DOCSLIB.ORG

As the World Turns – “Beijing: the Forbidden City”

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
As the World Turns – “Beijing: the Forbidden City” The Writer's Garret As The World Turns Beijing: the Forbidden City Lesson 5 Grades: 6-12 Time: 1-2 hours Overview: Building on prior lessons, students will sit on their hand-designed magic carpets and imagine flying across the Pacific, over Hawai’i and the many island nations along the way, before landing in Asia. Students will briefly stop by Taiwan and Hong Kong, and be introduced to the ways they are similar and different from the mainland of China. Students will discuss how these three distinctly Chinese locales grew apart. Their common heritage will converge at “The Ballad of Mulan,” where they will consider Chinese poetry, calligraphy, symbols, and art. They will take a trip to the Palace Museum (also known as the Forbidden City). Students will record their thoughts and impressions of Asia and China in their travel journals. Objectives: Students will have the opportunity to explore differences between East and West. explore Asian-American heritage. explore U.S. connections with China. learn about the concept of “global economy.” expand vocabulary and learn Asian roots to some commonly used concepts. explore importance of geography and setting to historical and sociological benchmarks. understand how culture and ideology can impact and history. understand how science and technology have shaped the Modern Age. explore the relationships between ideas and things in language and culture. practice calligraphy. practice expository writing. study Chinese visual and written art forms. study an ancient Chinese ballad showing gender empowerment hundreds of years earlier. Preparation: Review fact sheets on Taiwan and Hong Kong; Chinese calligraphy; and The Palace Museum; Review "The Ballad of Mulan," which was only touched on briefly the day before. Look into the “yueh-fu” poetic form. Review calligraphy and poems from prior meeting day. Bring pens / pencils, large labels, colored sharpies, paper, card stock, scissors, glue for fans. Make sure you have all permission forms, evaluations, or required reports for granting or administrative purposes, and have reserved projectors and computer rooms as needed. Bring in maps /globse, travel magazines, and travel books. Bring travel journals and magic carpets to class. Review these sites: http://en.wikipedia.org/wiki/Forbidden_City http://www.ebeijing.gov.cn/ GREAT Video: http://travel.yahoo.com/p-travelguide- 191501619-beijing_vacations-i The Writer's Garret Points for Discussion & Emphasis: 1-Finish discussing the relationship(s) between Taiwan, Hong Kong, and mainland China. Where have student, friends, and / or family traveled to any of these locations? Where is Taiwan in relation to China? Where is Hong King in relation to China? What is (or was) "The Republic Of China"? Who are the "Four Asian Tigers"? What does "Formosa" mean (the former name of Taiwan, it is Portuguese for "Beautiful Island"). What happened in Hong King in 1997? What is the difference between Cantonese and Mandarin? What is vernacular? Can we think of ways we have formal speech in English vs. informal speech? Which countries first colonized these two territories, and what has the lasting impact of that colonial history been? Are there territories in or associated with the United States that make for good comparisons to Taiwan and Hong King? How so? 2-Discuss the structure, meaning, and cultural importance of "The Ballad of Mulan.” What is a ballad? What is a folk tale? How old is the story of Mulan? What is yueh-fu form and how is it related to haiku? What is the concept of "gender"? Why does Mulan want to go to war? Why do you think the poem ends with a question? What is a pictogram? (Show ancient examples: Native American rock art; Egyptian hieroglyphs; Aztec and / or Mayan glyphs. Show modern examples: road signs; symbols such as "Recycle" and "No Smoking".) What is an ideogram? How different would your experience be if you could read this poem in the original Chinese? 3-Discuss the Palace Museum / Forbidden City and Beijing. What is a Museum? Why are museums important? What elements of Chinese culture from that era survive today? Why was this location known as the "Forbidden City"? What is porcelain? What is jade? Why do they have symbolic meaning for the Chinese? Do we have precious stones or metals that have symbolic meaning for us? What does “gold” mean to us? Do see examples of symbolism in the Palace Museum? Did any of the students watch the Olympics in Beijing? Why is Tiananmen Square the heart of Chinese Culture to the Chinese? Why do Westerners view it differently? How does this event parallel what we learned about Kent State? Was this another case of “Civil Disobedience”? The Writer's Garret Classroom Procedure: Presentation: 10-15 minutes Spin globe to show students once again the trek from Japan to China. Students will make sure they have their passports in a safe place, hop on their magic carpets, and head down to Tawian. Discussion #1. Share maps of Taiwan, Hong Kong, and mainland China. Presentation, "The Ballad of Mulan": 10-15 minutes Have class members read "The Ballad of Mulan" aloud, stanza by stanza, round-robin fashion. Discussion #2. Show class original (Chinese character) version of "The Ballad of Mulan". Individual Writing Exercise, Chinese calligraphy: 20-50 minutes 1. Circulate the Chinese calligraphy handout (provided) and discuss the basics of how Chinese characters translate "things" into "ideas", and how, in Chinese calligraphy, pictures form words. 2. Have students practice making new characters to express certain ideas from the provided subset of Chinese characters. 3. Have students develop their own system of pictographic writing, and use those pictographs to capture or describe important ideas from "The Ballad of Mulan". Help those students who feel uncomfortable drawing by suggesting simple, stylized ways to describe certain ideas through things. Encourage students to draw upon their private / personal associations to turn these abstractions into concrete expressions. 4. Alongside these pictures they are to write a small poem that captures their sense of being in China. 5. Students will then put this on a piece of paper, glue on the calligraphy, their poem, and anything else they want to create a fan to demonstrate the elegance of visual, tactile, and written art inspired by the Far East and beauty of China. Presentation, The Palace Museum / Forbidden City: 10-20 minutes Show students provided images of The Forbidden City in Beijing. Show students provided images of pottery / porcelain, jewelry and bronze sculptures from The Palace Musuem. Discussion #3. Individual Writing Exercise, Travel Journal (optional): 10-15 minutes Students should write 1-2 paragraphs in their journals about what they see, smell, taste and who they interact with in China. The Writer's Garret Preparing Students for next meeting: 5 minutes Make sure students get forms filled out and signed by parents or guardians. Have students bring in a towel for next meeting. Have students consider which of their written pieces they like the best to select for revision and inclusion in the anthology. Suggestions, Comments, Enhancements, & Modifications: Make sure that more time is spent on students “experiencing” the material rather than hearing you talk about it. Make certain you leave enough time for making the journal, adding in an itinerary, writing in it, and reading work aloud. Use a lot of comparisons with our life in the U.S. to other places in the world, emphasizing similarities over differences. Ask students for analogous situations or common cultural traits or purposes. If their families are from other countries (e.g., Mexico, Vietnam), ask them to share additional, personal comparisons. Don’t try to cover every topic—but do focus on those that can invite healthy debate and opportunities to think “big” thoughts. Feel free to reduce the number of writing and group assignments to permit a deeper writing exploration of the remaining assignments. Encourage contemporary and personal connections with geographically or temporally removed material. Make sure that students know to be respectful of one another when commenting on each other’s work or participating in small groups. Encourage ongoing design additions to their magic carpet and daily writing in their journals. Make sure in advance and obtain permission if necessary for computer usage, and be prepared to bring ample picture books, magazines, poems, etc. if necessary so that all students can be engaged! Hua Mulan This article is about a legendary Chinese heroine. For the Disney film based on this person, see Mulan. For the protagonist of the Disney film, see Fa Mulan. Hua Mulan Oil painting on silk, "Hua Mulan Goes to War" Traditional Chinese Simplified Chinese Hanyu Pinyin Hu Mùlán This article contains Chinese text. Without proper rendering support, you may see question marks, boxes, or other symbols instead of Chinese characters. Hua Mulan (Chinese: ; pinyin: Hu Mùlán; WadeGiles: Hua1 Mu4-lan2) is a legend from ancient China and was originally described in a Chinese poem known as the Ballad of Mulan ( ). In the legend she fought for 12 years and merited 12 ranks of rewards, which she refused and retired back home instead. The historical setting of Hua Mulan is uncertain. The earliest accounts of the legend state that she lived during the Northern Wei dynasty (386534). As a child, Mulan loved riding horses around her gaff and shooting arrows, as well as reading books about war, as she was from an area dedicated to practicing the arts of fighting. It is recorded that she was born around Hú Nán Sh ng Ch i Shì, a province in northern ancient China that practiced the arts of the sword, as well as fighting and kung fu. Mulan was around 18 when she joined an all- male army in place of her father, who was too old, and a younger brother who was still too young.
Load more

Recommended publications
  • The Ballad of Mulan Report and Poem
    Wolfe !1 Brady Wolfe Dr. Christensen CHIN 343 December 8, 2015 Mulan China to me for many years was defined by the classic story of Mulan. It was a foreign land as far away from me as anything I could fathom, yet it was so fascinating to me that I would of- ten even pretend I could speak Chinese, and I still remember the excitement I felt when as a young child I first watched Disney’s retelling of Mulan. I watched it over and over again, and when I went to China for the first time, I was honestly quite surprised to find that today’s China was quite different from my childhood imaginations inspired by that movie. For this reason, when I discovered that the legend of Mulan originates from an ancient Chinese poem, I decided it would be appropriate and enjoyable for me to choose this poem as the subject of my translation and research project. The core of this project is my own translation of the classic poem, and addi- tionally I will discuss a little bit about the history of the poem, and analyze its structure and for- mat. The original source for the poem of Mulan has been lost, but it was transcribed into the Music Bureau Collections, an anthology by Guo Maoqing put together sometime during the Song dy- nasty around the 11th or 12th century A.D., and a note is given by Guo saying that the source from which it was taken and transcribed into the collection was a compilation made during the beginning of the Tang dynasty, more or less 6th century A.D., called the Musical Records of Old and New, (Project Gutenberg).
    [Show full text]
  • Mulan (1998), Mulan Joins the Army (1939), and a Millennium-Long Intertextual Metamorphosis
    arts Article Cultural “Authenticity” as a Conflict-Ridden Hypotext: Mulan (1998), Mulan Joins the Army (1939), and a Millennium-Long Intertextual Metamorphosis Zhuoyi Wang Department of East Asian Languages and Literatures, Hamilton College, Clinton, NY 13323, USA; [email protected] Received: 6 June 2020; Accepted: 7 July 2020; Published: 10 July 2020 Abstract: Disney’s Mulan (1998) has generated much scholarly interest in comparing the film with its hypotext: the Chinese legend of Mulan. While this comparison has produced meaningful criticism of the Orientalism inherent in Disney’s cultural appropriation, it often ironically perpetuates the Orientalist paradigm by reducing the legend into a unified, static entity of the “authentic” Chinese “original”. This paper argues that the Chinese hypotext is an accumulation of dramatically conflicting representations of Mulan with no clear point of origin. It analyzes the Republican-era film adaptation Mulan Joins the Army (1939) as a cultural palimpsest revealing attributes associated with different stages of the legendary figure’s millennium-long intertextual metamorphosis, including a possibly nomadic woman warrior outside China proper, a Confucian role model of loyalty and filial piety, a Sinitic deity in the Sino-Barbarian dichotomy, a focus of male sexual fantasy, a Neo-Confucian exemplar of chastity, and modern models for women established for antagonistic political agendas. Similar to the previous layers of adaptation constituting the hypotext, Disney’s Mulan is simply another hypertext continuing Mulan’s metamorphosis, and it by no means contains the most dramatic intertextual change. Productive criticism of Orientalist cultural appropriations, therefore, should move beyond the dichotomy of the static East versus the change-making West, taking full account of the immense hybridity and fluidity pulsing beneath the fallacy of a monolithic cultural “authenticity”.
    [Show full text]
  • HUMA 1210: Chinese Women on Screen
    HUMA 1210: Chinese Women on Screen Instructor: Daisy Yan Du Associate Professor Division of Humanities Office: Room 2369 (Lift 13-15), Academic Bldg Office phone: (852) 2358-7792 E-mail: [email protected] Office hours: by appointment only Teaching Assistant: Song HAN E-mail: [email protected] Office: Room 3001 (Lift 4), Academic Bldg Office hours: by appointment only Time & Classroom: Time: 12-14:50pm, Friday, Spring 2019 Room: LTH Required Readings: • All available online at “Files,” Canvas Course Description: This course examines Chinese women as both historical and fictional figures to unravel the convoluted relationship between history and visual representations. It follows a chronological order, beginning with women in Republican China and ending with contemporary female immigrants in the age of globalization. The changing images of women on screen go hand in hand with major cinematic movements in history, including the leftist turn in the 1930s, the rise of animation in wartime Shanghai, socialist filmmaking during the Seventeen Years (1949-1966), the birth of model opera film during the Cultural Revolution (1966-1976), post-1989 underground/independent filmmaking, and the globalization of cinema in contemporary China. Approaches of film analyses and gender/sexuality theories will be introduced throughout the course. All reading materials, lectures, classroom discussions, and exams are in English. Course Objectives: By the end of this semester students should be able to: • track the changing images of women in history • track
    [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]
  • The Real Story of Mulan By: the Scribe on Friday, June 17, 2011
    The Real Story of Mulan By: The Scribe on Friday, June 17, 2011 Many people have seen the Disney movie Mulan and do not realize that it is actually telling the story of an ancient Chinese poem titled the Ballad of Mulan. Because it is a legend, it is unknown when Mulan may have lived although she was believed to have lived during theNorthern Wei dynasty which lasted from 386CE to 534CE. In the movie, Mulan is depicted as being unskilled with weapons. The “real” Mulan, on the other hand, was said to have practiced with many different weapons. The area in which she was believed to have lived was known for practicing martial arts such as Kung Fu and for being skilled with the sword. In the legend, the real Mulan (whose name was actually Hua Mulan) rode horses and shooting arrows. In the movie as well as in the poem, there was no male child. This caused problems when the Emperor (or Khan as he is called in the poem) began to call up troops to fight the invading Mongol and nomadic tribes. If there had been a son he could have gone in his father’s place as it was only up to the family to provide one man to fight. Whether it was the father or the son did not matter; all they needed to do was provide one person to join the army. As in the Disney movie, Mulan chose to enlist in her father’s place as he was too old to fight. At the age of eighteen she joined the army and prepared to fight against the Mongolian and nomadic tribes that wanted to invade China.
    [Show full text]
  • 100 Chinese Keywords
    present 100 CHINESE KEYWORDS from the book “HISTORY FLASHBACK” Chinese Pinyin English 黄帝 Huángdì The Yellow Emperor 皇帝 huángdì emperor 女娲 Nǚwā Nuwa 甲骨文 jiǎgǔwén oracle bone script 天命 Tiānmìng Mandate of Heaven 易经 Yìjīng I Ching 龙的传人 lóng de chuánrén descendants of the dragon 诸子百家 zhūzǐbǎijiā Hundred Schools of Thought 战国 Zhànguó Warring States 孔子 Kǒngzǐ Kongzi (Confucius) 儒家思想 Rújiā sīxiǎng Confucianism 老子 Lǎozǐ Laozi (Lao Tzu) 道教 Dàojiào Daoism 道德经 Dàodéjīng Daodejing (Tao Te Ching) 无为 wúwéi non-doing 墨子 Mòzǐ Mozi 庄子 Zhuāngzǐ Zhuangzi 孟子 Mèngzǐ Mengzi (Mencius) 孙子兵法 Sūnzǐ Bīngfǎ (Sunzi’s) Art of War 长城 Chángchéng Great Wall of China 秦始皇 Qín Shǐhuáng Qin Shihuang 妃子 fēizi concubines 兵马俑 bīngmǎyǒng terracotta warriors 汉族 Hànzú Han (ethnicity) 丝绸之路 Sīchóu zhī Lù Silk Road 汉武帝 Hàn Wǔdì Han Wudi 四大发明 Sì Dà Fāmíng Four Great Inventions Chinese Pinyin English 指南针 zhǐnánzhēn compass 火药 huǒyào gunpowder 造纸术 zàozhǐshù paper-making 印刷术 yìnshuāshù printing press 司马迁 Sīmǎ Qiān Sima Qian 史记 Shǐjì Records of the Grand Historian 太监 tàijiàn eunuch 三国 Sānguó Three Kingdoms (period) 竹林七贤 Zhúlín Qīxián Seven Bamboo Sages 花木兰 Huā Mùlán Hua Mulan 京杭大运河 Jīng-Háng Dàyùnhé Grand Canal 佛教 Fójiào Buddhism 武则天 Wǔ Zétiān Wu Zetian 四大美女 Sì Dà Měinǚ Four Great Beauties 唐诗 Tángshī Tang poetry 李白 Lǐ Bái Li Bai 杜甫 Dù Fǔ Du Fu Along the River During the Qingming 清明上河图 Qīngmíng Shàng Hé Tú Festival (painting) 科举 kējǔ imperial examination system 西藏 Xīzàng Tibet, Tibetan 书法 shūfǎ calligraphy 蒙古 Měnggǔ Mongolia, Mongolian 成吉思汗 Chéngjí Sīhán Genghis Khan 忽必烈 Hūbìliè Kublai
    [Show full text]
  • Transnational Koreans in Asian Pop Culture in the Pre-Korean Wave Era*
    Vol.17 No.3, 55∼83 DOI:10.20879/acr.2020.17.3.55 https://www.comm.or.kr Transnational Koreans in Asian Pop Culture in the Pre-Korean Wave Era* Doobo Shim** Professor, Department of Media and Communication, Sungshin Women’s University, South Korea 12 Abstract he Korean Wave, which refers to the overseas popularity of South Korean T culture, is moving toward a new stage of development. Seen in conjunction with the recent performances of K-pop bands on global music platforms, Korean film Parasite's winning four prizes at the 92nd Academy Awards in 2020 has led commentators to argue that the whole world is now observing the Korean Wave phenomena. However, while the global rise of Korean pop culture has been documented continuously, most of the research has been centered around either Korean production or foreign consumption. Additionally, while the transnationality of popular culture has led academia to adopt the theory of hybridity, its application to the Korean Wave was largely limited to textual studies. Against this backdrop, this research will shed light on diasporic Korean artistes who have been largely forgotten either in Korea or in their resettled and adopted cultures. In particular, this study will zero in on Korean actors and filmmakers in Shanghai in the 1930s and the Korean-Hong Kongese film collaborations in the 1960s and inquire into their cultural meanings in inter-Asian popular culture. For one, Korean director Jeong Chang-hwa handed down his action film know-how to Hong Kong cinema, which would later become a global action film hub.
    [Show full text]
  • Newsletter 65
    季 童星．同戲 香港電影資料館 Hong Kong Film Archive Merry-Go-Movies: Star Kids 刊 爵士加鑼鼓─《追妻記》一二 Jazzing It Up with Gong and Drum: Musings on How to Get a Wife 尹海靈─謎樣的白衣女郎 Woman in White: Quarterly The Unbelievable Wan Hoi-ling 65 香港電影的古巴足跡 Hong Kong Cinema in Cuba Newsletter 08.2013 © Still of Back Door licensed by Celestial Pictures Limited. All rights reserved. 香港電影資料館 封面： 當「爸媽」的爐火純青，當「子 編者的話 Editorial@ChatRoom 女」的或精靈或乖巧，為電影帶來 館長 林覺聲 精彩的共冶一爐。 王愛明（《後門》劇照 ©版權由天映娛樂 部門主管 童星．同戲 有限公司全部擁有） 行政及場地管理組 孫毅思 Merry-Go-Movies: Star Kids Front cover: A kaleidoscope of family portraits: the seasoned veterans and their kids 資訊系統組 許錦全 爵士加鑼鼓─《追妻記》一二 onscreen make us laugh and cry. 搜集組 侯韻旋 Jazzing It Up with Gong and Drum: Wong Oi-ming (Still from Back Door ©Licensed by Celestial Pictures Limited. 修復組 勞啟明 Musings on How to Get a Wife All rights reserved.) 資源中心 周宇菁 尹海靈─謎樣的白衣女郎 封底： 《我們的子女》（1959）中的鄧小 研究組 蒲 鋒 Woman in White: 宇與梁寶珠 編輯組 郭靜寧 The Unbelievable Wan Hoi-ling Back cover: Peter Dunn & Leung Bo-chu in Our 節目組 傅慧儀 香港電影的古巴足跡 Beloved Son (1959) 王麗明 Hong Kong Cinema in Cuba 《通訊》 第65期（2013年8月） 編輯 郭靜寧 英文編輯 劉勤銳 助理編輯 單識君 杜蘊思 「機緣」這回事，實在奇妙得不可言傳，然後像漣漪一波又一波地蕩漾開去。本館繼數年 香港西灣河鯉景道50號 電話：2739 2139 前的中國早期電影歷史探索工作，去年得方創傑先生捐贈的一批三、四十年代的香港電影（見 傳真：2311 5229 第21頁），可說為上世紀中葉前的香港電影研究，打開無可比擬的一道門。畢竟，有電影可 電郵：[email protected] 看，才可確實地分析，分別從美學、工業、歷史等多個範疇去深入探討。 設計：Be Woks ~ 印刷：和記印刷有限公司 與此同時，竟也是不謀而合，對早期香港電影素有研究的法蘭賓先生，以他敏銳的觸覺， © 2013 香港電影資料館 版權所有，翻印必究。 展開了對三、四十年代女編導尹海靈的研究（見第10至15頁），大力搜羅中外文獻，誓要解開 「侯曜──尹海靈」二人組之謎。 www.filmarchive.gov.hk 各種各樣的交匯和交流，在在深感難得。資料館的電影院雖小，談從藝六十年的阮兆輝先 生、馮寶寶等各位影齡驕人的童星前輩、談修復希治閣默片工程的羅賓貝克先生……就有超越 Hong Kong Film Archive 時空的能耐，帶大家神馳，跨越時間國度。經過修復洗禮的珍藏，醇厚叫人迷醉。 Head Richie Lam 羅賓貝克先生有一段話發人深省，叫人對「修復」豈止要刮目相看─有些曾遭刪剪 Unit Heads 的電影，經從來源不同的多個拷貝對比，儘可能補足後，「足本」叫人對該片完全改觀！ Admin & Alex Suen Venue Mgt [[email protected]] IT Systems Lawrence Hui Acquisition Wendy Hau It’s hardly possible to tell how serendipity works; it’s like ripples spreading far and wide.
    [Show full text]
  • The Best of Hangz 2019
    hou AUGUST 呈涡 The Best of Hangz 2019 TOP ALTERNATIVE BEAUTY SPOTS THE BEST CONVENIENCE STORE ICE-CREAMS TRAVEL DESTINATIONS FOR AUGUST TAKE ME Double Issue WITH YOU Inside Do you want a behind the scenes look at a print publication? Want to strengthen your social media marketing skills? Trying to improve your abilities as a writer? Come and intern at REDSTAR, where you can learn all these skills and more! Also by REDSTAR Works CONTENTS 茩嫚 08/19 REDSTAR Qingdao The Best of Qingdao o AUGUST 呈涡 oice of Qingda 2019 City The V SURFS UP! AN INSIGHT INTO THE WORLD OF SURFING COOL & FRESH, Top (Alternative) WHICH ICE LOLLY IS THE BEST? 12 TOP BEACHES BEACH UP FOR Beauty Spots SUMMER The West Lake is undoubtedly beautiful, but where else is there? Linus takes us through the best of the rest. TAKE ME WITH YOU Double Issue 郹曐暚魍妭鶯EN!0!䉣噿郹曐暚魍旝誼™摙 桹䅡駡誒!0!91:4.:311! 䉣噿壈攢鲷㣵211誑4.514!0!舽㚶㛇誑䯤 䉣墡縟妭躉棧舽叄3123.1125誑 Inside Life’s a Beach Creative Services 14 redstarworks.com Annie Clover takes us to the beach, right here in Hangzhou. Culture 28 Full Moon What exactly is the Lunar Calendar and why do we use it? Jerry answers all. Follow REDSTAR’s Ofcial WeChat to keep up-to-date with Hangzhou’s daily promotions, upcoming events and other REDSTAR/Hangzhou-related news. Use your WeChat QR scanner to scan this code. 饅燍郹曐呭昷孎惡㠬誑䯖鑫㓦椈墕桭 昦牆誤。釣䀏倀謾骼椈墕0郹曐荁饅㡊 㚵、寚棾羮孎惡怶酽怶壚䯋 Creative Team 詇陝筧䄯 Ian Burns, Teodora Lazarova, Toby Clarke, Alyssa Domingo, Jasper Zhai, David Chen, Zoe Zheng, Viola Madau, Linus Jia, Brine Taz, Alison Godwin, Features Vicent Jiang, Mika Wang, May Hao, Business Angel Dong, Wanny Leung, Penny Liu, Lim Jung Eun, Luke Yu, Athena Guo, Cool Off Jordan Coates and Fancy Fang.
    [Show full text]
  • Introduction
    introduction The disembodied voices of bygone songstresses course through the soundscapes of many recent Chinese films that evoke the cultural past. In a mode of retro- spection, these films pay tribute to a figure who, although rarely encountered today, once loomed large in the visual and acoustic spaces of popu lar music and cinema. The audience is invited to remember the familiar voices and tunes that circulated in these erstwhile spaces. For instance, in a film by the Hong Kong director Wong Kar- wai set in the 1960s, In the Mood for Love, a traveling businessman dedicates a song on the radio to his wife on her birthday.1 Along with the wife we listen to “Hua yang de nianhua” (“The Blooming Years”), crooned by Zhou Xuan, one of China’s most beloved singers of pop music. The song was originally featured in a Hong Kong production of 1947, All- Consuming Love, which cast Zhou in the role of a self- sacrificing songstress.2 Set in Shang- hai during the years of the Japa nese occupation, the story of All- Consuming Love centers on the plight of Zhou’s character, who is forced to obtain a job as a nightclub singer to support herself and her enfeebled mother-in- law after her husband leaves home to join the resis tance. “The Blooming Years” refers to these recent politi cal events in a tone of wistful regret, expressing the home- sickness of the exile who yearns for the best years of her life: “Suddenly this orphan island is overshadowed by miseries and sorrows, miseries and sorrows; ah, my lovely country, when can I run into your arms again?”3
    [Show full text]
  • Feature Films
    Libraries FEATURE FILMS The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 0.5mm DVD-8746 2012 DVD-4759 10 Things I Hate About You DVD-0812 21 Grams DVD-8358 1000 Eyes of Dr. Mabuse DVD-0048 21 Up South Africa DVD-3691 10th Victim DVD-5591 24 Hour Party People DVD-8359 12 DVD-1200 24 Season 1 (Discs 1-3) DVD-2780 Discs 12 and Holding DVD-5110 25th Hour DVD-2291 12 Angry Men DVD-0850 25th Hour c.2 DVD-2291 c.2 12 Monkeys DVD-8358 25th Hour c.3 DVD-2291 c.3 DVD-3375 27 Dresses DVD-8204 12 Years a Slave DVD-7691 28 Days Later DVD-4333 13 Going on 30 DVD-8704 28 Days Later c.2 DVD-4333 c.2 1776 DVD-0397 28 Days Later c.3 DVD-4333 c.3 1900 DVD-4443 28 Weeks Later c.2 DVD-4805 c.2 1984 (Hurt) DVD-6795 3 Days of the Condor DVD-8360 DVD-4640 3 Women DVD-4850 1984 (O'Brien) DVD-6971 3 Worlds of Gulliver DVD-4239 2 Autumns, 3 Summers DVD-7930 3:10 to Yuma DVD-4340 2 or 3 Things I Know About Her DVD-6091 30 Days of Night DVD-4812 20 Million Miles to Earth DVD-3608 300 DVD-9078 20,000 Leagues Under the Sea DVD-8356 DVD-6064 2001: A Space Odyssey DVD-8357 300: Rise of the Empire DVD-9092 DVD-0260 35 Shots of Rum DVD-4729 2010: The Year We Make Contact DVD-3418 36th Chamber of Shaolin DVD-9181 1/25/2018 39 Steps DVD-0337 About Last Night DVD-0928 39 Steps c.2 DVD-0337 c.2 Abraham (Bible Collection) DVD-0602 4 Films by Virgil Wildrich DVD-8361 Absence of Malice DVD-8243
    [Show full text]
  • FEI Mu 費穆（1906.10.10–1951.1.30）
    FEI Mu 費穆（1906.10.10–1951.1.30） Director, Screenwriter Fei Mu, a native of Jiangsu Province, was born in Shanghai. In 1916, Fei’s family moved to Beijing where he studied at French higher education school. He got acquainted with Zhu Shilin in 1922 and together they started a film magazine Hollywood, alongside young film enthusiasts He Mengfu and Zong Weigeng. In 1924, he took up a job in the accounting office of the Mining Department. In Lincheng In his spare time, he contributed film reviews to Zhu Shilin’s Zhenguang Ying Bao under the pseudonym Jing Lu. From 1927 onwards, he worked in Tianjin. Three years later, he quit and entered the film industry as a translator of English subtitles and synopses in Lo Ming-yau’s North China Amusement Company. In 1931, Fei started out as assistant director to Hou Yao and began to write scripts. A year later, he joined United Photoplay Service Limited as a director after returning from Tianjin to Shanghai. His debut film was Nights of the City (1932), followed by Life (1934) and Sea of the Fragrant Snow (1934), all three starring the legendary Ruan Lingyu. During the war years, he directed the anti-Japanese Bloodshed on Wolf Mountain (1936). In 1938, Fei fled to Hong Kong after Japanese forces overran much of the city of Shanghai. The following year, he returned to Shanghai and made Confucius (1940), the founding production of Ming Hwa Motion Picture Co. When the foreign concessions in Shanghai fell to the Japanese on 8 December 1941, he refused to collaborate with the Japanese and shifted to theatre work, staging plays such as Imperial Concubine Yang, Qiu Haitang and Six Chapters of a Floating Life.
    [Show full text]