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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”. -
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. -
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. -
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Advances in Social Science, Education and Humanities Research, volume 378 6th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2019) A Review of the Research on Film Directors in the 70 Years of New China Rui Hao School of Theater, Film and Television Communication University of China Beijing, China 100024 Abstract—Since the founding of the People's Republic of political correctness, resulting in the lack of good results in China 70 years ago, the research on film directors and the this period. Therefore, the short-lived contends in this setting pulse of the times and the development of the film industry are even more precious, especially the articles about the have developed together, not only the number of research "Director Centered System" and "Necessity of the Art perspectives increased, but also the horizons has been broaden. Character of Film" produced after the "Shefan Temple This article goes by the following four research categories: Conference". In addition, the opinions of director creations historical research, theoretical research, director education, and film creations by the national leaders and film managers and director criticism, summarize and comment on the have had a particularly significant impact during this period. literature results of film director research in the past 70 years. The second stage is the Wave Film Period from 1978 to Keywords—film director research; history; theory; education; 2003. The reform and opening up brought about the national criticism economic start, cultural liberation, absorption, collision and avoidance. It also led to the shock of the film system, the I. INTRODUCTION market has experienced ups and downs, and the works are unconstrained and all-inclusive, which is quite controversial. -
Not So Silent: Women in Cinema Before Sound Stockholm Studies in Film History 1
ACTA UNIVERSITATIS STOCKHOLMIENSIS Not so Silent: Women in Cinema before Sound Stockholm Studies in Film History 1 Not so Silent Women in Cinema before Sound Edited by Sofia Bull and Astrid Söderbergh Widding ©Sofia Bull, Astrid Söderbergh Widding and Acta Universitatis Stockholmiensis, Stockholm 2010 Cover page design by Bart van der Gaag. Original photograph of Alice Terry. ISBN 978-91-86071-40-0 Printed in Sweden by US-AB, Stockholm 2010. Distributor eddy.se ab, Visby, Sweden. Acknowledgements Producing a proceedings volume is always a collective enterprise. First and foremost, we wish to thank all the contributors to the fifth Women and the Silent Screen conference in Stockholm 2008, who have taken the trouble to turn their papers into articles and submitted them to review for this proceed- ings volume. Margareta Fathli, secretary of the Acta Universitatis Stockholmiensis, de- serves a particular mention for her engagement in establishing the new series Stockholm Studies in Film History; an ideal framework for this publication. A particular thanks goes to Lawrence Webb, who has copy–edited the book with a seemingly never–ending patience. We also owe many thanks to Bart van der Gaag for making the cover as well as for invaluable assistance in the production process. Finally, we are most grateful to the Holger and Thyra Lauritzen Foundation for a generous grant, as well as to the Department of Cinema Studies which has also contributed generously to funding this volume. Stockholm 30 April 2010 Sofia Bull & Astrid Söderbergh Widding 5 Contributors Marcela de Souza Amaral is Professor at UFF (Universidade Federal Fluminense––UFF) in Brazil since 2006. -
Woman Demon Human-Ren Gui Qing
© ALL RIGHTS RESERVED GOE S S A Y S ® | 1 Woman Demon Human: & A Soul Haunted By Painting A Critique of Gender, Culture and an Exploration of the Female Consciousness Chapter 1: Introduction Ren Gui Qing, or Woman Demon Human (1987), directed by Huang Shuqin, is the first "feminist film" in China and is also a broader part of Chinese “women’s cinema” (Berry, 1989, 22). Woman Demon Human (1987) provides Shuqin with the opportunity to challenge traditional gender roles, demonstrate the malleable notions of gender identity, rather than assume it as biologically determined and stable (Cui, 2003) while exploring female subjectivity by telling the real-life story of a female opera performer, Pei Yanling. Huang Shuqin's film never really puts history in the centre of the film, the Cultural Revolution is barely even addressed, but Women, Demon, Human does represent a critique of traditional ideologies of the male and female roles in society while demonstrating these ideologies have on the real lives of women. Considering the critical nature of the movie, it is somewhat surprising that the film has not received more significant attention by Western scholars, appearing only in the analysis of Wang's (2011) Chinese Women's Cinema: Transnational Contexts and Cui's (2003) early work on Chinese women's cinema. A Soul Haunted by Painting (1994), also directed by Huang Shuqin, is a film that can be classified as women's cinema, as it shares the true life story Pan Yuliang who was sold into prostitution as a young girl but ended up becoming a pioneering artist. -
Chenglicv Annual Review 2021
Curriculum Vitae CHENG LI Citizenship: U.S.A. EDUCATION 1992 Ph.D. (Political Science) Princeton University 1989 M.A. (Political Science) Princeton University 1987 M.A. (Asian Studies) University of California, Berkeley 1985 B.A. (English Literature) East China Normal University, Shanghai CURRENT POSITIONS 2014-present Director, John L. Thornton China Center, The Brookings Institution, Washington, D.C. 2007-present Senior Fellow, Foreign Policy Studies, The Brookings Institution, Washington, D.C. WORK EXPERIENCE 2009-2014 Director of Research, John L. Thornton China Center, The Brookings Institution, Washington, D.C. 2003-2009 William R. Kenan Professor of Government, Hamilton College, Clinton NY 2006-2007 Visiting Fellow, John L. Thornton China Center, The Brookings Institution, Washington, D.C. 2005-2006 Nonresident Senior Fellow, The Brookings Institution, Washington, D.C. 2004-2006 Chair, Asian Studies Program, Hamilton College, Clinton, NY 2002-2003 Fellow, Woodrow Wilson International Center for Scholars, Washington, DC 2001-2002 Acting Chair, Department of Government, Hamilton College, Clinton, NY 1999-2003 Professor, Department of Government, Hamilton College, Clinton, NY 1997-1999 Associate Professor, Dept. of Government, Hamilton College, Clinton, NY 1992-1997 Assistant Professor, Dept. of Government, Hamilton College, Clinton, NY 1993-1995 Fellow, Institute of Current World Affairs, Hanover, NH 1991-1992 Instructor, Department of Government, Hamilton College, Clinton, NY BOARD MEMBERSHIPS AND OTHER AFFLIATIONS 2019-present -
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Pu Shunqing Also Known As: 濮舜卿 Lived: 1902 - Unknown Worked as: assistant director, film actress, playwright, screenwriter Worked In: China by S. Louisa Wei In histories of early Chinese cinema, Pu Shunqing is only mentioned in passing as China’s first female scriptwriter for Cupid’s Puppets (1925), a Great Wall Film Company film co-directed by her husband, Hou Yao, and Mei Xuechou. The film is noted as the first Chinese film narrated from a female perspective (Li and Hu 143). Great Wall was founded in Brooklyn, New York, by Chinese students studying in the U.S. and then relocated to Shanghai in 1923. Pu had worked for Great Wall as a scriptwriter and as an actress between 1924 and 1926 before she moved on to Minxin Film Company where she wrote her next three screenplays. Although her contributions are rarely discussed or even known, until the late 1920s, Pu was the only woman to be credited as a scriptwriter both in film prints and publicity ads. Before making films, Pu Shuqing was already a known playwright. While majoring in political economy at Southeast University, Nanjing, Pu pursued her love of stage drama by writing for and performing in the Southeast Drama Society, a club she co-founded with her then-schoolmate, Hou Yao (Law 42; H. Li 23). Pu’s renowned three-act play, “Paradise on Earth,” twists the plot of the Book of Genesis by introducing a female character, “Wisdom,” who encourages Eve first to eat the apple in the Garden of Eden and then to build a paradise on earth. -
Film Curation: Travelling Memories of Way Down West in Film Archives
Film Curation: Travelling Memories of Way Down West in Film Archives Master Thesis Preservation and Presentation of the Moving Image 10 August 2020 Faculty of Humanities Department of Media Studies University of Amsterdam Yitong Liang (Didi) 11105909 [email protected] Supervisor: Mark-Paul Meyer Second Reader: Asli Ozgen-Tuncer Table of Contents Introduction 3 Chapter 1 Curating Way Down West 7 1.1 Selection in Film Archives: from Archivist to Curator 7 1.2 Reassessing Way Down West 9 1.3 Selection and Preservation at Eye Filmmuseum 18 Chapter 2 Collaborative Film Programming 23 2.1 Remediation and Travelling Memory 23 2.2 Collaborative Programming by National Film Archives 26 2.3 Collaborative Programming by the Hong Kong Film Archive 34 Chapter 3 Alternative Strategies 40 3.1 Digital Loaning and Online Programming 40 3.2 Present and Future: Film Archives as the Public Sphere 48 Conclusion 50 Appendix A Figures 52 Appendix B Interview with the Reel to Reel Institute 58 Works Cited 73 2 Introduction In museums and galleries, many of the collections remain invisible to the public. In collaboration with the Kunsthistorisches Museum in Vienna, film director Wes Anderson and set designer Juman Malouf addressed this issue in their 2018 co-curated exhibition. They selected hundreds of never- before-seen artworks from over four million objects at the museum (“Spitzmaus Mummy in a Coffin and Other Treasures”). As first-time curators, the creative duo adopted unconventional strategies, including picking objects based on colour themes and providing limited text panels. The exhibition aimed to encourage the audience to draw connections between objects. -
UC San Diego UC San Diego Electronic Theses and Dissertations
UC San Diego UC San Diego Electronic Theses and Dissertations Title Trans-media strategies of appropriation, narrativization, and visualization : adaptations of literature in a century of Chinese cinema Permalink https://escholarship.org/uc/item/5vd0s09p Author Qin, Liyan Publication Date 2007 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Trans-media Strategies of Appropriation, Narrativization, and Visualization: Adaptations of Literature in a Century of Chinese Cinema A Dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Literature by Liyan Qin Committee in charge Professor Yingjin Zhang, Chair Professor Michael Davidson Professor Jin-kyung Lee Professor Paul Pickowicz Professor Wai-lim Yip 2007 The Dissertation of Liyan Qin is approved, and it is acceptable in quality and form for publication on microfilm: Chair University of California, San Diego 2007 iii TABLE OF CONTENTS Signature Page………………………………………………………………………. …..iii Table of Contents……………………………………………………………………. …..iv Acknowledgements……………………………………………………………………...vii Vita……………………………………………………………………………………...viii Abstract……………………………………………………………………………...........ix Chapter 1 Introduction: The Concept of “Adaptation” and its Vicissitude in China……………………………………………………………………………………...1 Situating my Position in Current Scholarships………………………………….........3 The Intertwining of Chinese Film and Literature…………………………………...16 “Fidelity,” -
Market Information CHINA 2019 About This Guide
Market Information CHINA 2019 About This Guide Brand USA is pleased to present this guide in partnership with the U.S. Commercial Service and the National Travel and Tourism Office (NTTO). It includes snapshots of the economy in China along with information about travel from this region (booking channels, consumer trends, U.S. international inbound visitation data, and key travel motivators and indicators). Cover photo: The Great Wall of China Brand USA ...................................................................................................... 4 Who We Are ................................................................................................................................4 A Message from Christopher L. Thompson .................................................................6 Brand USA Executive & Senior Leadership..................................................................8 Market Facts .................................................................................................. 9 Geography ...................................................................................................................................9 Demographics .......................................................................................................................... 10 Economy ..................................................................................................................................... 10 Vacation Allocation ..................................................................................................................11 -
View / Open Yang Oregon 0171A 11686.Pdf
GRAFTED IDENTITIES: SHREWS AND THE NEW WOMAN NARRATIVE IN CHINA (1910s-1960s) by SHU YANG A DISSERTATION Presented to the Department of East Asian Languages and Literatures and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy September 2016 DISSERTATION APPROVAL PAGE Student: Shu Yang Title: Grafted Identities: Shrews and the New Woman Narrative in China (1910s-1960s) This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of East Asian Languages and Literatures by: Maram Epstein Chairperson Alison Groppe Core Member Roy Chan Core Member Bryna Goodman Institutional Representative and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded September 2016 ii © 2016 Shu Yang This work is licensed under a Creative Commons Arribution-NonCommercial-NoDerivs (United States) License. iii DISSERTATION ABSTRACT Shu Yang Doctor of Philosophy Department of East Asian Languages and Literatures September 2016 Title: Grafted Identities: Shrews and the New Woman Narrative in China (1910s-1960s) My dissertation examines the unacknowledged role of negative female models from traditional literature in constructing the modern woman in China. It draws upon literary and historical sources to examine how modern cultural figures resuscitated and even redeemed qualities associated with traditional shrews in their perceptions and constructions of the new woman across the first half of the twentieth century. By linking the literary trope of the shrew, associated with imperial China, with the twentieth-century figure of the new woman, my work bridges the transition from the late-imperial to the modern era and foregrounds the late-imperial roots of Chinese modernization.