Gong Li (As Lang Ping)
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Development of the Global Film Industry The global film industry has witnessed significant transformations in the past few years. Regions outside the USA have begun to prosper while non-traditional produc- tion companies such as Netflix have assumed a larger market share and online movies adapted from literature have continued to gain in popularity. How have these trends shaped the global film industry? This book answers this question by analyzing an increasingly globalized business through a global lens. Development of the Global Film Industry examines the recent history and current state of the business in all parts of the world. While many existing studies focus on the internal workings of the industry, such as production, distribution and screening, this study takes a “big picture” view, encompassing the transnational integration of the cultural and entertainment industry as a whole, and pays more attention to the coordinated develop- ment of the film industry in the light of influence from literature, television, animation, games and other sectors. This volume is a critical reference for students, scholars and the public to help them understand the major trends facing the global film industry in today’s world. Qiao Li is Associate Professor at Taylor’s University, Selangor, Malaysia, and Visiting Professor at the Université Paris 1 Panthéon- Sorbonne. He has a PhD in Film Studies from the University of Gloucestershire, UK, with expertise in Chinese- language cinema. He is a PhD supervisor, a film festival jury member, and an enthusiast of digital filmmaking with award- winning short films. He is the editor ofMigration and Memory: Arts and Cinemas of the Chinese Diaspora (Maison des Sciences et de l’Homme du Pacifique, 2019). -
3D423bbe0559a0c47624d24383
BENDS straddles the Hong Kong- Shenzhen border and tells the story of ANNA, an affluent housewife and FAI, her chauffeur, and their unexpected friendship ABOUT as they each negotiate the pressures of Hong Kong life and the city’s increasingly complex relationship to mainland China. Fai is struggling to find a way to bring his THE pregnant wife and young daughter over the Hong Kong border from Shenzhen to give birth to their second child, even though he crosses the border easily every FILM day working as a chauffeur for Anna. Anna, in contrast, is struggling to keep up the facade of her ostentatious lifestyle into which she has married, after the sudden disappearance of her husband amid financial turmoil. Their two lives collide in a common space, the car. PRODUCTION NoteS SHOOT LOCATION: Hong Kong TIMELINE: Preproduction, July/August 2012 Principal Photography, September/October 2012 (23 days) Completion, Spring 2013 PREMIERE: Cannes Film Festival 2013, Un Certain Regard (Official Selection) LANGUAGE: Cantonese & Mandarin FORMAT: HD, Colour LENGTH: 92 minutes THE CaST ANNA - Lead Female Role Carina Lau 劉嘉玲 SelecTED FILMOGRAPHY: Detective Dee and the Mystery Phantom Flame Let the Bullets Fly 2046 Flowers of Shanghai Ashes of Time Days of Being Wild FAI - Lead Male Role Chen Kun 陳坤 SelecTED FILMOGRAPHY: Painted Skin I & II, Rest On Your Shoulder, Flying Swords of Dragon Gate 3D Let the Bullets Fly Balzac and the Little Chinese Seamstress Writer/Director Flora Lau 劉韻文 Cinematographer Christopher Doyle (H.K.S.C.) 杜可風 A Very Special Thanks To William Chang Suk Ping 張叔平 Flora was born and raised in Hong Kong. -
Movie Tv Sho Audio Radio
70 FILM REVIEWS MOVIES 71 NEW MOVIES ONBOARD 72 MOVIES TV SHOWS 74 TV SHOWS AUDIO Entertainment 76 AUDIO/RADIO RADIO © 2018 20TH CENTURY FOX. ALL RIGHTS RESERVED. BAD TIMES AT THE EL ROYALE FILM REVIEWS WANT HELP WITH WHAT TO WATCH THIS MONTH? FILMMAKER AND DIRECTOR KAM RASLAN MAKES THE CASE FOR THESE THREE MOVIES. THE INCREDIBLES Is The Incredibles the best animated movie ever? Yes. Yes, it is. It’s hilariously funny, exciting, moving and visually beautiful. A family of superheroes have to live in witness protection as normal people because superheroes have been deemed a menace to society. Naturally, Mr Incredible hates his boring life as an insurance salesman and his goingplacesmagazine.com children have to hide their superhero skills. But when an opportunity for a return to the old life comes knocking, Mr Incredible puts his entire family at risk, which sounds like a job LOGAN for Elastigirl. Is Logan the best superhero movie ever? EDGE OF TOMORROW Probably. A thunderous Hugh Jackman Because it was made all the way back in Is Edge of Tomorrow the best science fiction | 70 is Wolverine one last time as he plays a 2004, the animation for The Incredibles may movie ever? Maybe not, but it’s definitely | January 2019 January | reluctant father figure to the stunningly not seem quite as plush as, say, Zootopia, the best science fiction movie starring Tom intense young actress Dafne Keen. On a but director Brad Bird (who made his name Cruise, and when it comes to big-budget desperate journey from Mexico to the far with The Simpsons) created such a complete action Hollywood movies, nobody delivers north, the pair are perfectly matched as universe that you instantly forget. -
La Grande Belleza Says to Italians?’ and the Second Will Be the Attempt to Unveil ‘What This Rome Says About Italy to Non-Italian People?’
Divna Cpajak Student number 10849335! “La Grande Bellezza as an inquiry into Italianness” MA Thesis Comparative Literature Table of contents Introduction ......................................................................................................................3 La Grande Bellezza: What is an Italian Film? ...............................................................3 “Made in Italy”: Some Thoughts on National Identity ..................................................5 The Structure of the Analysis: Deconstructing “La Grande Bellezza”. ........................7 Chapter 1: Two cities. ........................................................................................................9 Into the Narrative of a City: Italy and Italianness. ........................................................9 Contrast: Two Visions of Rome ...................................................................................11 The Rome of Italians ................................................................................................11 The Rome of the Foreigners ....................................................................................12 Setting the Tone: a banal Rome ...............................................................................13 Chapter 2: A Character with an Old Premise in a New Story. ........................................16 Who is Jep Gambardella? ............................................................................................16 Flaubert´s F. Moureau ..................................................................................................16 -
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. -
Kering and the Festival De Cannes Will Present the Fifth Women in Motion Award to Actress Gong Li
Kering and the Festival de Cannes will present the fifth Women In Motion Award to actress Gong Li The Young Talents Award will be presented to director Eva Trobisch François-Henri Pinault, Chairman and CEO of Kering, Pierre Lescure, President of the Festival de Cannes, and Thierry Frémaux, Festival General Delegate, will present the Awards at the official Women In Motion dinner on Sunday May 19, 2019. Hai Feng © Gong Li, an iconic figure of Chinese cinema, has gained truly global renown during a remarkable, most singular career. She is the first Chinese actress to have achieved success at the major international festivals, such as Berlin, Venice and Cannes, where her performances have won great critical acclaim. Her prominence in the movie industry and her strong personality have also led to her presiding at many of the world’s film festivals. She has played central leading roles, bringing life and success to the works of famous directors such as Zhang Yimou, Chen Kaige and Michael Mann, among others. Her name will be forever linked to the Festival de Cannes, especially for her unforgettable performances in Zhang Yimou’s Grand Prix winner To Live and Chen Kaige’s Palme d’Or, Farewell My Concubine. Renowned for her great independence of mind, Gong Li constantly frees herself from stereotypes and only accepts the roles of very strong women. When she refused the role of James Bond girl in Tomorrow Never Dies, she declared: "The presentation of the female character was not complex enough to give me the material to fully express myself. -
Reminder List of Productions Eligible for the 86Th Academy Awards
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 86TH ACADEMY AWARDS ABOUT TIME Notes Domhnall Gleeson. Rachel McAdams. Bill Nighy. Tom Hollander. Lindsay Duncan. Margot Robbie. Lydia Wilson. Richard Cordery. Joshua McGuire. Tom Hughes. Vanessa Kirby. Will Merrick. Lisa Eichhorn. Clemmie Dugdale. Harry Hadden-Paton. Mitchell Mullen. Jenny Rainsford. Natasha Powell. Mark Healy. Ben Benson. Philip Voss. Tom Godwin. Pal Aron. Catherine Steadman. Andrew Martin Yates. Charlie Barnes. Verity Fullerton. Veronica Owings. Olivia Konten. Sarah Heller. Jaiden Dervish. Jacob Francis. Jago Freud. Ollie Phillips. Sophie Pond. Sophie Brown. Molly Seymour. Matilda Sturridge. Tom Stourton. Rebecca Chew. Jon West. Graham Richard Howgego. Kerrie Liane Studholme. Ken Hazeldine. Barbar Gough. Jon Boden. Charlie Curtis. ADMISSION Tina Fey. Paul Rudd. Michael Sheen. Wallace Shawn. Nat Wolff. Lily Tomlin. Gloria Reuben. Olek Krupa. Sonya Walger. Christopher Evan Welch. Travaris Meeks-Spears. Ann Harada. Ben Levin. Daniel Joseph Levy. Maggie Keenan-Bolger. Elaine Kussack. Michael Genadry. Juliet Brett. John Brodsky. Camille Branton. Sarita Choudhury. Ken Barnett. Travis Bratten. Tanisha Long. Nadia Alexander. Karen Pham. Rob Campbell. Roby Sobieski. Lauren Anne Schaffel. Brian Charles Johnson. Lipica Shah. Jarod Einsohn. Caliaf St. Aubyn. Zita-Ann Geoffroy. Laura Jordan. Sarah Quinn. Jason Blaj. Zachary Unger. Lisa Emery. Mihran Shlougian. Lynne Taylor. Brian d'Arcy James. Leigha Handcock. David Simins. Brad Wilson. Ryan McCarty. Krishna Choudhary. Ricky Jones. Thomas Merckens. Alan Robert Southworth. ADORE Naomi Watts. Robin Wright. Xavier Samuel. James Frecheville. Sophie Lowe. Jessica Tovey. Ben Mendelsohn. Gary Sweet. Alyson Standen. Skye Sutherland. Sarah Henderson. Isaac Cocking. Brody Mathers. Alice Roberts. Charlee Thomas. Drew Fairley. Rowan Witt. Sally Cahill. -
Mainstream Cinema As a Tool for China's Soft Power
Master’s Degree programme in Languages, Economics and Institutions of Asia and North Africa “Second Cycle (D.M. 270/2004)” Final Thesis Mainstream cinema as a tool for China’s soft power Supervisor Ch. Prof. Federico Alberto Greselin Assistant supervisor Ch. Prof. Tiziano Vescovi Graduand Alessia Forner Matriculation Number 846622 Academic Year 2017 / 2018 To the two stars that have guided me from above TABLE OF CONTENTS 1 Introduction 5 Chapter one: Soft power: a general overview and the beginning of China’s soft power era 7 1.1 Joseph Nye’s definition of soft power 7 1.2 Culture: the core of soft power 10 1.3 The entry of the concept of soft power in China and its translations 12 1.4 Hu Jintao’s speech at the 17th National Congress of the Communist Party of China and China’s first steps towards its soft power strategy 14 Chapter two: China’s focus on cultural soft power and the Chinese film industry 19 2.1 China’s investments in the film industry and films as a soft power resource 19 2.2 The situation of the Chinese film industry in the 1980s and 1990s: is Hollywood China’s lifeline? 26 2.3 Main melody films and the correlation with the China dream (( : taking the documentary Amazing China ()() and the film American Dreams in China (() as an example 32 2.4 Focus on the film Wolf Warrior II II) : a successful soft power strategy 56 Chapter three: Sino-US collaborations 65 3.1 Hollywood and China: same bed, different dreams 65 3.2 The different types of collaborations between China and Hollywood 69 3.3 Is China changing Hollywood? 78 -
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. -
List of Films Considered the Best
Create account Log in Article Talk Read View source View history Search List of films considered the best From Wikipedia, the free encyclopedia Main page This list needs additional citations for verification. Please Contents help improve this article by adding citations to reliable sources. Featured content Current events Unsourced material may be challenged and removed. (November Random article 2008) Donate to Wikipedia Wikimedia Shop While there is no general agreement upon the greatest film, many publications and organizations have tried to determine the films considered the best. Each film listed here has been mentioned Interaction in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources Help About Wikipedia focus on American films or were polls of English-speaking film-goers, but those considered the Community portal greatest within their respective countries are also included here. Many films are widely considered Recent changes among the best ever made, whether they appear at number one on each list or not. For example, Contact page many believe that Orson Welles' Citizen Kane is the best movie ever made, and it appears as #1 Tools on AFI's Best Movies list, whereas The Shawshank Redemption is #1 on the IMDB Top 250, whilst What links here Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. Related changes None of the surveys that produced these citations should be viewed as a scientific measure of the Upload file Special pages film-watching world. Each may suffer the effects of vote stacking or skewed demographics. -
Screendollars
Monday, May 24, 2021 | No. 169 When Star Wars opened May 25, 1977 no one but Steven Spielberg thought it would be a hit. George Lucas had been turned down by Universal, United Artists and Disney before pitching 20th Century Fox his sci-fi epic inspired by 1930's serials like Flash Gordon and Buck Rogers, the 1966 TV series Star Trek and Frank Herbert's 1965 novel Dune. Fox creative affairs chief Alan Ladd, Jr. greenlighted SW, but Fox's distribution arm never considered it a likely hit. Fox marketers wanted to change the title because moviegoers might think Star Wars was about the Vietnam War or, perhaps, superstars Elizabeth Taylor and Richard Burton's divorce. When Lucas screened a rough cut for some director pals, they weren't impressed. Brian De Palma reportedly called it the "worst movie" ever made. Spielberg, however, predicted SW would be "the biggest movie of all time." Lucas thought SW was doomed and skipped its premiere to vacation with Spielberg in Hawaii where they heard SW was a boxoffice phenomenon and then came up with a new project to do together -- Raiders of the Lost Ark (1981), the first Indiana Jones blockbuster. Exhibitors were reluctant to book SW, thinking only kids and sci-fi buffs would buy tickets, so it opened at just 32 theatres. Two days later, it was in 43 theatres and a week later in 157. It peaked in mid-August at 1,096, a very wide run then. Produced for $11 million, its original release did $461 million domestically and $196 million abroad – huge numbers at Theatrical Poster for Star Wars, the time. -
Electric Shadows 2014
BFI ANNOUNCES ELECTRIC SHADOWS 2014 AND A YEAR OF FILM COLLABORATION WITH CHINA TAKING BUSINESS, TRADE AND CULTURAL RELATIONS TO NEXT LEVEL Launching with special UK visit from China’s most popular film director Feng Xiaogang in February EmbargoeD until 1pm, MonDay 20th January 2014, LONDON, BFI SOUTHBANK Prime Minister David Cameron’s highly successful trade delegation to China in December 2013 with Culture Secretary Maria Miller included film for the first time and was represented by BFI CEO Amanda Nevill. Following the trip, during which a landmark film Co-Production Treaty was agreed, the BFI today announces a year of business, trade, creative and cultural collaborations between the UK and China. BFI specific activity, entitled Electric Shadows (the Chinese term for movies or "dian ying"), will encompass the BFI’s full range of exhibition, archive, digital, education, theatrical and DVD distribution and publishing initiatives, opening up previously hard to see Chinese cinema to UK audiences and making UK film accessible to what will soon become the world’s biggest box office nation. The BFI is working alongside a range of key strategic partners throughout the year including the British Council, DCMS, UKTI and the GREAT Britain Campaign. The ambitious programme was unveiled today at the BFI’s final Film Forever Roadshow (One Year On) at BFI Southbank, London, as part of the BFI’s International Strategy, in which China was presented as a key priority territory. Designed to grow mutual economic and cultural benefits for UK and Chinese film, Electric Shadows starts with a rare UK visit in February from China’s most successful and renowned film director Feng Xiaogang, hosted by the BFI.