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After the Livestock Revolution Free-Grazing Ducks and Influenza Uncertainties in South China
ARTICLE After the livestock revolution Free-grazing ducks and influenza uncertainties in South China Lyle Fearnley Abstract Since the 1970s, virologists have pointed to South China as a hypothetical ‘epicenter’ of influenza pandemics. In particular, several key studies highlighted the farming practice of ‘free-grazing’ ducks (fangyang) as the crucial ecological factor driving the emergence of new flu viruses. Following the emergence of highly pathogenic avian influenza viruses in 1997 and 2004, free-grazing ducks became a primary target of biosecurity interventions from global health agencies and China’s national government. This article compares the global health ‘problematization’ of free-grazing ducks as a pandemic threat with the manner in which duck farmers around Poyang Lake, China, engage with the dangers of disease in their flocks. Showing how both global health experts and duck farmers configure the uncertainty of disease against ideal modes of ordering the relations among species, I conclude by examining how these two problematizations interact in ways that mutually intensify – rather than moderate – uncertainty. Keywords pandemics, influenza, agrarian change, multispecies, human-animal relations, uncertainty Medicine Anthropology Theory 5 (3): 72–98; https://doi.org/10.17157/mat.5.3.378. © Lyle Fearnley, 2018. Published under a Creative Commons Attribution 4.0 International license. Medicine Anthropology Theory 73 Out in the rice fields and waterways that surround China’s enormous Poyang Lake, located in southern Jiangxi Province, ducks are a common sight. The lowland environment of the lake region, filled with canals and small ponds, is certainly suitable for the husbandry of waterfowl. Provincial planning reports from the 1980s called for the lake region to be developed as a ‘production base’ for commercial waterfowl (Studies on Poyang Lake Editorial Committee 1988). -
Gender and the Family in Contemporary Chinese-Language Film Remakes
Gender and the family in contemporary Chinese-language film remakes Sarah Woodland BBusMan., BA (Hons) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2016 School of Languages and Cultures 1 Abstract This thesis argues that cinematic remakes in the Chinese cultural context are a far more complex phenomenon than adaptive translation between disparate cultures. While early work conducted on French cinema and recent work on Chinese-language remakes by scholars including Li, Chan and Wang focused primarily on issues of intercultural difference, this thesis looks not only at remaking across cultures, but also at intracultural remakes. In doing so, it moves beyond questions of cultural politics, taking full advantage of the unique opportunity provided by remakes to compare and contrast two versions of the same narrative, and investigates more broadly at the many reasons why changes between a source film and remake might occur. Using gender as a lens through which these changes can be observed, this thesis conducts a comparative analysis of two pairs of intercultural and two pairs of intracultural films, each chapter highlighting a different dimension of remakes, and illustrating how changes in gender representations can be reflective not just of differences in attitudes towards gender across cultures, but also of broader concerns relating to culture, genre, auteurism, politics and temporality. The thesis endeavours to investigate the complexities of remaking processes in a Chinese-language cinematic context, with a view to exploring the ways in which remakes might reflect different perspectives on Chinese society more broadly, through their ability to compel the viewer to reflect not only on the past, by virtue of the relationship with a source text, but also on the present, through the way in which the remake reshapes this text to address its audience. -
Western Criticism, Labelling Practice and Self-Orientalised East Asian Films
Travelling Films: Western Criticism, Labelling Practice and Self-Orientalised East Asian Films Goldsmiths College University of London PhD thesis (Cultural Studies) Ji Yeon Lee Abstract This thesis analyses western criticism, labelling practices and the politics of European international film festivals. In particular, this thesis focuses on the impact of western criticism on East Asian films as they attempt to travel to the west and when they travel back to their home countries. This thesis draws on the critical arguments by Edward Said's Orientalism: Western Conceptions of the Orient (1978) and self-Orientalism, as articulated by Rey Chow, which is developed upon Mary Louise Pratt's conceptual tools such as 'contact zone' and 'autoethnography'. This thesis deals with three East Asian directors: Kitano Takeshi (Japanese director), Zhang Yimou (Chinese director) and 1m Kwon-Taek (Korean director). Dealing with Japanese, Chinese and Korean cinema is designed to show different historical and cultural configurations in which each cinema draws western attention. This thesis also illuminates different ways each cinema is appropriated and articulated in the west. This thesis scrutinises how three directors from the region have responded to this Orientalist discourse and investigates the unequal power relationship that controls the international circulation of films. Each director's response largely depends on the particular national and historical contexts of each country and each national cinema. The processes that characterise films' travelling are interrelated: the western conception of Japanese, Chinese or Korean cinema draws upon western Orientalism, but is at the same time corroborated by directors' responses. Through self-Orientalism, these directors, as 'Orientals', participate in forming and confirming the premises of western Orientalism. -
WORLD CINEMA Streaming Video Collection
WORLD CINEMA Streaming Video Collection More than 485 classic and contemporary feature films from Africa, Asia, Europe, Latin America, the Caribbean, the Middle East, and the United States. This unique collection includes the best of the silent • Unlimited access from any location— era, groundbreaking international directors, American on campus or off and European masterpieces from the mid-20th century, • Easily embed videos into Canvas, award-winning contemporary films from Global Lens, Blackboard, Moodle, or other CMS and films from Africa and the African diaspora from ArtMattan Productions. The collection shines a light • Public performance rights and no on the history of cinema while also providing a glimpse copyright infringement worries into the cultures and issues of countries around the • Includes masterpieces and award world—making it useful beyond film studies departments winners directed by: by bringing value to programs in area studies, political science, history, world languages, and more. Fritz Lang Ousmane Sembène All foreign language films Georges Méliès Federico Fellini are accompanied by English Jean Renoir Roberto Rossellini subtitles. Using Films On Luis Buñuel Zhang Yimou Demand’s Custom Segment Akira Kurosawa King Hu tool, faculty and students Yasujiro Ozu Glauber Rocha may create customized segments of specific Sergei Eisenstein Yilmaz Güney scenes from a film, which Alfred Hitchcock Satyajit Ray can be embedded, shared, Ida Lupino …and many more! and saved. Some World Cinema titles contain mature themes or content; viewer discretion is advised. CALL: (800) 322-8755 [email protected] FREE TRIAL: www.Infobase.com/Trial FAX: (646) 349-9687 www.Films.com • www.Infobase.com 0517 More than 485 feature films from around the globe. -
Chinese Audio DESCRIPTIONS
Chinese Audio DESCRIPTIONS Beginning Chinese I, Audio to follow Professor Chang’s textbook. Available Chapters 1-9 from website http://llc.mtsac.edu . Go to “Materials”>>”Online Audio/Video”. Choose “Chinese1.” Password is china. Beginning Chinese II, Audio to follow Professor Chang’s textbook. Available Chapters 1-5 from website http://llc.mtsac.edu . Go to “Materials”>>”Online Audio/Video”. Choose “Chinese2.” Password is china. Intermediate Chinese Level 3 - 2007 Chapters 1-Audio to follow Professor Chang’s textbook. Available 4 from website http://llc.mtsac.edu . Go to “Materials”>>”Online Audio/Video”. Choose “Chinese3.” Password is china. Intermediate Chinese Level 4 – 2007 Chapters 5- Audio to follow Professor Chang’s textbook. Available 8 from website http://llc.mtsac.edu . Go to “Materials”>>”Online Audio/Video”. Choose “Chinese4.” Password is china. Whole New World 1 Chinese Audio 12/5/2012 Chinese Internet Sites DESCRIPTIONS Chinese Character Search Engine http://search.yahoo.com/search?p=Chinese+Character+Search+E ngine&type= Internet _ Oxford Dictionary http://www.oxfordlanguagedictionaries.com/Home.html?direction= b-zh-en Learn Chinese Online http://www.csulb.edu/~txie/online.htm Learn Real Chinese Online - BBC http://www.bbc.co.uk/languages/chinese/real_chinese/ Prof. Dong Chinese 3 – Integrated Chinese – http://video.csupomona.edu/mdong/cheng-tsui.htm LVL 1 – Part 2 Quia _ Practice Chinese by subject http://www.quia.com/shared/search?category=9&adv_search=true Quizlet _ Chinese http://quizlet.com/subject/chinese/ Translate Chinese http://search.yahoo.com/search?p=Translate+Chinese&type= Translate to or from Chinese http://babelfish.yahoo.com/ Watch Taiwanese TV on line http://www.ttv.com.tw/videocity/ Zhongwen Website http://www.zhongwen.com 2 Chinese Internet 12/5/2012 CHINESE DVD DESCRIPTIONS Court Love Girls On the golf links, two boys and eight girls don’t know each other well. -
1/14 Lost in Beijing: Ruthless Profiteer and Decadence of Family Values
2012 American Comparative Literature Association Annual Meeting Ho Lost in Beijing: Ruthless Profiteer and Decadence of Family Values as Social Commentary and Its Limits Lost in Beijing: Ruthless Profiteer and Decadence of Family Values as Social Commentary and Its Limits ©Wing Shan Ho Speedy economic development in neo-liberal China has generated significant anxiety about the impact of the prevalent money-oriented economic order on subjectivity and the private sphere. As Chinese citizens from all walks of life become more conscious of profits/benefits (li), the urge to acquire money and the pressure to strive for a viable livelihood might be felt more keenly by the social underclass. How do members of the underclass respond to the changing economic order? What are they willing to sacrifice for economic survival and in the pursuit of affluence? How have the concepts of self, family, and community changed accordingly? These questions lead me to examine the state-criticized film Lost in Beijing (Pingguo) (Li Yu, 2007), which portrays a ruthless economic subjects who destroys family bonds and affection. This article offers a contextualized, close reading of Lost in Beijing and explores how filmic representation offers social commentary through dramatized conflicts between money and family values. I argue that Lost in Beijing, which portrays the selling of a son, critiques the logic of capitalism and monetary profit for the way in which it reduces human beings and affective bonding to mere commodities. Such a critical attitude results in not only portrayals of a ruthless economic subject but also sympathy of female victims of China’s economic growth whose depictions elicit the state’s censure. -
Teaching Chinese Film in an Advanced Language Class
30 Guest-Edited Section—Teaching About Asia Teaching Chinese Film in an Advanced Language Class Luying Chen St. Olaf College Instructors often face a dilemma when using film in language classes. While film is appealing for the rich cultural and linguistic information it offers, finding the balance between teaching content and building language skills can present significant challenges for an instructor. Common approaches to using film in courses taught in English, such as screening one film a week, reading critical essays about the films, and class discussions and lectures, seldom offer the same benefits in a foreign language course due to the fact that students with only three years of foreign language study frequently lack the language skills necessary to discuss films in a foreign language. Yanfang Tang and Qianghai Chen, authors of the textbook Advanced Chinese: Intention, Strategy, & Communication (2005), have argued that “[n]either interpreting textual meanings nor decoding linguistic patterns leads naturally to the productive skills needed” for communicating in the target language at the advanced level.1 They further suggest that “practice, in a conscious but meaningful way is the key to successful transformation of input knowledge into productive output skills.”2 When we use films in language classes, the focus is for students to understand the textual meanings and linguistic patterns within the film, but training productive output skills in students, while fostering cultural proficiency and developing critical thinking skills, can prove to be somewhat difficult to accomplish within normal classroom time constraints. Recently published textbooks, including Readings in Contemporary Chinese Cinema (Chou, 2008, hereafter Readings)3 and Discussing Everything Chinese (Li-li Teng Foti, et al., 2007, hereafter Discussing)4, have recognized this challenge and ASIANetwork Exchange Teaching Chinese Film in an Advanced Language Class 31 experimented with different approaches to using Chinese film in advanced language classes. -
Study Guide Written by Robert Hamilton and Qi Zhang (Manchester Metropolitan University)
Study Guide written by Robert Hamilton and Qi Zhang (Manchester Metropolitan University) Projector: Community Languages in collaboration with Routes into is supported by: Languages North West (COLT) st st / INTRODUCTION This study guide is relevant to GCSE and equivalent level Mandarin. GCSE LEVEL TOPICS: School life, daily routine and social conventions (courtship, village life). Themes include: personal relationships, love, death rituals, customs and traditions, and the Culture Revolution. PLOT: Set in rural China before the Cultural Revolution, a young city dweller returns home for the funeral of his father. As he and his elderly mother make preparations, the story of his parents’ courtship emerges. A heartfelt reflection upon love, family, culture and change. / CREDITS Director Zhang, Yimou Country China Year 2000 Length 100 mins Genre Family Drama Script Bao Shi Music San Bao Photography Hou Yong Cast Zhang Ziyi (Zhao Di, Young), Sun Honglei (Luo Yusheng), Zheng Hao (Luo Changyu), (Zhao Di, Old) Zhao Yulian. 2 / BEFORE THE FILM Pre-viewing activities / Director 1. Decide whether the following statements are True False a b c d e 3 2. Can you find a synonym for the word / Synopsis 3. Decide whether the following statements are True False a b c d 4 4. Look at the two posters and answer the questions a. Group work: examine the poster layouts and spot the difference b. Look at the Chinese poster & translate the title of the film. What do you notice? 5 c. Group work: Can you find other examples of where the Chinese poster differs from the English? 6 / DURING THE FILM While-viewing activities 5. -
Programs & Exhibitions
PROGRAMS & EXHIBITIONS Fall 2018/Winter 2019 To purchase tickets by phone call (212) 485-9268 letter | exhibitions | calendar | programs | family | membership | general information Dear Friends, History Matters has long been New-York Historical’s motto, but if ever there were a time when this motto rang particularly true, it would be our launch this fall of two landmark exhibitions. The first,Black Citizenship in the Age of Jim Crow, takes as its starting point the terrible injustice of the Supreme Court ruling in the Dred Scott case that no black person— free or enslaved—could ever be a U.S. citizen. The exhibition traces the story of African Americans’ struggle for citizenship, including not only the right to enjoy legal protections and privileges but also the right to be accepted and to feel safe. The second exhibition, Harry Potter: A History of Magic, draws on the global phenomenon of J.K. Rowling’s Harry Potter novels while dramatizing the historical context indispensable to the books’ success. Both exhibitions underscore the importance of institutions like ours, whose great repositories enable a better understanding of the past as they illuminate the present. Reflecting these exhibitions’ themes, our Bernard and Irene Schwartz Distinguished Speakers Series features discussions of citizenship, race, history, and law, with speakers including Eric Foner, Harold Holzer, U.S. Senator Doug Jones, Martha Jones, Randall Kennedy, Edna Greene Medford, Manisha Sinha, Brent Staples, and Sean Wilentz. The Mathew “Mike” Gladstein Lecture in Biography features New-York Historical Trustee David Blight in conversation with Eddie Glaude Jr. on Frederick Douglass. For Harry Potter, our Schwartz Series features Jim Dale, the narrator and voice of all of the Harry Potter characters in the American audiobooks. -
Understanding Chinese Film Culture at the End of the Twentieth Century : the Case of Not One Less by Zhang Yimou
Journal of Modern Literature in Chinese 現代中文文學學報 Volume 4 Issue 2 Vol. 4.2 四卷二期 (2001) Article 8 1-1-2001 Understanding Chinese film culture at the end of the twentieth century : the case of Not one less by Zhang Yimou Sheldon H. LU University of Pittsburgh Follow this and additional works at: https://commons.ln.edu.hk/jmlc Recommended Citation Lu, S. H. (2001). Understanding Chinese film culture at the end of the twentieth century: The case of Not one less by Zhang Yimou. Journal of Modern Literature in Chinese, 4(2), 123-142. This Discussion 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. Understanding Chinese Film Culture at the End of the Twentieth Century: The Case of Not One Less by Zhang Yimou* Sheldon H. Lu Under the current political system, he [Zhang Yimou] feels that the biggest difference between himself and directors from foreign countries, Hong Kong, and Taiwan lies in the fact that <lwhen I receive a film script, the first thing I think about is not whether there will be an investor for the film, but how I can make the kind of film I want with the approval of the authorities.” Zeng Guang 巳y the end of the twentieth century, it has become increasingly apparent that the 1990s mark a new phase of cultural development distinct from that of the preceding decade. -
The New Chinese Documentary Film Movement for the Public Record
The New Chinese Documentary Film Movement For the Public Record Edited by Chris Berry, Lu Xinyu, and Lisa Rofel Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2010 Hong Kong University Press ISBN 978-988-8028-51-1 (Hardback) ISBN 978-988-8028-52-8 (Paperback) All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 Printed and bound by CTPS Digiprints Limited in Hong Kong, China Table of Contents List of Illustrations vii List of Contributors xi Part I: Historical Overview 1 1. Introduction 3 Chris Berry and Lisa Rofel 2. Rethinking China’s New Documentary Movement: 15 Engagement with the Social Lu Xinyu, translated by Tan Jia and Lisa Rofel, edited by Lisa Rofel and Chris Berry 3. DV: Individual Filmmaking 49 Wu Wenguang, translated by Cathryn Clayton Part II: Documenting Marginalization, or Identities New and Old 55 4. West of the Tracks: History and Class-Consciousness 57 Lu Xinyu, translated by J. X. Zhang 5. Coming out of The Box, Marching as Dykes 77 Chao Shi-Yan Part III: Publics, Counter-Publics, and Alternative Publics 97 6. Blowup Beijing: The City as a Twilight Zone 99 Paola Voci vi Table of Contents 7. -
Culture Matters
CRF-2008-01-RFb.qxd:HRIC-Report 3/11/08 11:38 AM Page 121 CHINA RIGHTS FORUM | NO. 1, 2008 CULTURE MATTERS Hyperreal Beijing, 888 Professional baseball arose from the post-war rubble to restore Japan’s self-image. The 2002 World Cup By Ma Shengmei semifinal appearance of host South Korea led to high expectation s, though also a crushing defeat in Germany The Beijing Olympics is set to commence on August 8, in 2006. Recently, Asian exports such as the Houston 2008, promising great fanfare in an opening ceremony Rockets’ Yao Ming and the New York Yankees ’Wang orchestrated by fifth-generation filmmaker Zhang Chien-ming have become celebrities on both sides of Yimou , assisted by what the People’s Daily dubs the the Pacific, a transnational promise yet to be realized in “five-tiger generals ,” including Chinese celebrities such reverse by American export s such as Michelle Kwan. as “fireworks” artist Cai Guoqiang. 1 The number 888 is pronounced “bu, bu, bu” (as in “but”) in Cantonese and Translated back into English, however, “fu, fu, fu” is considered close to “fu, fu, fu” (as in the f-word) for sounds like the repetition of an expletive. Indeed, “prosper, prosper, prosper.” A Cantonese habit long Beijing’s official jubilation concerning 888 results in adopted by the whole country, Chinese officials deliber - the city’s underbelly, pardon the expression, getting ately chose the auspicious date of 888 (08/08/2008) for “fucked up.” The Olympic hype spells the end(game) the Games, which are intended to demonstrate China’s for Old Beijing, literally, as old hutong (alleys), prowess to the world.