einem Begutachter/einer Begutachterin zur Beurteilung, oder in irgendeiner Form als Prüfungsarbeit vorgelegt habe. Diese Arbeit stimmt mit der von den Begutachtern beurteilten Arbeit überein. ---------------------- -------------------------------- Ort, Datum Unterschrift Seite 2 Lukas Böck Das asiatische Kino der 1990er Jahre Danke an: Dr. Arnulf Eggers, Dr. Alois Frotschnig Beate Mungenast, Christian Reiner, Hannes Böck und Jun Yang Seite 3 Lukas Böck Das asiatische Kino der 1990er Jahre Zusammenfassung Die Vorliegende Arbeit zielt darauf ab, Einblick in die Befindlichkeiten des asiatischen Kinos des ausgehenden 20. Jahrhunderts zu gewähren. Es wird der Versuch unternommen, anhand der historisch-politischen, künstlerischen und wirtschaflichen Rahmenbedingungen zu erklären, warum dieser Kulturkreis im Allgemeinen, und einzelne Nationalstaaten im Besonderen, für sie charakteristische Filme produzieren, die mittlerweile auch ein breites westliches Publikum erreichen. Exemplarisch wird hier auf Filmproduktion Südkoreas, Japans und Chinas eingegangen, bei denen jeweils andere Themenkomplexe auf das filmische Schaffen der Gegenwart wirken. Abstract This thesis aims to shed light on various issues in Asian Cinema in the late 20th century.
    [Show full text]
  • A Viagem E a Paisagem No Slow Cinema
    UNIVERSIDADE DE LISBOA FACULDADE DE LETRAS I don’t know what the people do all day: A viagem e a paisagem no slow cinema André Francisco Tese orientada pelo Prof. Doutor José Duarte e co-orientada pela Prof.ª Doutora Filipa Rosário, especialmente elaborada para a obtenção do grau de Mestre em Estudos Comparatistas 2020 Agradecimentos Agradeço a todos os que directa e indirectamente me ajudaram ao longo deste percurso, com um especial agradecimento à Professora Doutora Filipa Rosário pela contribuição fundamental para este trabalho e ao Professor Doutor José Duarte por todo o apoio, paciência e dedicação a um trabalho que, sem ele, não teria sido possível. i Resumo Este estudo tem como principal objectivo explorar o modo como a viagem e a paisagem se apresentam no slow cinema. Inicialmente será efectuada uma caracterização do slow cinema tendo como base alguns momentos importantes da história do cinema. Posteriormente, tentar-se-á compreender como é que essas características, bem como os conceitos de viagem e paisagem, surgem nos filmes Wendy and Lucy (2008) de Kelly Reichardt, Liverpool (2008) de Lisandro Alonso e Da xiang xi di er zuo (An Elephant Sitting Still, 2018) de Hu Bo. O slow cinema está associado a uma série de características formais, como os longos planos-sequência e a uma determinada temporalidade, bem como a certos aspectos temáticos, como o foco em figuras marginais que, através da viagem e da consequente relação com a paisagem, procuram alterar as suas condições de vida. Para além da relação que o slow cinema estabelece com o road movie, iremos também verificar como este estilo se relaciona historicamente com movimentos cinematográficos como o Neorrealismo Italiano, o “First Durational Cinema” e o Cinema Transcendental.
    [Show full text]
  • Bibliography
    BIBLIOGRAPHY An Jingfu (1994) The Pain of a Half Taoist: Taoist Principles, Chinese Landscape Painting, and King of the Children . In Linda C. Ehrlich and David Desser (eds.). Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan . Austin: University of Texas Press, 117–25. Anderson, Marston (1990) The Limits of Realism: Chinese Fiction in the Revolutionary Period . Berkeley: University of California Press. Anon (1937) “Yueyu pian zhengming yundong” [“Jyutpin zingming wandung” or Cantonese fi lm rectifi cation movement]. Lingxing [ Ling Sing ] 7, no. 15 (June 27, 1937): no page. Appelo, Tim (2014) ‘Wong Kar Wai Says His 108-Minute “The Grandmaster” Is Not “A Watered-Down Version”’, The Hollywood Reporter (6 January), http:// www.hollywoodreporter.com/news/wong-kar-wai-says-his-668633 . Aristotle (1996) Poetics , trans. Malcolm Heath (London: Penguin Books). Arroyo, José (2000) Introduction by José Arroyo (ed.) Action/Spectacle: A Sight and Sound Reader (London: BFI Publishing), vii-xv. Astruc, Alexandre (2009) ‘The Birth of a New Avant-Garde: La Caméra-Stylo ’ in Peter Graham with Ginette Vincendeau (eds.) The French New Wave: Critical Landmarks (London: BFI and Palgrave Macmillan), 31–7. Bao, Weihong (2015) Fiery Cinema: The Emergence of an Affective Medium in China, 1915–1945 (Minneapolis: University of Minnesota Press). Barthes, Roland (1968a) Elements of Semiology (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1968b) Writing Degree Zero (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1972) Mythologies (trans. Annette Lavers), New York: Hill and Wang. © The Editor(s) (if applicable) and The Author(s) 2016 203 G.
    [Show full text]
  • Final Copy 2020 06 23 Niu
    This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Niu, Muqun Title: Digital visual effects in contemporary Hollywood cinema aesthetics, networks and transnational practice General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Niu, Muqun Title: DIGITAL VISUAL EFFECTS IN CONTEMPORARY HOLLYWOOD CINEMA AESTHETICS, NETWORKS AND TRANSNATIONAL PRACTICE General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License.
    [Show full text]
  • FEI Mu 費穆（1906.10.10–1951.1.30）
    FEI Mu 費穆（1906.10.10–1951.1.30） Director, Screenwriter Fei Mu, a native of Jiangsu Province, was born in Shanghai. In 1916, Fei’s family moved to Beijing where he studied at French higher education school. He got acquainted with Zhu Shilin in 1922 and together they started a film magazine Hollywood, alongside young film enthusiasts He Mengfu and Zong Weigeng. In 1924, he took up a job in the accounting office of the Mining Department. In Lincheng In his spare time, he contributed film reviews to Zhu Shilin’s Zhenguang Ying Bao under the pseudonym Jing Lu. From 1927 onwards, he worked in Tianjin. Three years later, he quit and entered the film industry as a translator of English subtitles and synopses in Lo Ming-yau’s North China Amusement Company. In 1931, Fei started out as assistant director to Hou Yao and began to write scripts. A year later, he joined United Photoplay Service Limited as a director after returning from Tianjin to Shanghai. His debut film was Nights of the City (1932), followed by Life (1934) and Sea of the Fragrant Snow (1934), all three starring the legendary Ruan Lingyu. During the war years, he directed the anti-Japanese Bloodshed on Wolf Mountain (1936). In 1938, Fei fled to Hong Kong after Japanese forces overran much of the city of Shanghai. The following year, he returned to Shanghai and made Confucius (1940), the founding production of Ming Hwa Motion Picture Co. When the foreign concessions in Shanghai fell to the Japanese on 8 December 1941, he refused to collaborate with the Japanese and shifted to theatre work, staging plays such as Imperial Concubine Yang, Qiu Haitang and Six Chapters of a Floating Life.
    [Show full text]
  • 2016 China Leading Fintech 50
    2016 China Leading Fintech 50 KPMG China September 2016 Fintech 50 KPMG Survey Page WeChat 1 Page Number 01 Disruption & breakthrough 4 02 Overview 6 03 The 50 16 04 Appendix 67 Appendix I List of institutional investors 68 Appendix II Global comparison 69 Appendix III Regulatory update 70 Appendix IV KPMG China Fintech experts 74 Appendix V Glossary of abbreviated terms 75 About KPMG 76 Contact us 77 Disclaimer: The information contained herein is of a general nature and is not intended to address the circumstances of any particular individual or entity. Although we endeavour to provide accurate and timely information, there can be no guarantee that such information is accurate as of the date it is received or that it will continue to be accurate in the future. No one should act on such information without appropriate professional advice after a thorough examination of the particular situation. © 2016 KPMG Advisory (China) Limited , a member of the KPMG network of independent member firms affiliated with 2 KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. Printed in China. 01 Disruption & breakthrough © 2016 KPMG Advisory (China) Limited , a member of the KPMG network of independent member firms affiliated with 3 KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. Printed in China. Disruptive changes and breakthroughs Comprehensive service scenarios Credit Products Consumer cards lending Intelligence Payment Housing/car Data loans Precision Risk marketingIndividuals pricing Insurance Personal Anti-fraud finance Transactions Wealth management Quantitative Financial Portfolio trading markets management Payment Products and Bills receipts Intelligence Risk Data Risk control pricing Enterprises Wealth (small and Credit loans management medium-sized) (supply/industrial chain) Anti-fraud Leasing Pledged loans The picture above listed in no particular order，it is only a schematic diagram sorted by public information.
    [Show full text]
  • The University of Chicago Sound Images, Acoustic
    THE UNIVERSITY OF CHICAGO SOUND IMAGES, ACOUSTIC CULTURE, AND TRANSMEDIALITY IN 1920S-1940S CHINESE CINEMA A DISSERTATION SUBMITTED TO THE FACULTY OF THE DEVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY LING ZHANG CHICAGO, ILLINOIS JUNE 2017 Table of Contents Acknowledgements………………………………………………………………………………………iii Abstract…………………………………………………………………………………………………. x Introduction……………………………………………………………………………………………… 1 Chapter One Sound in Transition and Transmission: The Evocation and Mediation of Acoustic Experience in Two Stars in the Milky Way (1931) ...................................................................................................................................................... 20 Chapter Two Metaphoric Sound, Rhythmic Movement, and Transcultural Transmediality: Liu Na’ou and The Man Who Has a Camera (1933) …………………………………………………. 66 Chapter Three When the Left Eye Meets the Right Ear: Cinematic Fantasia and Comic Soundscape in City Scenes (1935) and 1930s Chinese Film Sound… 114 Chapter Four An Operatic and Poetic Atmosphere (kongqi): Sound Aesthetic and Transmediality in Fei Mu’s Xiqu Films and Spring in a Small Town (1948) … 148 Filmography…………………………………………………………………………………………… 217 Bibliography………………………………………………………………………………………… 223 ii ACKNOWLEDGEMENTS Over the long process of bringing my dissertation project to fruition, I have accumulated a debt of gratitude to many gracious people who have made that journey enjoyable and inspiring through the contribution of their own intellectual vitality. First and foremost, I want to thank my dissertation committee for its unfailing support and encouragement at each stage of my project. Each member of this small group of accomplished scholars and generous mentors—with diverse personalities, academic backgrounds and critical perspectives—has nurtured me with great patience and expertise in her or his own way. I am very fortunate to have James Lastra as my dissertation co-chair.
    [Show full text]
  • The Individual and the Crowd in Jia Zhangke's Films Jung Koo Kim A
    Goldsmiths College University of London Cinema of Paradox: The Individual and the Crowd in Jia Zhangke’s Films Jung Koo Kim A thesis submitted for the degree of Doctor of Philosophy to the department of Media and Communications August 2016 1 DECLARATION I hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person nor material which has been accepted for the award of any other degree or diploma of the university or other institute of higher learning, except where due acknowledgment has been made in the text. Signed…… …………… Date….…10-Aug.-2016…… 2 ABSTRACT This thesis attempts to understand Chinese film director Jia Zhangke with the concept of “paradox.” Challenging the existing discussions on Jia Zhangke, which have been mainly centered around an international filmmaker to represent Chinese national cinema or an auteur to construct realism in post-socialist China, I focus on how he deals with the individual and the crowd to read through his oeuvre as “paradox.” Based on film text analysis, my discussion develops in two parts: First, the emergence of the individual subject from his debut feature film Xiao Wu to The World; and second, the discovery of the crowd from Still Life to his later documentary works such as Dong and Useless. The first part examines how the individual is differentiated from the crowd in Jia’s earlier films under the Chinese social transformation during the 1990s and 2000s. For his predecessors, the collective was central not only in so-called “leitmotif” (zhuxuanlü or propaganda) films to enhance socialist ideology, but also in Fifth Generation films as “national allegory.” However, what Jia pays attention to is “I” rather than “We.” He focuses on the individual, marginal characters, and the local rather than the collective, heroes, and the national.
    [Show full text]
  • Listening to Early Chinese Sound Film: Two Stars in the Milky Way
    www.thecine-files.com DOSSIER ON FILM SOUND Listening to Early Chinese Sound Film: Two Stars in the Milky Way Jean Ma Link to film clip in criticalcommons.org: “Listening to song in TWO STARS IN THE MILKY WAY” 1931 was a pivotal year in the Chinese film industry’s transition to sound filmmaking. March saw the release of Songstress Red Peony (Genü Hong mudan), a film heralded as China’s “first all-talking and singing sound picture,” made by Mingxing Film Studio in collaboration with Pathé Records. Following in its wake in the same year was a string of releases from other studios using various kinds of synchronized sound technology, from wax disc soundtrack recordings to sound-on-film systems: The Singing Beauty, Peace after Storm, Pleasures of the Opera, and Two Stars in the Milky Way, a sound- on-disc production from United Photoplay Service, billed as a “musical song-and- dance picture.” [1] The opening scene of Two Stars in the Milky Way (Yinhan shuang xing) showcases the novelty of sound film technology with a performance of song, overheard by a group of diegetic listeners. During a location shoot in the scenic West Lake District, two film actors stumble upon a scene that halts them in their tracks: a group of villagers gathered around a house, held fast as if enraptured by a spell. The ensuing shot of the house’s interior reveals the object of their entrancement to be Yueying, a young woman with a beautiful voice who lives with her father, a composer, in their country villa.
    [Show full text]
  • A Chinese Production with Hollywood Taste Anne Kerlan
    A Chinese production with Hollywood taste Anne Kerlan To cite this version: Anne Kerlan. A Chinese production with Hollywood taste: Love and Duty (Lian’ai yu Yiwu), by Bu Wancang, 1931. Steve Neale. Silent Features, The Development of Silent Feature Films 1914-1934, 2019, 9780859892896. halshs-01164763 HAL Id: halshs-01164763 https://halshs.archives-ouvertes.fr/halshs-01164763 Submitted on 17 Jun 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. A Chinese production with Hollywood taste: Love and Duty (Lian’ai yu yiwu), by Bu Wancang, 1931. Anne Kerlan, IHTP-CNRS, Paris Love and Duty (Lian’ai yu yiwu, Bu Wancang, 1931) belongs to those films that can make us believe in miracles. Considered lost for more than half a century, it was rediscovered fully intact far away from China, the country where it was produced in 1931 in the belongings of a former high-ranking officer in the Chinese Nationalist Army, who was for many the Republic of China’s consul in Uruguay. The third production of one of the main film company of China, the United Picture Service (U.P.S. or Lianhua yingye gongsi; thereafter U.P.S.), with two of the biggest stars of the early 1930’s playing in it, it is both a beautiful film and an important landmark in the history of the company and of Chinese cinema.
    [Show full text]
  • Guomindang Policy on Secondary Education in Wartime China and Postwar Taiwan, 1937-1960
    UNIVERSITY OF CALIFORNIA, IRVINE Indoctrinating the Youth: Guomindang Policy on Secondary Education in Wartime China and Postwar Taiwan, 1937-1960 DISSERTATION submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in History by Jennifer Liu Dissertation Committee: Professor Kenneth Pomeranz, Chair Professor Jeffrey Wasserstrom Professor Qitao Guo 2010 UMI Number: 3404306 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI 3404306 Copyright 2010 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106-1346 © 2010 Jennifer Liu DEDICATION For My parents and Lane ii TABLE OF CONTENTS Page LIST OF TABLES iv NOTE ON ROMANIZATION v ACKNOWLEDGEMENTS vi CURRICULUM VITAE viii ABSTRACT OF THE DISSERTATION xi INTRODUCTION 1 CHAPTER 1: Survival During the War of Resistance, 1937-1945 20 CHAPTER 2: The Three People’s Principle’s Youth Corps on the Mainland, 52 1938-1947 CHAPTER 3: The China Youth Corps in Taiwan, 1952-1960 112 CHAPTER 4: Military Training and Instructors, 1953-1960 169 CONCLUSION 213 BIBLIOGRAPHY 223 iii LIST OF TABLES Page Table 1 Occupational Composition (%) of Three People’s Principles Youth Corps Members 74 Table 2 Number of GMD Party Members and SQT Members and Their Ratio 79 iv NOTE ON ROMANIZATION The two common ways to Romanize Chinese names into English are the pinyin system used on the mainland and the Wade-Giles system utilized on Taiwan.
    [Show full text]