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New China's Forgotten Cinema, 1949–1966
NEW CHINA’S FORGOTTEN CINEMA, 1949–1966 More Than Just Politics by Greg Lewis Several years ago when planning a course on modern Chinese history as seen through its cinema, I realized or saw a significant void. I hoped to represent each era of Chinese cinema from the Leftist movement of the 1930s to the present “Sixth Generation,” but found most available subtitled films are from the post-1978 reform period. Films from the Mao Zedong period (1949–76) are particularly scarce in the West due to Cold War politics, including a trade embargo and economic blockade lasting more than two decades, and within the arts, a resistance in the West to Soviet- influenced Socialist Realism. wo years ago I began a project, Translating New China’s Cine- Phase One. Economic Recovery, ma for English-Speaking Audiences, to bring Maoist Heroic Revolutionaries, and Workers, T cinema to students and educators in the US. Several genres Peasants, and Soldiers (1949–52) from this era’s cinema are represented in the fifteen films we have Despite differences in perspective on Maoist cinema, general agree- subtitled to date, including those of heroic revolutionaries (geming ment exists as to the demarcation of its five distinctive phases (four yingxiong), workers-peasants-soldiers (gongnongbing), minority of which are represented in our program). The initial phase of eco- peoples (shaoshu minzu), thrillers (jingxian), a children’s film, and nomic recovery (1949–52) began with the emergence of the Dong- several love stories. Collectively, these films may surprise teachers bei (later Changchun) Film Studio as China’s new film capital. -
Reimagining Revolutionary Labor in the People's Commune
Reimagining Revolutionary Labor in the People’s Commune: Amateurism and Social Reproduction in the Maoist Countryside by Angie Baecker A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Asian Languages and Cultures) in the University of Michigan 2020 Doctoral Committee: Professor Xiaobing Tang, Co-Chair, Chinese University of Hong Kong Associate Professor Emily Wilcox, Co-Chair Professor Geoff Eley Professor Rebecca Karl, New York University Associate Professor Youngju Ryu Angie Baecker [email protected] ORCID iD: 0000-0003-0182-0257 © Angie Baecker 2020 Dedication This dissertation is dedicated to my grandmother, Chang-chang Feng 馮張章 (1921– 2016). In her life, she chose for herself the penname Zhang Yuhuan 張宇寰. She remains my guiding star. ii Acknowledgements Nobody writes a dissertation alone, and many people’s labor has facilitated my own. My scholarship has been borne by a great many networks of support, both formal and informal, and indeed it would go against the principles of my work to believe that I have been able to come this far all on my own. Many of the people and systems that have enabled me to complete my dissertation remain invisible to me, and I will only ever be able to make a partial account of all of the support I have received, which is as follows: Thanks go first to the members of my committee. To Xiaobing Tang, I am grateful above all for believing in me. Texts that we have read together in numerous courses and conversations remain cornerstones of my thinking. He has always greeted my most ambitious arguments with enthusiasm, and has pushed me to reach for higher levels of achievement. -
Dr. Shi Chuan: Curriculum Vitae
Dr. Shi Chuan: Curriculum Vitae Dr. SHI CHUAN Professor, Shanghai Theatre Academy Deputy Chair, Shanghai Film Association Board member, China Film Association Senior Consultant, Shanghai Cultural Development Foundation Executive Academic Director, Shanghai Film Museum Add: Room 409, the Library Building, 630 Hua Shan Road, Shanghai 200040, China Cell:86 139 166 98 646 / Email: [email protected] Sina Microblog: http://weibo.com/1778316153/profile?topnav=1&wvr=5&user=1 Sina Blog: http://blog.sina.com.cn/u/1778316153 Douban Blog: http://www.douban.com/people/frontsea/notes Time Blog: http://i.mtime.com/106548/ EDUCATION: Ph.D. Department of Film Studies, Chinese Arts Academy, China 1998-2001 M.A. Department of Chinese Literature, Southwest University, China 1993-1996 B.A. Department of Chinese Literature, Southwest University, China 1986-1990 EMPLOYMENT: Jul.1990-Aug.1993, Secretary, General Office of Bei Bei District Government, Chong Qing May.1995-Jun.1996, Assistant Editor in Chief, Editor in Chief office, Si Chuan TV Station Jul.1996-Feb.2014, Associate professor, professor and Dean Assistant at Film-TV School, Shanghai University Mar.2014-Present, Professor, Shanghai Theatre Academy/Director of Institute of Cinematic Arts ACADEMIC VISITING: Jan.-Jun.1998, Senior Visiting Scholar, Baruch College, City University of New York, USA Apr.2002, Senior Visiting Scholar, Connecticut College, USA Mar.2005, Visiting lecturer, Penang College, Malaysia Mar.-Jun.2006, Senior Visiting Scholar, Department of Media Studies at Auckland University, NZ May 2006, Visiting lecturer, Otago University, Canterbury University, NZ Jul.2006, Keynote Speaker, Academic Forum at Kwangju International Film Festival, Korea May 2008, Keynote Speaker, Department of Cultural Studies, Hong Kong Polytechnic Univ. -
Villain Stardom in Socialist China: Chen Qiang and the Cultural Politics of Affect
This is the Accepted Version of an article published by Taylor & Francis in Journal of Chinese Cinemas 9 (3), 223-238. Please refer to the published version available at: 10.1080/17508061.2015.1040287 Accepted Version downloaded from SOAS Research Online: http://eprints.soas.ac.uk/19760/ Villain Stardom in Socialist China: Chen Qiang and the Cultural Politics of Affect Xiaoning Lu Abstract: Despite playing various kinds of roles across genres from 1949 and 1965, Chen Qiang acquired stardom mainly due to his remarkable screen performance as villainous landlords in socialist China. His villain stardom is an aberrant case, compared to the majority of film stars in Chinese socialist cinema who encouraged identification and emulation and helped propagate socialist ideology to reform Chinese citizens. Paying special attention to socio- historically specific film exhibition practices and the actor’s own reflections on his villain performance, this article argues that Chen’s stardom functioned as an important affective technology within a wider and complex Communist propaganda enterprise in that it helped cultivate class hatred necessary for the communist revolution and socialist land reform campaigns. Through this case study the article suggests that close engagement with both cultural-historical specificities of cinema and recent critical theories of affect opens up a space for researching the diversified star phenomena in contemporary China. Keywords: Chen Qiang, villain stardom, affect, performance, film exhibition, Chinese socialist cinema Contributor details: Xiaoning Lu is Lecturer in modern Chinese language and culture at SOAS, University of London in the United Kingdom. She has published on aspects of Chinese socialist cinema and culture in journals and edited collections, including Journal of Chinese Cinemas, Journal of Contemporary China, and Words and Their Stories: Essays on Chinese Revolutionary Discourse. -
Chinese Cinema and Transnational Cultural Politics : Reflections on Film Estivf Als, Film Productions, and Film Studies
Journal of Modern Literature in Chinese 現代中文文學學報 Volume 2 Issue 1 Vol. 2.1 二卷一期 (1998) Article 6 7-1-1998 Chinese cinema and transnational cultural politics : reflections on film estivf als, film productions, and film studies Yingjin ZHANG Indiana University, Bloomington Follow this and additional works at: https://commons.ln.edu.hk/jmlc Recommended Citation Zhang, Y. (1998). Chinese cinema and transnational cultural politics: Reflections on filmestiv f als, film productions, and film studies. Journal of Modern Literature in Chinese, 2(1), 105-132. This Forum is brought to you for free and open access by the Centre for Humanities Research 人文學科研究中心 at Digital Commons @ Lingnan University. It has been accepted for inclusion in Journal of Modern Literature in Chinese 現代中文文學學報 by an authorized editor of Digital Commons @ Lingnan University. Chinese Cinema and Transnational Cultural Politics: Reflections on Film Festivals, Film Productions, and Film Studies Yingjin Zhang This study situates Chinese cinema among three interconnected concerns that all pertain to transnational cultural politics: (1) the impact of international film festivals on the productions of Chinese films and their reception in the West; (2) the inadequacy of the “Fifth Generation” as a critical term for Chinese film studies; and (3) the need to address the current methodological confinement in Western studies of Chinese cinema. By “transnational cultural politics” here I mean the complicated——and at times complicit— ways Chinese films, including those produced in or coproduced with Hong Kong and Taiwan, are enmeshed in tla larger process in which popular- cultural technologies, genres, and works are increasingly moving and interacting across national and cultural borders” (During 1997: 808). -
Communists Have More Fun! the Dialectics of Fulfillment in Cinema of the People’S Republic of China
Communists Have More Fun! The Dialectics of Fulfillment in Cinema of the People’s Republic of China Jason McGrath Within the first third of Xie Jin’s 1961 revolutionary classic Red Detachment of Women (Hongse niangzi jun; later adapted as both a model ballet and a model Peking opera during the Cultural Revolution), a definite pattern in the lighting scheme emerges. Every sequence set in the area of Hainan Island controlled by the Nationalist or Guomindang (KMT) government is dark and gloomy, with glowering, underlit villains and deep architectural shadows appropriate to the landlord Nan Batian’s dungeons, in which proletarian slaves like the film’s heroine, Wu Qionghua, are tortured (fig. 1). In contrast, the areas of Hainan controlled by the insurgent Communists (the year is 1930), including the Red women’s detachment that Qionghua joins after an undercover Communist agent facilitates her escape, seem always to be bathed in bright sunlight (fig. 2). Fig. 1 Red Detachment (Nan Batian at Fig. 2 Red Detachment (Wu Qionghua on center) left) In keeping with the lighting scheme and even more striking is the radical lack of anything resembling joy in depictions of the KMT-held areas on the one hand, and the abundance of everyday happiness represented in the Communist strongholds on the other. The people and soldiers of the liberated areas laugh, dance, and playfully splash water on each other, while those suffering under the old society live in darkness, misery, and mutual estrangement. It is not just that the ordinary people are happier under communism; even Nan Batian himself, the richest and most powerful landlord in the region, can never seem to muster more than a lingering smirk or at best a false smile. -
Film and Fashion in China
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by King's Research Portal King’s Research Portal DOI: 10.1080/17508061.2017.1422895 Document Version Peer reviewed version Link to publication record in King's Research Portal Citation for published version (APA): Berry, C., & Shujuan, Z. (2019). Film and fashion in Shanghai: What (not) to wear during the cultural revolution. Journal of Chinese Cinemas. https://doi.org/10.1080/17508061.2017.1422895 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. -
The Image of Women in the Revolutionary Opera Films of the Chinese Cultural Revolution (1966-1976)
The Image of Women in the Revolutionary Opera Films of the Chinese Cultural Revolution (1966-1976) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Zhuying Li MA, Monash University, Melbourne School of Media and Communication College of Design and Social Context RMIT University June 2018 Declaration I certify that except where due acknowledgement has been made, the work is that of the author alone; the work has not been submitted previously, in whole or in part, to qualify for any other academic award; the content of the thesis is the result of work which has been carried out since the official commencement date of the approved research program; any editorial work, paid or unpaid, carried out by a third party is acknowledged ; and, ethics procedures and guidelines have been followed. Zhuying Li June 2018 TABLE OF CONTENTS ACKNOWLEDGEMENTS..................................................................................................................... 6 ABSTRACT ........................................................................................................................................ 7 CHAPTER ONE: INTRODUCTION ........................................................................................................ 8 GOAL OF THIS STUDY ......................................................................................................................... 8 AN INTRODUCTION TO THE REVOLUTIONARY OPERA FILMS ......................................................................... -
Screening Love: the Cinematic Representation of the Cultural
Screening Love: The Cinematic Representation of the Cultural Revolution, 1980s to Early 1990s Jingyi Lu Faculty Advisor: Guo-juin Hong Asian and Middle Eastern Studies May 2017 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 Jingyi Lu May 2016 LU III Abstract The ten-year Cultural Revolution exerts a tremendous influence on the domain of cultural production in contemporary China. After the Cultural Revolution, many filmmakers delved into the representation of this traumatic historical period and produced relevant films in the 1980s – 1990s. In these films, the motif of love is frequently employed to embody the impact of the Cultural Revolution on interpersonal relationships. What types of love relations do these films represent? How do the modes of love change over time? How do these films represent the Cultural Revolution and identify the root causes of this disastrous time? In this essay, to answer the above questions, I will explore the changing representation of love relations in the films about the Cultural Revolution: the scar films (also called post-socialist films) that prevailed in the 1980s feature romantic love, while The Blue Kite, Farewell, My Concubine and To Live directed by the fifth-generation filmmakers in the early 1990s mainly display family love. By looking into the cinematic interpretation of the Cultural Revolution, I will gain insight into the social and cultural environment in that two decades, and show that the films produced in these two different periods seek greater authenticity in representing that historical period and gradually break away from state ideology and propaganda. -
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Advances in Social Science, Education and Humanities Research, volume 378 6th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2019) A Review of the Research on Film Directors in the 70 Years of New China Rui Hao School of Theater, Film and Television Communication University of China Beijing, China 100024 Abstract—Since the founding of the People's Republic of political correctness, resulting in the lack of good results in China 70 years ago, the research on film directors and the this period. Therefore, the short-lived contends in this setting pulse of the times and the development of the film industry are even more precious, especially the articles about the have developed together, not only the number of research "Director Centered System" and "Necessity of the Art perspectives increased, but also the horizons has been broaden. Character of Film" produced after the "Shefan Temple This article goes by the following four research categories: Conference". In addition, the opinions of director creations historical research, theoretical research, director education, and film creations by the national leaders and film managers and director criticism, summarize and comment on the have had a particularly significant impact during this period. literature results of film director research in the past 70 years. The second stage is the Wave Film Period from 1978 to Keywords—film director research; history; theory; education; 2003. The reform and opening up brought about the national criticism economic start, cultural liberation, absorption, collision and avoidance. It also led to the shock of the film system, the I. INTRODUCTION market has experienced ups and downs, and the works are unconstrained and all-inclusive, which is quite controversial. -
UCL China Centre for Health and Humanity, MEDICAL and HEALTH HUMANITIES FILM LIST Updated 6 August 2016
UCL China Centre for Health and Humanity, MEDICAL AND HEALTH HUMANITIES FILM LIST Updated 6 August 2016 Title, Title, Pinyin Title, Director Date Studio Region Notes pinyin Chinese with tones translations characters A mian B A 面 B 面 A miàn B Side A Side Ning Ying 宁瀛 2010 PRC mian miàn B; The (Níng Yíng) Double Life Bawang 霸王别姬 Bàwáng Farewell My Chen Kaige 陈 2003 Mainlan bieji bié jī Concubine 凯歌 (Chén d Kǎigē) China/H ong Kong Chunguang 春光乍泄 Chūnguāng Happy Wong Kar Wai 1997 Hong Christopher Doyle zha xie zhà xiè Together 王家卫 (Wáng Kong/Ar cinematographer Jiāwèi) gentina Chunmiao 春苗 Chūn miáo Chunmiao; Xie Jin 谢晋 1975 PRC Spring (Xiè Jìn), Seedlings Yan Bili 颜碧丽 (Yán Bìlì), Liang Tingduo 梁廷铎 (Liáng Tíngduó) 1 Dagong 打工老板 Dǎgōng Factory Boss Zhang Wei 张 2014 PRC laoban Zhang Wei lǎobǎn 唯 (Zhāng Wéi) Donggong 东宫西宫 Dōnggōng East Palace, Zhang Yuan 张 1996 PRC xigong xīgōng West Palace; 元 (Zhāng Behind the Yuán) Forbidden City Erzi 儿子 Érzi Sons Zhang Yuan 张 2006 PRC 元 (Zhāng Yuán) Feiyue 飞越老人院 Fēiyuè Full Circle Zhang Yang 张 2011 PRC laorenyuan lǎorén 扬 (Zhāng yuàn Yáng) Fenshiren 焚尸人 Fénshīrén The Peng Tao 彭韬 2012 PRC Cremator (Péng Tāo) Feng ai 疯爱 Fēng ài ’Til madness Wang Bing 王 2013 Japan/F Documentary. do us part; 兵 (Wáng Bīng) rance/H On the inhumane, Till madness ong frightening and do us part Kong humiliating living conditions of mental patients in Chinese mental institutions. Fuzi qing 父子情 Fùzǐ qíng Father and Fang Yuping 1981 Hong Son 方育平 (Fāng Kong Yùpíng) (Allen Fong) 2 Gang de 钢的琴 Gāng de Piano in a Zhang Meng 2010 PRC qin qín -
I'm Ugly but Tender
‘I’m Ugly, but Gentle’: Performing Little Character in Post-Mao Chinese Comedies Lin Feng School of Languages, Linguistics and Cultures, University of Hull, UK. Published in “‘I’m Ugly but Gentle’: Performing Xiaorenwu in Chinese Comedies during the Post-Mao Era” in All the World’s a Stage: Global Players and Transnational Film Performance, Special Issue of Transnational Cinemas, vol. 5, no.2, edited by Donna Peberdy, 2014, 127-140 Stars are often associated with glamour and beauty. This can be verified by glancing at the mass media’s obsession with enumerating celebrities on the basis of their physical traits and sexual appeal, such as celebrity magazine People’s annual special issue naming ‘World’s Most Beautiful People’ and numerous lists such as ‘The 10 Most Beautiful Male Film Stars’ (The Telegraph 2013), ‘50 Most Beautiful Female Celebrities’ (Los Angeles Times Magazine 2011), ‘The 100 Sexiest Movie Stars’ (Empire 2013), ‘Most Stylish Men of the Week’ (GQ 2014) and many more. Highlighting a star’s glamorous appearance, either through the discourse around his or her physicality or make-up and dress, this type of seemingly unintellectual publicity nevertheless reveals a very common view of beauty in the discourse of stardom and charisma. In his discussion of stardom, Richard Dyer quotes sociologist, I.C. Jarvie that stars becomes stars because of their talent, which includes ‘striking photogenic looks, acting ability, presence on camera, charm and personality, sex-appeal, attractive voice and bearing’ (1998, 16). Although Dyer does not entirely agree with Jarvie’s argument, his discussion of star charisma suggests that it is not uncommon even among academics that stars are treated as endowed with exceptional quality, such as ‘the most beautiful, the most expensive, the most sexy’, that set apart them from ordinary people (1998, 43).