DOCSLIB.ORG

INTG20170108 Minutes (411)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
INTG20170108 Minutes (411) Informal Northern Thai Group Bulletin 11 December, 2016 th 1. MINUTES of THE 411 INTG MEETING: Tuesday, 13 December, 2016: “Translating Chinese Culture”. A talk by Cindy M. Carter. 2. Next INTG meeting (412th): Tuesday, 10 January, 2017, 7:30pm at the Alliance Française, Chiang Mai: “What is the Use of Old Books?” A talk by Graham Jeffcoate. th 3. February INTG meeting (413 ): Tuesday, 7 February, 2017, 7:30pm at the Alliance Française, Chiang Mai: “Kindred Spaces: Painting Across Worlds” A Presentation by Amy D'Apice. 4. An Exhibition by Victoria Vorreiter on Hmong Music in Chiang Mai 5. List of Future INTG meetings. 6. INTG CONTACTS: CONVENOR - SECRETARY - WEBSITE. th 1. MINUTES of THE 411 INTG MEETING Tuesday, 13 December, 2016 “Translating Chinese Culture”. A talk by Cindy M. Carter 1.1. PRESENT : Ian Baird, Hans Bänziger, Dianne Barber-Riley, Mark Barber-Riley, Tony Christiaens, Leo Ellis, Eric Eustache, Jennifer Gampell, Austin Gillanders, Verity Goitein, Reinhard Hohler, Warren Kinston, Peter Kouwenberg, Chris Lalanonne [?], John Melton, Patrick Morel, George Mumenthaler, Jenny Mumenthaler, Ran Shi, Horst Sitsch, Angelie Sitsch, Suriya Smutkupt, Colin Stratford, Dorothy Tarrant, Lennart Utterstrom, Rebecca Weldon, Alvin Yoshinaga. 27 signed. 31 were counted. 1.2. THE TALK The translation of contemporary Chinese culture for a global audience holds different significance for different groups of people. For China’s leadership and cultural policy-makers, it signifies an opportunity to expand Chinese soft power and cultural influence, and to trumpet the achievements made by China over the past several decades. For China’s independent filmmakers, authors and artists, it signifies a conduit to a global audience, a means of attaining more artistic and financial freedom, and a space in which to explore a broader range of topics. In this presentation are presented several case studies, drawn from a diverse translation practice, to illustrate some of the opportunities and challenges associated with translating Chinese contemporary literature and culture for a global and increasingly interconnected audience. I begin by describing the cultural context. I. A BRIEF SURVEY OF CHINESE CULTURAL MILESTONES, 1976-2016 1976 Death of Mao Tse-Tung and arrest of the “Gang of Four.” The Cultural Revolution (wenhua dageming) comes to an end. 1978 Economic “Reform and Opening” policies (gaige kaifang) are introduced by Deng Xiaoping and other reformists. Most Chinese universities reopen (Beijing Film Academy, the Central Academy of Fine Arts, Peking and Tsinghua Universities, among others). Founding of Today (Jintian) literary samizdat publication by poets Bei Dao and Mang Ke. The rise of the “Misty” poetry movement (Bei Dao, Gu Cheng, Shu Ting, He Dong, Yang Lian, Mang Ke, Bei Ling, Chou Ping, Duo Duo, Fei Ye, Ha Jin, He Dong, others). Today magazine is shut down by the authorities in 1980, and revived years later as an overseas publication. The advent of “Scar Literature” (shanghen wenxue), a genre of fiction that explored the suffering and chaos wrought by the Cultural Revolution. 1979 Founding of the “Stars Group” (xingxing huahui) by artists Ma Desheng and Huang Rui. Other Stars artists include Ai Weiwei, Wang Keping, Li Shuang, Zhang Hongtu and Zhang Wei. The Stars artists hold an unsanctioned exhibition in a park next to the National Art Museum in Beijing. Early 80s The Stars Group disbands; some of the artists move overseas. The first post-Cultural-Revolution class of filmmakers graduate from Beijing Film Academy and begin making films. They are later dubbed the “Fifth Generation” of Chinese filmmakers (Chen Kaige, Tian Zhuangzhuang, Zhang Yimou, Li Shaohong, Wu Ziniu, others). Formerly forbidden works of literature begin to appear in bookstores, including many new and reissued translations of foreign-language works. 1984 Chinese rocker Cui Jian forms his first band and begins playing concerts around Beijing. 1985-1989 The avant-garde art movement known as “the ’85 New Wave Movement” flourishes for a period of about five years. 1986 Cui Jian forms the band ADO, achieves fame with his iconic ballad “Nothing to My Name,” quits his orchestra day job and begins playing stadium concerts. Other musicians and bands follow suit. 1987 Novelist Wang Shuo begins publishing works of gritty urban fiction; detractors dub his style “hooligan literature” (pizi wenxue). 1989 The Tiananmen Square protests begin in the spring and spread nationwide. The subsequent crackdown results in hundreds of deaths and thousands of injuries, and is followed by curfews, university lockdowns, and restrictions on free speech and artistic expression. 1990-95 Yuanmingyuan Artists’ Village, an arts commune, forms near the ruins of the Old Summer Palace in Beijing. At its height, the commune is home to four or five hundred painters, sculptors, writers, musicians and performance artists. It is disbanded by Chinese authorities in 1995. 1990 Wu Wenguang releases his indie documentary Bumming in Beijing: The Last Dreamers, ushering in the Chinese New Documentary Movement (NDM). 1993-1995 Beijing’s “East Village” art commune forms. Home to several dozen visual and performance artists, it is forcibly disbanded in 1995. Early 90s The “Sixth Generation” independent filmmakers emerge (Wang Xiaoshuai, Zhang Yuan, Jia Zhangke, He Jianjun, Lou Ye, Lu Chuan, others). Inexpensive, widely available Dakoudai (imported and spliced-together cassette tapes) expand access to foreign music. Videocassette rental shops and video-rental cafes expand access to both Chinese and foreign films. 1994 China becomes the 77th country to connect to the Internet. 1995 The Ministry of Posts and Telecommunications begins providing Internet services to the public. 1996 China’s first Internet cafes open. Mid-late 90s Literary, film, music and other culture-related print journals proliferate. Affordable digital video cameras and computer editing equipment and software make it possible to produce films outside the mainstream Chinese censorship and distribution system. The dGeneration of Chinese underground filmmakers emerge (feature filmmakers Ying Liang, Jian Yi, Liu Jiayin, Robin Weng and others; documentarians Wang Bing, Zhao Liang, Du Haibin, Li Hong, Xu Xin, Huang Wenhai, et al.) Online fiction, literary websites and online translation collectives gain in popularity. 2 Pirated CDs replace dakoudai; pirated VCDs (and later, DVDs) of overseas and domestic movies and TV shows are widely available. Further expansion of the Chinese music scene, as rock, pop, punk, hip-hop and experimental musical acts proliferate. 2000 Playwright and novelist Gao Xingjian wins the Nobel Prize for Literature. 2000- Beijing’s 798 Art Zone, located in a former industrial factory complex, begins attracting large numbers of artists, galleries, exhibitions and art lovers. 2001 First Annual Beijing Queer Film Festival is held in Beijing. 2003 First Annual “YunFest” Multicultural Visual Festival is held in Kunming. 2003 First Annual Beijing Independent Film Festival is held in Songzhuang Artists’ Village on the eastern outskirts of Beijing. Songzhuang, once a sleepy farming village, is being transformed by a large influx of artists, writers, musicians and other independent creators looking for larger studios, cheaper rents and a more amenable artistic community. 2007 798 Art Zone is saved from demolition/redevelopment as a tech centre, and is designated as a protected historical and arts district. 2007 The Paper Republic (paper-republic.org), a non-profit collaborative website dedicated to the promotion of Chinese literature in translation, is founded by three translators in Beijing. At about this time, pirated CDs and DVDs are being supplanted by legal and illegal online streaming of music, videos, films and television shows—often with Chinese subtitles produced by informal online teams of volunteer translators. 2008 Beijing hosts the 2008 Summer Olympics. 2010 Jailed dissident Liu Xiaobo wins the Nobel Peace Prize. 2012 Novelist Mo Yan wins the Nobel Prize for Literature. 2012- Independent film festivals (including the long running Beijing Independent Film Festival and YunFest Multicultural Visual Festival, among others) come under increased official scrutiny. By 2014, most have been shut down by the Chinese authorities. 2013 GAPP (General Administration of Press and Publications) and SARFT (State Administration of Radio, Film and Television) merge to become SAPPRFT (State General Administration of Press and Publication, Radio, Film and Television). Internet censorship is increasing during this period, with more website blocking, content deletion, scrutiny and censorship of social media. VPN usage increases apace. 2016 China relaxes foreign film import quotas somewhat (34-38 foreign films per year). Some statistics: China has 4.3 million Chinese-language websites, 700 million citizens with access to the Internet, and 1.28 billion mobile phone subscriptions. Over 440,000 books are published annually. II. TRANSLATING CHINESE CONTEMPORARY CULTURE FOR A GLOBAL AUDIENCE A. Motivations for Translation 1. Among the Chinese creative class (writers, artists, filmmakers, et al.) - Expand audience/readership; enhance global prestige; gain access to overseas publishing, distribution, prizes, festivals and travel opportunities; diversify one’s income stream; enjoy more reliable reporting of book sales and box office figures; gain a cushion against censorship; etc. 2. Among Chinese leaders and opinion leaders (politicians, cultural bureaucrats,
Load more

Recommended publications
  • Zhang Yimou Interviews Edited by Frances Gateward
    ZHANG YIMOU INTERVIEWS EDITED BY FRANCES GATEWARD Discussing Red Sorghum JIAO XIONGPING/1988 Winning Winning Credit for My Grandpa Could you discuss how you chose the novel for Red Sorghum? I didn't know Mo Yan; I first read his novel, Red Sorghum, really liked it, and then gave him a phone call. Mo Yan suggested that we meet once. It was April and I was still filming Old Well, but I rushed to Shandong-I was tanned very dark then and went just wearing tattered clothes. I entered the courtyard early in the morning and shouted at the top of my voice, "Mo Yan! Mo Yan!" A door on the second floor suddenly opened and a head peered out: "Zhang Yimou?" I was dark then, having just come back from living in the countryside; Mo Yan took one look at me and immediately liked me-people have told me that he said Yimou wasn't too bad, that I was just like the work unit leader in his village. I later found out that this is his highest standard for judging people-when he says someone isn't too bad, that someone is just like this village work unit leader. Mo Yan's fiction exudes a supernatural quality "cobblestones are ice-cold, the air reeks of blood, and my grandma's voice reverberates over the sorghum fields." How was I to film this? There was no way I could shoot empty scenes of the sorghum fields, right? I said to Mo Yan, we can't skip any steps, so why don't you and Chen Jianyu first write a literary script.
    [Show full text]
  • Zhang Ziyi and Aaron Kwok
    PRODUCTION NOTES Set in a small Chinese village where an illicit blood trade has spread AIDS to the community, LOVE FOR LIFE is the story of De Yi and Qin Qin, two victims faced with the grim reality of impending death, who unexpectedly fall in love and risk everything to pursue a last chance at happiness before it’s too late. SYNOPSIS In a small Chinese village where an illicit blood trade has spread AIDS to the community, the Zhao’s are a family caught in the middle. Qi Quan is the savvy elder son who first lured neighbors to give blood with promises of fast money while Grandpa, desperate to make amends for the damage caused by his family, turns the local school into a home where he can care for the sick. Among the patients is his second son De Yi, who confronts impending death with anger and recklessness. At the school, De Yi meets the beautiful Qin Qin, the new wife of his cousin and a recent victim of the virus. Emotionally deserted by their respective spouses, De Yi and Qin Qin are drawn to each other by the shared disappointment and fear of their fate. With nothing to look forward to, De Yi capriciously suggests becoming lovers but as they begin their secret affair, they are unprepared for the real love that grows between them. De Yi and Qin Qin’s dream of being together as man and wife, to love each other legitimately and freely, is jeopardized when the villagers discover their adultery. With their time slipping away, they must decide if they will surrender everything to pursue one chance at happiness before it’s too late.
    [Show full text]
  • Entire Dissertation Noviachen Aug2021.Pages
    Documentary as Alternative Practice: Situating Contemporary Female Filmmakers in Sinophone Cinemas by Novia Shih-Shan Chen M.F.A., Ohio University, 2008 B.F.A., National Taiwan University, 2003 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of Gender, Sexuality, and Women’s Studies Faculty of Arts and Social Sciences © Novia Shih-Shan Chen 2021 SIMON FRASER UNIVERSITY SUMMER 2021 Copyright in this work rests with the author. Please ensure that any reproduction or re-use is done in accordance with the relevant national copyright legislation. Declaration of Committee Name: Novia Shih-Shan Chen Degree: Doctor of Philosophy Thesis title: Documentary as Alternative Practice: Situating Contemporary Female Filmmakers in Sinophone Cinemas Committee: Chair: Jen Marchbank Professor, Department of Gender, Sexuality and Women’s Studies Helen Hok-Sze Leung Supervisor Professor, Department of Gender, Sexuality and Women’s Studies Zoë Druick Committee Member Professor, School of Communication Lara Campbell Committee Member Professor, Department of Gender, Sexuality and Women’s Studies Christine Kim Examiner Associate Professor, Department of English The University of British Columbia Gina Marchetti External Examiner Professor, Department of Comparative Literature The University of Hong Kong ii Abstract Women’s documentary filmmaking in Sinophone cinemas has been marginalized in the film industry and understudied in film studies scholarship. The convergence of neoliberalism, institutionalization of pan-Chinese documentary films and the historical marginalization of women’s filmmaking in Taiwan, Hong Kong, and the People’s Republic of China (PRC), respectively, have further perpetuated the marginalization of documentary films by local female filmmakers.
    [Show full text]
  • Fragmented Memories and Screening Nostalgia for the Cultural Revolution
    Fragmented Memories and Screening Nostalgia for the Cultural Revolution Jing Meng Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong https://hkupress.hku.hk © 2020 Hong Kong University Press ISBN 978-988-8528-46-2 (Hardback) All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, 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. Cover image courtesy of Dongchun Films Co., Ltd. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Paramount Printing Co., Ltd. in Hong Kong, China Contents List of Illustrations vi Acknowledgements vii Introduction 1 1. Janus-Faced Nostalgia: Moral Critique, Sentimentalism, and Gender 16 2. Post-revolution Nostalgia: Memory as Performance 47 3. Beyond Nostalgia: Agency and Auteuristic Expressivity in Fragmented Memories 66 4. Post-trauma Narrative: Fragmented Past Flows into the Present 93 5. A Collective ‘I’ and Its Contending Readings: Personal Memories in Sent-Down Youth 111 6. Conclusion: Contingent Memories, Contested Modernities 139 Filmography 147 Bibliography 149 Illustrations Figure 1.1: Poster for Under the Hawthorn Tree 30 Figure 2.1: Still from Youth: The opening dancing rehearsal 51 Figure 2.2: Still from Youth: The shower scene 52 Figure 2.3: Still from Youth: The transitional scene of the
    [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]
  • Art, Politics, and Commerce in Chinese Cinema
    Art, Politics, and Commerce in Chinese Cinema edited by Ying Zhu and Stanley Rosen Hong Kong University Press 14/F Hing Wai Centre, 7 Tin Wan Praya Road, Aberdeen, Hong Kong www.hkupress.org © Hong Kong University Press 2010 Hardcover ISBN 978-962-209-175-7 Paperback ISBN 978-962-209-176-4 All rights reserved. Copyright of extracts and photographs belongs to the original sources. No part 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 copyright owners. Printed and bound by XXXXX, Hong Kong, China Contents List of Tables vii Acknowledgements ix List of Contributors xiii Introduction 1 Ying Zhu and Stanley Rosen Part 1 Film Industry: Local and Global Markets 15 1. The Evolution of Chinese Film as an Industry 17 Ying Zhu and Seio Nakajima 2. Chinese Cinema’s International Market 35 Stanley Rosen 3. American Films in China Prior to 1950 55 Zhiwei Xiao 4. Piracy and the DVD/VCD Market: Contradictions and Paradoxes 71 Shujen Wang Part 2 Film Politics: Genre and Reception 85 5. The Triumph of Cinema: Chinese Film Culture 87 from the 1960s to the 1980s Paul Clark vi Contents 6. The Martial Arts Film in Chinese Cinema: Historicism and the National 99 Stephen Teo 7. Chinese Animation Film: From Experimentation to Digitalization 111 John A. Lent and Ying Xu 8. Of Institutional Supervision and Individual Subjectivity: 127 The History and Current State of Chinese Documentary Yingjin Zhang Part 3 Film Art: Style and Authorship 143 9.
    [Show full text]
  • In the Mood for Love, Suzhou He Film Studio, Bar : Shanghai Tongzhi Community Junfeng Ding Iowa State University
    Masthead Logo Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1-1-2005 In the mood for love, Suzhou He Film Studio, Bar : Shanghai Tongzhi community Junfeng Ding Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Recommended Citation Ding, Junfeng, "In the mood for love, Suzhou He Film Studio, Bar : Shanghai Tongzhi community" (2005). Retrospective Theses and Dissertations. 18940. https://lib.dr.iastate.edu/rtd/18940 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. In the Mood for Love - Suzhou He Film Studio, Bar I Shanghai T ongzhi community by Junfeng Qeff) Ding A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF ARCHITECTURE Major: Architecture Program of Study Committee: Timothy Hickman, Major Professor Clare Robinson, Major Professor Julia Badenhope Iowa State University Ames, Iowa 2005 Copyright ©Junf eng Qeff) Ding. , 2005. All. rights reserved. II Graduate College Iowa State University This is to certify that the master's thesis of Junfeng Qeff) Ding has met the thesis requirements of Iowa State University Signatures have been redacted for privacy Ill Acknowledgements The moment of finishing my thesis for the professional M.Arch degree is the moment I studying for the post ~ professional M.Des degree in Graduate School of Design (GSD), Harvard University.
    [Show full text]
  • Film and the Chinese Medical Humanities
    5 The fever with no name Genre-blending responses to the HIV-tainted blood scandal in 1990s China Marta Hanson Among the many responses to HIV/AIDS in modern China – medical, political, economic, sociological, national, and international – the cultural responses have been considerably powerful. In the past ten years, artists have written novels, produced documentaries, and even made a major feature-length film in response to the HIV/AIDS epidemic in China.1 One of the best-known critical novelists in China today, Yan Lianke 阎连科 (b. 1958), wrote the novel Dream of Ding Village (丁庄梦, copyright 2005; Hong Kong 2006; English translation 2009) as a scath- ing critique of how the Chinese government both contributed to and poorly han- dled the HIV/AIDS crisis in his native Henan province. He interviewed survivors, physicians, and even blood merchants who experienced first-hand the HIV/AIDS ‘tainted blood’ scandal in rural Henan of the 1990s giving the novel authenticity, depth, and heft. Although Yan chose a child-ghost narrator, the Dream is clearly a realistic novel. After signing a contract with Shanghai Arts Press he promised to donate 50,000 yuan of royalties to Xinzhuang village where he researched the AIDS epidemic in rural Henan, further blurring the fiction-reality line. The Chi- nese government censors responded by banning the Dream in Mainland China (Wang 2014: 151). Even before director Gu Changwei 顾长卫 (b. 1957) began making a feature film based on Yan’s banned book, he and his wife Jiang Wenli 蒋雯丽 (b. 1969) sought to work with ordinary people living with HIV/AIDS as part of the process of making the film.
    [Show full text]
  • Independent Cinema in the Chinese Film Industry
    Independent cinema in the Chinese film industry Tingting Song A thesis submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy Faculty of Creative Industries Queensland University of Technology 2010 Abstract Chinese independent cinema has developed for more than twenty years. Two sorts of independent cinema exist in China. One is underground cinema, which is produced without official approvals and cannot be circulated in China, and the other are the films which are legally produced by small private film companies and circulated in the domestic film market. This sort of ‘within-system’ independent cinema has played a significant role in the development of Chinese cinema in terms of culture, economics and ideology. In contrast to the amount of comment on underground filmmaking in China, the significance of ‘within-system’ independent cinema has been underestimated by most scholars. This thesis is a study of how political management has determined the development of Chinese independent cinema and how Chinese independent cinema has developed during its various historical trajectories. This study takes media economics as the research approach, and its major methods utilise archive analysis and interviews. The thesis begins with a general review of the definition and business of American independent cinema. Then, after a literature review of Chinese independent cinema, it identifies significant gaps in previous studies and reviews issues of traditional definition and suggests a new definition. i After several case studies on the changes in the most famous Chinese directors’ careers, the thesis shows that state studios and private film companies are two essential domestic backers for filmmaking in China.
    [Show full text]
  • Canada Archives Canada Published Heritage Direction Du Branch Patrimoine De I'edition
    Above Ground or Under Ground: The Emergence and Transformation of "Sixth Generation" Film-Makers in Mainland China by Wu Liu B.A., Renmin University, 1990 M.A., Beijing Film Academy, 1996 A Thesis Submitted in Partial Fulfillment of the Requirement for the Degree of MASTER OF ARTS in the Department of Pacific and Asian Studies © Wu Liu, 2008 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-40466-9 Our file Notre reference ISBN: 978-0-494-40466-9 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these.
    [Show full text]
  • How the Steel Was Tempered: the Rebirth of Pawel Korchagin in Contemporary Chinese Media
    Front. Lit. Stud. China 2012, 6(1): 95–111 DOI 10.3868/s010-001-012-0007-6 RESEARCH ARTICLE Mingwei Song How the Steel Was Tempered: The Rebirth of Pawel Korchagin in Contemporary Chinese Media Abstract Russian writer Nicholas Ostrovski’s novel How the Steel Was Tempered (1934) provided generations of Chinese youth with a widely admired role model: a young devoted communist soldier, Pawel Korchagin, whose image occupied a prominent place in the orthodoxy revolutionary education and literary imagination during Mao’s era. Over the past decade, Pawel Korchagin has regained his popularity in Chinese media, his name and image have been appropriated by numerous artists and filmmakers to help in portrayals of the new generation’s self-fashioning. The various (unorthodox) interpretations recently attached to Pawel’s heroic story reveal a huge gap between Maoist ideology and the post-Mao ideas. This paper looks into the intricate relationships between Pawel Korchagin’s revolutionary past and his varied contemporary representations. By doing so, I hope to gain a better understanding of the cultural politics of appropriating Mao’s legacy to create new meanings for a changing Chinese society. One example on which this paper focuses is the sixth-generation director Lu Xuechang’s film Becoming a Man (1997), which rewrites the revolutionary Bildungsroman of Pawel in a startling different context. Keywords youth, revolutionary Bildungsroman, contemporary Chinese culture, the sixth-generation filmmakers, self-fashioning Introduction Russian writer Nicholai Ostrovski’s 1934 novel Kak Zakalialas Stal (How the 1 steel was tempered; translated in Chinese as Gangtie shi zenyang liancheng de) 1 Kak Zakalialas Stal was published in 1934 in Russia.
    [Show full text]
  • Tiff Bell Lightbox Celebrates a Century of Chinese Cinema with Unprecedented Film Series, Exhibitions and Special Guests
    May 6, 2013 .NEWS RELEASE. TIFF BELL LIGHTBOX CELEBRATES A CENTURY OF CHINESE CINEMA WITH UNPRECEDENTED FILM SERIES, EXHIBITIONS AND SPECIAL GUESTS - Programme features 80 films, free exhibitions and guests including Chen Kaige, Johnnie To and Jackie Chan - -Tickets on sale May 21 at 10 a.m. for TIFF Members, May 27 at 10 a.m. for non-members - Toronto – Noah Cowan, Artistic Director, TIFF Bell Lightbox, announced today details for a comprehensive exploration of Chinese film, art and culture. A Century of Chinese Cinema features a major film retrospective of over 80 titles, sessions with some of the biggest names in Chinese cinema, and a free exhibition featuring two internationally acclaimed visual artists. The flagship programme of the summer season, A Century of Chinese Cinema runs from June 5 to August 11, 2013. “A Century of Chinese Cinema exemplifies TIFF’s vision to foster new relationships and build bridges of cultural exchange,” said Piers Handling, Director and CEO of TIFF. “If we are, indeed, living in the Chinese Century, it is essential that we attempt to understand what that entails. There is no better way to do so than through film, which encourages cross-cultural understanding in our city and beyond.” “The history, legacy and trajectory of Chinese film has been underrepresented in the global cinematic story, and as a leader in creative and cultural discovery through film, TIFF Bell Lightbox is the perfect setting for A Century of Chinese Cinema,” said Noah Cowan, Artistic Director, TIFF Bell Lightbox. “With Chinese cinema in the international spotlight, an examination of the history and development of the region’s amazing artistic output is long overdue.
    [Show full text]