DOCSLIB.ORG

1St China Onscreen Biennial

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1St China Onscreen Biennial 2012 1st China Onscreen Biennial LOS ANGELES 10.13 ~ 10.31 WASHINGTON, DC 10.26 ~ 11.11 Presented by CONTENTS Welcome 2 UCLA Confucius Institute in partnership with Features 4 Los Angeles 1st China Onscreen UCLA Film & Television Archive All Apologies Biennial Academy of Motion Picture Arts and Sciences Are We Really So Far from the Madhouse? Film at REDCAT Pomona College 2012 Beijing Flickers — Pop-Up Photography Exhibition and Film Seeding cross-cultural The Cremator dialogue through the The Ditch art of film Double Xposure Washington, DC Feng Shui Freer and Sackler Galleries of the Smithsonian Institution Confucius Institute at George Mason University Lacuna — Opening Night Confucius Institute at the University of Maryland The Monkey King: Uproar in Heaven 3D Confucius Institute Painted Skin: The Resurrection at Mason 乔治梅森大学 孔子学院 Sauna on Moon Three Sisters The 2012 inaugural COB has been made possible with Shorts 17 generous support from the following Program Sponsors Stephen Lesser The People’s Secretary UCLA Center for Chinese Studies Shanghai Strangers — Opening Night UCLA Center for Global Management (CGM) UCLA Center for Management of Enterprise in Media, Entertainment and Sports (MEMES) Some Actions Which Haven’t Been Defined Yet in the Revolution Shanghai Jiao Tong University Chinatown Business Improvement District Mandarin Plaza Panel Discussion 18 Lois Lambert of the Lois Lambert Gallery Film As Culture | Culture in Film Queer China Onscreen 19 Our Story: 10 Years of Guerrilla Warfare of the Beijing Queer Film Festival and Corporate Sponsor Last Days China Film Archive 20 Animated, Golden and Restored The Red Detachment of Women The COB is grateful to the China Film Archive for its cooperation Fu Hongxing Director and President Rao Shuguan Deputy Director and Deputy President Liu Dong Director, International Cooperation Division Credits 23 Zhao Jing Program Manager, International Cooperation Division Calendar of Events 24 www.confucius.ucla.edu/cob 2012 marks the 40th anniversary of the opening of bilateral relations between the US and China, and we are delighted at the synchronicity, even if coincidental, this year of launching a new showcase of Mainland Chinese cinema for American audiences in Los Angeles and Washington, DC. We believe the China Onscreen Biennial (COB) is in scope and design the Welcome to first of its kind. The event is unprecedented as a bicoastal partnership the inaugural among eight distinguished non-profit American educational and cultural organizations to promote US-China dialogue through the art of film. China The first China Onscreen Biennial (COB) coincides with the Onscreen 40th anniversary of President Nixon’s visit to China, a pivotal The curation of the COB has also been unique, a truly collaborative effort moment in US-China relations that opened doors and fostered across institutions rather than the more centralized model of programming Biennial! communication between the two countries for the following by a standalone entity, whether a film festival or cinematheque. decades. The State of California possesses a remarkably rich history of relations with China, present even in the infrastructure My programming partners – Bérénice Reynaud at Film at REDCAT, Ellen that survives today that Chinese American immigrants were vital Harrington at the Academy of Motion Picture Arts and Sciences, Shannon in helping create at the turn of the 20th century. The UCLA Kelley and Paul Malcolm at the UCLA Film & Television Archive, Tom Vick Confucius Institute seeks to recognize and foster the historic at the Freer and Sacker Galleries, and Jonathan Hall at Pomona College connection between the United States and China through a wide – and I have taken our cues from realities on the ground in China, rather variety of programs and outlets, from jump-starting Chinese than hew to longstanding taxonomies of Chinese cinema that have focused language programs in Los Angeles K-12 schools, to supporting more narrowly on Chinese independents, documentaries or state-approved East-West integrative medical practices, to bringing together Los commercial films as discrete entities — an approach favored in the West Angeles and overseas Chinese opera artists. We believe that there since the 1980s. are many pathways to learning about China, and recognize the film medium, in particular, as an exceptional way for multinational We have tried to take into account the great flux and media convergence audiences to immerse themselves in stories that are not necessarily taking place on the Chinese film scene with richly diverse, genre-crossing their own. The COB is a refreshing, innovative way to engage programming. The result are COB selections encompassing short and Americans with what is currently happening in China through a feature-length animation, documentaries and narrative films, as well as variety of lenses, from artistic, perhaps esoteric, films to popular, works originated for different platforms – theatrical release, internet viewing crowd-driven blockbusters – all of which reflect the diversity and art installations. The selections not only look at the Chinese cinema inherent in the Chinese (and American) 21st-century experience. present, but also its past. Some of the best examples of contemporary Chinese filmmaking, archival rarities and film restorations will be on view UCLA is in a unique position to support the COB’s initiatives and during the COB, many as North American and US premieres. ideals. Not only is UCLA a comprehensive research university, but also one recognized for its world-class arts programs and The COB is an initiative of the UCLA Confucius Institute and its Executive resources that include an extensive film archive second only to Director Susan Pertel Jain, and much appreciation goes to Susan, Professor the US Library of Congress. UCLA’s identity as an urban campus Zhuang Lailai of Shanghai Jiao Tong University, the COB Project Manager located in Los Angeles, an international crossroads of culture, art, Stefanie Adcock and Ma Xiaojie for seeing this project from idea to and commerce and home to the largest Chinese population in the realization. An Advisory Board of UCLA faculty and international film United States, exerts its influence on the way we work. This year professionals have also shared their considerable knowledge and expertise we proudly mark the Confucius Institute’s fifth year at UCLA with to shape this inaugural COB. the launching of the China Onscreen Biennial. In collaboration with our distinguished presenting partners we hope to continue every And beyond the US media drumbeat of China as simply one humongous two years this tradition of celebrating the deep-rooted connections economic growth machine, the COB offers a refreshing multiplicity of voices between the people of the United States and the People’s Republic – sometimes in synch, sometimes discordant, but always vital and individual. of China, while planting the seeds for honest exchange and But as no film cultural project is ever complete without an audience, we cooperation that will flourish for years to come. invite you to complete the COB. Susan Pertel Jain Cheng-Sim Lim Executive Director, UCLA Confucius Institute Chief Curator, China Onscreen Biennial LA Sunday, October 14, 7:00 pm UCLA FTV ARCHIVE LA Sunday, October 21, 4:00 pm UCLA FTV ARCHIVE US Premiere North American Premiere ARE WE REALLY SO FAR ALL APOLOGIES All Apologies is a subtle study of the subterranean way two couples are FROM THE MADHOUSE? tragically connected through the death of a child. Yonggui and his wife, 爱的替身 Yun Zhen, left the countryside years ago, and he’s now a hardworking 我们离疯人院有多远 construction foreman, an agent of the urban renewal policy that has been 2012 profoundly affecting the Chinese cityscape. Hotheaded Heman used to 2010 be Yonggui’s driver; now Heman and his wife, Qiaoyu, run a tiny grocery FEATURES FEATURES store. After the unthinkable happens, Yonggui is convinced that a life is Director Director/Cinematographer/ Emily Tang “owed” to him, and that he is entitled to take what he wants or needs. Editor Qiaoyu is no less convinced that it is her duty to “pay” for her husband’s Li Hongqi mistake and misfortune. Emily Tang’s mise en scène eschews melodrama, Producer Yang Jian, Chow and instead paints an impressionistic picture of the changing relationships Keung. Screenwriter Han between men and women in contemporary China, calling forth a Producer Alex Chung. Jie, Emily Tang, Dong wealth of details, gestures, off-screen gazes and intimate moments. Composer P.K. 14, Dear Fang. Cinematographer Eloise. Cast P.K. 14. Lai Yiu-fai. Production All Apologies was shot in and around the city of Guilin in Guangxi Designer William Kwok. Province, the atmosphere and landscapes of which are rendered with Editor Chow Keung, HDCAM, color, Mandarin with documentary-like precision. On art direction, Tang collaborated with Baek Seung-hoon. Sound English subtitles, 87 min. Hong Kong filmmaker William Kwok (author of the moody Darkness Dong Xu. Composer After the critical acclaim of his fiction featureWinter Bride, 2003), composing a palette of ochres, browns and greys, dusty Roger Lin. Cast Cheng Vacation (2010), filmmaker Li Hongqi shifted his focus to streets, dirt roads, modest domestic spaces and dimly lit interiors. Taishen, Yang Shuting, documentaries. Li hoped to shake up his methodology: “I Through their own expressive qualities as well as the structure of Liang Jing, Gao Jin. am too controlling... So for now I want to extract myself from the shots and the editing strategy, the decors are narratively as my way of thinking and do something that is the complete important as the ethical and affective dilemmas of the protagonists. opposite.” Are We Really So Far from the Madhouse?, Li’s HDCAM, color, first work since shifting course, flirts with letting go even as Li Mandarin with English – Bérénice Reynaud subtitles, 90 min. throws down the gauntlet of rigorous formal experimentation. The results are by turns mesmerizing and unsettling.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Chen Man Fearless & Fabulous 9 December–4 March 2018
    Press release 1/2 Chen Man Fearless & Fabulous 9 December–4 March 2018 The title says it all: Fearless & Fabulous. It takes both courage and magnetic For images, please contact attraction to achieve the position held by Chinese photographer Chen Man. And Fotografiska’s Head of Communications Margita Ingwall +46 (0)70 456 14 61 her success is a significant (Chinese) sign of the time. Chen Man is undoubtedly [email protected] the pioneer of China’s fashion photographer. Throughout the years, Chen Man has firmly established herself as the most sought-after and certainly the highest paid fashion and portrait photographer in China. Her works have featured across a range of leading publications, including Vogue, Elle, Harper’s Bazaar, Cosmopolitan and i.D. Her vigorously retouched images comprise several layers of narrative and in her pictorial world the current image of China is interpreted and reinterpreted. In a country in convulsions between the old and the new, Chen Man may be regarded as a representative of her generation – the Generation Y, as in »why«. In her photographs, Chen Man stages fusions between the past and the present, east and west, tradition and renewal, questioning and reformulating norms and beauty ideals. Film stars and captains of industry all want to be photographed by her. Her megastar status defies description, as she moves in the most varied of social circles of the Chinese elite. China’s No.1 leading actress Fan Bingbing will only be photographed by Chen Man, international superstars such as Rihanna, Keanu Reeves and Nicole Kidman come to China to be portrayed by Chen Man.
    [Show full text]
  • UC Riverside Electronic Theses and Dissertations
    UC Riverside UC Riverside Electronic Theses and Dissertations Title Beyond New Waves: Gender and Sexuality in Sinophone Women's Cinema from the 1980s to the 2000s Permalink https://escholarship.org/uc/item/4h13x81f Author Kang, Kai Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Beyond New Waves: Gender and Sexuality in Sinophone Women‘s Cinema from the 1980s to the 2000s A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Comparative Literature by Kai Kang March 2015 Dissertation Committee: Dr. Marguerite Waller, Chairperson Dr. Lan Duong Dr. Tamara Ho Copyright by Kai Kang 2015 The Dissertation of Kai Kang is approved: Committee Chairperson University of California, Riverside Acknowledgements My deepest gratitude is to my chair, Dr. Marguerite Waller who gave me freedom to explore my interested areas. Her advice and feedback helped me overcome many difficulties during the writing process. I am grateful to Dr. Lan Duong, who not only offered me much valuable feedback to my dissertation but also shared her job hunting experience with me. I would like to thank Dr Tamara Ho for her useful comments on my work. Finally, I would like to thank Dr. Mustafa Bal, the editor-in-chief of The Human, for having permitted me to use certain passages of my previously published article ―Inside/Outside the Nation-State: Screening Women and History in Song of the Exile and Woman, Demon, Human,‖ in my dissertation. iv ABSTRACT OF THE DISSERTATION Beyond New Waves: Gender and Sexuality in Sinophone Women‘s Cinema from the 1980s to the 2000s by Kai Kang Doctor of Philosophy, Graduate Program in Comparative Literature University of California, Riverside, March 2015 Dr.
    [Show full text]
  • The Consequences of Allowing Home Country Auditors to Audit Cross-Listed Firms: Evidence from Hong Kong-Listed H Share Firms
    The Consequences of Allowing Home Country Auditors to Audit Cross-listed Firms: Evidence from Hong Kong-listed H Share Firms Manyi Fan1, Bin Ke2, Wenruo Wu3, Lijun Xia4, and Qingquan Xin5 April 8, 2020 We wish to thank Xi Wu (discussant), Donghua Chen, Pingyang Gao, Yongxiang Wang, and workshop participants at the Nanjing University and the 3rd New Institutional Accounting Conference (Shanghai, 2019) for helpful comments. 1 Department of Accounting, NUS Business School, National University of Singapore, B01-03, 1 Business Link, Singapore 117592. Email: [email protected]. 2 Department of Accounting, NUS Business School, National University of Singapore, Mochtar Riady Building, BIZ 1, # 07-53, 15 Kent Ridge Drive, Singapore 119245.Tel: +65 6601 3133. Fax: +65 6773 6493. Email: [email protected]. 3 Antai College of Economics and Management, Shanghai Jiao Tong University, Shanghai, P.R. China 200030. Tel: +86-183 1707 8667. Email: [email protected]. 4 Antai College of Economics and Management, Shanghai Jiao Tong University, Shanghai, P.R. China 200030. Tel: +86-21-6293 2639. Email: [email protected]. 5 Chongqing University. Email: [email protected]. 1 The Consequences of Allowing Home Country Auditors to Audit Cross-listed Firms: Evidence from Hong Kong-listed H Share Firms April 8, 2020 The Consequences of Allowing Home Country Auditors to Audit Cross-listed Firms: Evidence from Hong Kong-listed H Share Firms ABSTRACT We examine the consequences of a 2010 Hong Kong regulation that allows, for the first time, companies incorporated in mainland China and cross-listed in Hong Kong (H share companies) to hire mainland domiciled auditors to audit their Hong Kong financial reports.
    [Show full text]
  • Warriors As the Feminised Other
    Warriors as the Feminised Other The study of male heroes in Chinese action cinema from 2000 to 2009 A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Chinese Studies at the University of Canterbury by Yunxiang Chen University of Canterbury 2011 i Abstract ―Flowery boys‖ (花样少年) – when this phrase is applied to attractive young men it is now often considered as a compliment. This research sets out to study the feminisation phenomena in the representation of warriors in Chinese language films from Hong Kong, Taiwan and Mainland China made in the first decade of the new millennium (2000-2009), as these three regions are now often packaged together as a pan-unity of the Chinese cultural realm. The foci of this study are on the investigations of the warriors as the feminised Other from two aspects: their bodies as spectacles and the manifestation of feminine characteristics in the male warriors. This study aims to detect what lies underneath the beautiful masquerade of the warriors as the Other through comprehensive analyses of the representations of feminised warriors and comparison with their female counterparts. It aims to test the hypothesis that gender identities are inventory categories transformed by and with changing historical context. Simultaneously, it is a project to study how Chinese traditional values and postmodern metrosexual culture interacted to formulate Chinese contemporary masculinity. It is also a project to search for a cultural nationalism presented in these films with the examination of gender politics hidden in these feminisation phenomena. With Laura Mulvey‘s theory of the gaze as a starting point, this research reconsiders the power relationship between the viewing subject and the spectacle to study the possibility of multiple gaze as well as the power of spectacle.
    [Show full text]
  • Distribution Agreement in Presenting This
    Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: _____________________________ ______________ Tianyi Yao Date Crime and History Intersect: Films of Murder in Contemporary Chinese Wenyi Cinema By Tianyi Yao Master of Arts Film and Media Studies _________________________________________ Matthew Bernstein Advisor _________________________________________ Tanine Allison Committee Member _________________________________________ Timothy Holland Committee Member _________________________________________ Michele Schreiber Committee Member Accepted: _________________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date Crime and History Intersect: Films of Murder in Contemporary Chinese Wenyi Cinema By Tianyi Yao B.A., Trinity College, 2015 Advisor: Matthew Bernstein, M.F.A., Ph.D. An abstract of
    [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]
  • Intermedialtranslation As Circulation
    Journal of World Literature 5 (2020) 568–586 brill.com/jwl Intermedial Translation as Circulation Chu Tien-wen, Taiwan New Cinema, and Taiwan Literature Jessica Siu-yin Yeung soas University of London, London, UK [email protected] Abstract We generally believe that literature first circulates nationally and then scales up through translation and reception at an international level. In contrast, I argue that Taiwan literature first attained international acclaim through intermedial translation during the New Cinema period (1982–90) and was only then subsequently recognized nationally. These intermedial translations included not only adaptations of literature for film, but also collaborations between authors who acted as screenwriters and film- makers. The films resulting from these collaborations repositioned Taiwan as a mul- tilingual, multicultural and democratic nation. These shifts in media facilitated the circulation of these new narratives. Filmmakers could circumvent censorship at home and reach international audiences at Western film festivals. The international success ensured the wide circulation of these narratives in Taiwan. Keywords Taiwan – screenplay – film – allegory – cultural policy 1 Introduction We normally think of literature as circulating beyond the context in which it is written when it obtains national renown, which subsequently leads to interna- tional recognition through translation. In this article, I argue that the contem- porary Taiwanese writer, Chu Tien-wen (b. 1956)’s short stories and screenplays first attained international acclaim through the mode of intermedial transla- tion during the New Cinema period (1982–90) before they gained recognition © jessica siu-yin yeung, 2020 | doi:10.1163/24056480-00504005 This is an open access article distributed under the terms of the cc by 4.0Downloaded license.
    [Show full text]
  • Cosmopolitan Cinema: Cross-Cultural Encounters in East Asian Film
    Chan, Felicia. "Index." Cosmopolitan Cinema: Cross-Cultural Encounters in East Asian Film. London • New York: I.B.Tauris, 2017. 193–204. Bloomsbury Collections. Web. 30 Sep. 2021. <>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 30 September 2021, 22:31 UTC. Copyright © Felicia Chan 2017. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 193 Index Note: Page numbers in italics refer to images. 2.28 incident, 48 audiences, 94 – 5 , 122 – 3 , 145 15 , 110 , 111 Austin, J. L., 70 24 City , 59 – 68 Austin, Th omas, 60 – 1 , 63 – 4 2046 , 30 , 33 , 36 , 50 auteur cinema, 8 , 40 – 1 , 111 autoethnographer- performer, 133 Abbas, Ackbar, 30 a w a r d s , 2 5 – 6 a ff ect, 17 , 94 , 95 – 6 , 97 , 101 , 118 a ff ective encounter, 94 Bachelard, Gaston, 104 , 105 a ffi rmative criticality, 142 Baecker, Angie, 124 , 139 Aft er Chinatown , 130 – 1 Bal, Le , 26 Ahmad, Yasmin, 111 Balfour, Ian, 40 , 52 Ahmed, Sara, 123 , 136 banned fi lms, 58 – 9 , 110 Allen, Richard, 120 – 1 Bauman, Zygmunt, 7 – 8 , 9 Allen, Woody, 10 Be With Me , 2 5 – 6 Almodóvar, Pedro, 39 Béhar, Henri, 39 Always in My Heart / Kimi no Behind the Forbidden City , 110 nawa , 81 , 83 ‘Bengawan Solo’, 32 Ampo demonstrations, 83 Benjamin, Walter, 10 , 133 Andersen, Joseph, 22 – 3 benshi narrators, 21 – 4 Anderson, Benedict, 100 Bergfelder, Tim, 11 Anderson, Kay, 130 Bergman, Ingrid, 73 , 75 , 125 animation Berlant, Laurent, 109 ,
    [Show full text]
  • The Curious Case of Chinese Film Censorship: an Analysis of The
    THE CURIOUS CASE OF CHINESE FILM CENSORSHIP: AN ANALYSIS OF THE FILM ADMINISTRATION REGULATIONS by SHUO XU A THESIS Presented to the School of Journalism and Communication and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts December 2017 THESIS APPROVAL PAGE Student: Shuo Xu Title: The Curious Case of Chinese Film Censorship: An Analysis of Film Administration Regulations This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the School of Journalism and Communication by: Gabriela Martínez Chairperson Chris Chávez Member Daniel Steinhart Member and Sara D. Hodges Interim Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2017 ii © 2017 Shuo Xu iii THESIS ABSTRACT Shuo Xu Master of Arts School of Journalism and Communication December 2017 Title: The Curious Case of Chinese Film Censorship: An Analysis of Film Administration Regulations The commercialization and global transformation of the Chinese film industry demonstrates that this industry has been experiencing drastic changes within the new social and economic environment of China in which film has become a commodity generating high revenues. However, the Chinese government still exerts control over the industry which is perceived as an ideological tool. They believe that the films display and contain beliefs and values of certain social groups as well as external constraints of politics, economy, culture, and ideology. This study will look at how such films are banned by the Chinese film censorship system through analyzing their essential cinematic elements, including narrative, filming, editing, sound, color, and sponsor and publisher.
    [Show full text]
  • Safety Culture Assessment of Coal Mine Enterprise
    Available online at www.sciencedirect.com Procedia Engineering ProcediaProcedia Engineering Engineering 00 (2011 26) 000(2011)–000 1939 – 1948 www.elsevier.com/locate/procedia First International Symposium on Mine Safety Science and Engineering Safety culture assessment of coal mine enterprise CHEN Kuna∗,b, XU Longjunb, CHEN Yanc, BI Zhiming b, YI Juna aCollege of Safety Engineering, Chongqing University of Science and Technology, Chongqing 401331, China bState Key Laboratory of Coal Mine Disaster Dynamics and Control (Chongqing University)，Chongqing 400030,China cSchool of Foreign Languages and Literature, Chongqing Education College, Chongqing, 400067, China Abstract The paper is inclined to introduce a renovated fuzzy overall evaluation model specially purposed for safety culture of coal mine enterprise, which was established by us authors based on our own years’ experience in this area. The index system of coal mine enterprise safety assessment here mentioned has been founded, as well as analyzing safety culture on-spot along with the duty consultants. And, then, all the fuzzy membership indexes and their degrees were to be weighed, calculated with the final evaluation results presented in accordance with the analytic hierarchy process. Furthermore, all the safety culture statuses of T coal mine enterprise, S coal mine enterprise and X coal mine enterprise were then put into detailed analysis. The results of our application prove that the order of the safety cultural level can be as follows: X coal mine enterprise <T coal mine enterprise <S coal mine enterprise. The safety cultural grade of T coal mine enterprise and S coal mine enterprise were both “qualified”, which indicate that the production could be continued.
    [Show full text]
  • Complete Press
    Emerging Pictures in association with Media Asia, Inc., USA China Film Group, Inc., PRC Shanghai Film Group, PRC present Beauty Remains A Film by Ann Hu Running Time: 87 Minutes in Mandarin with English Subtitles Not Yet Rated Press Contacts: Sales Contact: Melody Korenbrot & Ziggy Kozlowski Ira Deutchman Block-Korenbrot Associates Emerging Pictures 8271 Melrose Ave. Suite 115 [email protected] Los Angeles, CA 90046 646-831-2909 (323) 655-0593 [email protected] [email protected] Beauty Remains The Cast Fei .....................................................................................................................ZHOU XUN Ying..................................................................................................................VIVIAN WU Huang...................................................................................................... WANG ZHI WEN The Woman Gambler............................................................................................. LISA LU Bai........................................................................................................... ZHU MAN FANG Xiao Tian .....................................................................................................SHEN CHANG Li Zhu...................................................................................................... WANG JIAN JUN Niu Niu................................................................................................................... XU JING Lawyer .....................................................................................................
    [Show full text]