Chinese Scifi Enters Pivotal New Phase
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
9780367508234 Text.Pdf
Development of the Global Film Industry The global film industry has witnessed significant transformations in the past few years. Regions outside the USA have begun to prosper while non-traditional produc- tion companies such as Netflix have assumed a larger market share and online movies adapted from literature have continued to gain in popularity. How have these trends shaped the global film industry? This book answers this question by analyzing an increasingly globalized business through a global lens. Development of the Global Film Industry examines the recent history and current state of the business in all parts of the world. While many existing studies focus on the internal workings of the industry, such as production, distribution and screening, this study takes a “big picture” view, encompassing the transnational integration of the cultural and entertainment industry as a whole, and pays more attention to the coordinated develop- ment of the film industry in the light of influence from literature, television, animation, games and other sectors. This volume is a critical reference for students, scholars and the public to help them understand the major trends facing the global film industry in today’s world. Qiao Li is Associate Professor at Taylor’s University, Selangor, Malaysia, and Visiting Professor at the Université Paris 1 Panthéon- Sorbonne. He has a PhD in Film Studies from the University of Gloucestershire, UK, with expertise in Chinese- language cinema. He is a PhD supervisor, a film festival jury member, and an enthusiast of digital filmmaking with award- winning short films. He is the editor ofMigration and Memory: Arts and Cinemas of the Chinese Diaspora (Maison des Sciences et de l’Homme du Pacifique, 2019). -
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved. -
Electric Shadows PK
ELECTRIC SHADOWS A Film by Xiao Jiang 95 Minutes, Color, 2004 35mm, 1:1.85, Dolby SR In Mandarin w/English Subtitles FIRST RUN FEATURES The Film Center Building 630 Ninth Ave. #1213 New York, NY 10036 (212) 243-0600 Fax (212) 989-7649 Website: www.firstrunfeatures.com Email: [email protected] ELECTRIC SHADOWS A film by Xiao Jiang Short Synopsis: From one of China's newest voices in cinema and new wave of young female directors comes this charming and heartwarming tale of a small town cinema and the lifelong influence it had on a young boy and young girl who grew up with the big screen in that small town...and years later meet by chance under unusual circumstances in Beijing. Long Synopsis: Beijing, present. Mao Dabing (‘Great Soldier’ Mao) has a job delivering bottled water but lives for his nights at the movies. One sunny evening after work he’s racing to the movie theatre on his bike when he crashes into a pile of bricks in an alleyway. As he’s picking himself up, a young woman who saw the incident picks up a brick and hits him on the head... He awakens in the hospital with his head bandaged. The police tell him that he’s lost his job, and that his ex-boss expects him to pay for the wrecked bicycle. By chance he sees the young woman who hit him and angrily remonstrates with her. But she seems not to hear him, and hands him her apartment keys and a note asking him to feed her fish. -
Download Press
VENICE FILM FESTIVAL - IN COMPETITION The World BY JIA ZHANG-KE China - 2004 - 138mins - 35mm - Color - 2:35 - Dolby Digital INTERNATIONAL PRESS CELLULOID DREAMS Richard Lormand the directors label In Venice 2 Rue Turgot, 75009 Paris, FRANCE T: + 39 347 651 0945 T: + 33 1 4970 0370 T: + 39 347 256 4143 F: + 33 1 4970 0371 [email protected] / www.filmpressplus.com [email protected] / www.celluloid-dreams.com Synopsis Tao is living out her dreams at World Park where visitors can see famous international monuments without ever leaving the Beijing suburbs. The pretty young dancer and her friends perform daily in lavish theme park shows among replicas of the Taj Mahal, the Eiffel Tower, St Mark's Square, Big Ben and the Pyramids. Tao and her boyfriend, security guard Taisheng, moved to the big city from the northern provinces a few years ago. Now their relationship has reached a crossroads. Taisheng becomes attracted to Qun, a fashion designer he meets on a trip back home. Tao's fellow dancers are on sentimental journeys of their own. Xiaowei questions her future with irresponsible boyfriend Niu. Meanwhile, Youyou uses romance to the advantage of her professional ambitions. Not everyone who comes to Beijing with high hopes can land a job where SMS games are accepted parts of daily life. Many, like manual laborer Erxiao, experience a much harsher reality. But, despite the fun and magic, even theme park microcosms are vulnerable to change. For Tao and those around her, there will be marriage and break-up, loyalty and infidelity, joy and tragedy. -
A Reconsideration of Still Life Dai Jinhua Translated by Lennet Daigle
Temporality, Nature Morte, and the Filmmaker: A Reconsideration of Still Life Dai Jinhua Translated by Lennet Daigle In the world of contemporary Chinese cinema, Jia Zhangke is, in many respects, an exception to the rule: he is a director whose films almost without fail depict the lower classes or, the majority of society; a director who has continually, from the start, been dedicated to making art films; a director who has fulfilled his social responsibilities as an artist while developing an original mode of artistic expression; a director who has made the transition from independent underground films to commercial mainstream films without losing his vitality, and without suffering exclusion from western film festivals; a director famous for his autobiographical narratives who has finally “grown up”, and who has successfully drawn on his experiences to explore broader social issues. As long as China’s fifth generation filmmakers continue to make commercial compromises, and the sixth generation remains stuck – have grown but not matured in terms of style and modes of expression – Jia Zhangke will remain an exception, or even “one of a kind.” Actually, after the period in which Chen Kaige’s Yellow Earth and Zhang Yimou’s films had become synonymous with the moniker “Chinese cinema” and after Zhang Yuan’s nomination of “underground cinema” to refer to what Europeans think of as “Chinese cinema” – both post-Cold War but still Cold War-style designations, the release of Platform and the inverted portrait of Mao on the film poster unexpectedly heralded the arrival of the “Jia Zhangke era” of Chinese cinema in the new millenium’s international film world, as represented primarily by European film festivals and American film studies classes. -
3.4.2 Sentiment Analysis
Information School INF6000 Dissertation COVER SHEET (TURNITIN) Registration Number 160128947 Family Name Zhao First Name Pan Use of unfair means. It is the student's responsibility to ensure no aspect of their work is plagiarised or the result of other unfair means. The University’s and Information School’s advice on unfair means can be found in your Student Handbook, available via http://www.sheffield.ac.uk/is/current Assessment Word Count _____10893_____________. If your dissertation has a word count that is outside the range 10,000 – 15,000 words or if you do not state the word count then a deduction of 3 marks will be applied Late submission. A dissertation submitted after 10am on the stated submission date will result in a deduction of 5% of the mark awarded for each working day after the submission date/time up to a maximum of 5 working days, where ‘working day’ includes Monday to Friday (excluding public holidays) and runs from 10am to 10am. A dissertation submitted after the maximum period will receive zero marks. Ethics documentation should be included in the Appendix if your dissertation has been judged to be Low Risk or High Risk. R (Please tick the box if you have included the documentation) A deduction of 3 marks will be applied for a dissertation if the required ethics documentation is not included in the appendix; and the same deduction will be applied if your research data has not been available for inspection when required. The deduction procedures are detailed in the INF6000 Module Outline and Dissertation Handbook. -
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 -
China, Hollywood and Split Screens
CHINA, HOLLYWOOD AND SPLIT SCREENS Qian Ying 钱颖 HE FILM MARKET in China is imported films from cinemas from Tflourishing. Whereas in 2002, time to time to create breathing space Chinese cinemas sold US$133 million for new domestic features. In June worth of tickets, total box office reve- 2014, Transformers opening date was nues in 2013 amounted to US$3.6 bil- pushed to exactly one day after that of lion. In 2014, China’s box office had the Chinese-produced romantic com- reached US$1.6 billion by 21 May, just edy Break-up Guru 分手大师, and the 141 days into the year. Both imported head of the State Film Bureau, Zhang and Chinese films were doing well. Hongsen 张宏森, ordered cinema own- Among the twenty-four films that had ers not to pull domestic features in made over US$16 million, half were favour of the more lucrative imported categorised as ‘domestic’ films, gener- blockbusters. Despite such policies, ating a total revenue of US$670 million. China has already surpassed Japan to The other half were foreign, mainly become Hollywood’s largest interna- Hollywood films, earning US$630 mil- tional market. lion. Protectionist policies might have There are hopes for further contributed to the box office success of growth: among the Hollywood stars domestic films: the government only who made publicity trips to China in allows thirty-four foreign films to be 2014 were Brad Pitt, Angelina Jolie and imported annually, and the authori- Johnny Depp. Increasingly, Hollywood ties have reportedly pulled successful films feature China-friendly plots and 188 vious Australian film and more than 189 three times as much as Happy Feet 2. -
A World Without Thieves: Film Magic and Utopian Fantasies
A World without Thieves: Film Magic and Utopian Fantasies Rujie Wang, College of Wooster Should we get serious about A World without Thieves (tian xia wu zei), with two highly skilled pickpockets, Wang Bo (played by Liu Dehua) and Wang Li (Liu Ruoying), risking their lives to protect both the innocence and the hard-earned money of an orphan and idiot who does not believe there are thieves in the world? The answer is yes, not because this film is a success in the popular entertainment industry but in spite of it. To Feng Xiaogang’s credit, the film allows the viewer to feel the pulse of contemporary Chinese cultural life and to express a deep anxiety about modernization. In other words, this production by Feng Xiaogang to ring in the year of the roster merits our critical attention because of its function as art to compensate for the harsh reality of a capitalist market economy driven by money, profit, greed, and individual entrepreneurial spirit, things of little value in the old ethical and religious traditions. The title is almost sinisterly ironic, considering the national problem of corruption and crime that often threatens to derail economic reform in China, although it may ring true for those optimists clinging tenaciously to the old moral ideals, from Confucians to communists, who have always cherished the utopia of a world without thieves. Even during the communist revolutions that redistributed wealth and property by violence and coercion, that utopian fantasy was never out of favor or discouraged; during the Cultural Revolution, people invented and bought whole-heartedly into the myth of Lei Feng (directed by Dong Yaoqi, 1963), a selfless PLA soldier and a paragon of socialist virtues, who wears socks with holes but manages to donate all his savings to the flood victims in a people’s commune. -
Berkeley Art Museum·Pacific Film Archive W Inte R 2 0 18 – 19
WINTER 2018–19 BERKELEY ART MUSEUM · PACIFIC FILM ARCHIVE UNIVERSITY OF CALIFORNIA PROGRAM GUIDE 100 YEARS OF COLLECTING JAPANESE ART ARTHUR JAFA MASAKO MIKI HANS HOFMANN FRITZ LANG & GERMAN EXPRESSIONISM INGMAR BERGMAN JIŘÍ TRNKA MIA HANSEN-LØVE JIA ZHANGKE JAMES IVORY JAPANESE FILM CLASSICS DOCUMENTARY VOICES OUT OF THE VAULT IN FOCUS: WRITING FOR CINEMA 1 / 2 / 3 / 4 CALENDAR DEC 9/SUN 21/FRI JAN 2:00 A Midsummer Night’s Dream 4:00 The Price of Everything P. 15 Introduction by Jan Pinkava 7:00 Fanny and Alexander BERGMAN P. 15 1/SAT TRNKA P. 12 3/THU 7:00 Full: Home Again—Tapestry 1:00 Making a Performance 1:15 Exhibition Highlights Tour P. 6 4:30 The Cabinet of Dr. Caligari P. 5 WORKSHOP P. 6 Reimagined Judith Rosenberg on piano 4–7 Five Tables of the Sea P. 4 5:30 The Good Soldier Švejk TRNKA P. 12 LANG & EXPRESSIONISM P. 16 22/SAT Free First Thursday: Galleries Free All Day 7:30 Persona BERGMAN P. 14 7:00 The Price of Everything P. 15 6:00 The Firemen’s Ball P. 29 5/SAT 2/SUN 12/WED 8:00 The Apartment P. 19 6:00 Future Landscapes WORKSHOP P. 6 12:30 Scenes from a 6:00 Arthur Jafa & Stephen Best 23/SUN Marriage BERGMAN P. 14 CONVERSATION P. 6 9/WED 2:00 Boom for Real: The Late Teenage 2:00 Guided Tour: Old Masters P. 6 7:00 Ugetsu JAPANESE CLASSICS P. 20 Years of Jean-Michel Basquiat P. 15 12:15 Exhibition Highlights Tour P. -
1 Chinese Cinema Survey: 1980–Present Film S142 / Eall
CHINESE CINEMA SURVEY: 1980–PRESENT FILM S142 / EALL S258 Meeting Times: T,Th 1-2:50pm; Session B (July 12-August 13) Instructor: Xueli Wang Email: [email protected] Office Hours: by appointment Course Description: The past four decades have been extraordinarily fruitful for Chinese-language filmmaking. This course will survey key figures, movements, and trends in Sinophone cinema since 1980. Sessions will be structured around eleven films, each an entry point into a broader topic, such as the Fifth and Sixth Generation directors; the Hong Kong New Wave; New Taiwan Cinema; martial arts film; commercial blockbuster; and independent documentary. We will examine these films formally, through shot-by-shot analysis, as well as in relation to major social, political, and economic developments in recent Chinese history, such as the Cultural Revolution; Deng Xiaoping's economic reforms; the Hong Kong handover; the construction of the Three Gorges Dam; and the demolition and displacement of local communities. We will also consider pertinent questions of propaganda and censorship; aesthetics and politics; history and memory; transnational networks and audiences; and what constitutes "Chineseness" in a globalized world. Online Access: ● Seminars and in-class presentations will take place over Zoom. Our Zoom sessions will simulate a live classroom experience with everyone’s audio and video enabled. ● All assigned films will be available to watch remotely, either on Canvas or a streaming site. During some Zoom sessions, we will watch clips together alternating with discussion. ● All required readings and PowerPoint slides and film clips will be available on Canvas. ● Office hours will take place over Zoom, after class and by appointment. -
Wu Ren Qu No Man’S Land
WETTBEWERB WU REN QU NO MAN’S LAND Ning Hao „Das ist eine Geschichte über Tiere“, kündigt der Held des Films an, der Volksrepublik China 2013 aus der Großstadt stammende Rechtsanwalt Pan Xiao. Tatsächlich rü- 117 Min. · DCP · Farbe cken als nächstes zwei stolze Falken ins Bild, die in der Xinjiang-Wüs- te illegal gefangen wurden. Sie sollen eine Menge Bares einbringen, Regie Ning Hao Recht und Gesetz spielen dabei keine Rolle. So wird die Gier nach Geld Buch Ning Hao, Shu Ping, Xing Aina Kamera Du Jie zum Treibmittel für die Story. Und Pan Xiao, der für seinen nächsten Schnitt Cheung Yuan Prozess rund 500 Kilometer durch das felsenreiche Niemandsland der Musik Nathan Wong Wüste reisen muss, zum getriebenen Protagonisten: gepeinigt von Injo Film Foto: Sound Design Wang Gang ebenso grotesken wie hochgefährlichen Zufallsbekanntschaften und Ton Wang Yanwei Geboren 1977 in der Provinz Shanxi, mysteriösen Wegbegleitern, die vor Gewalt nicht zurückschrecken. Re- Production Design Hao Yi China. Studierte zunächst Ausstattung an gisseur Ning Hao, der 2005 im Forum der Berlinale MONGOLIAN PING Art Director Hao Yi der Shanxi Taiyuan Film School, später an PONG zeigte, präsentiert mit NO MAN’S LAND eine bildgewaltige phi- Kostüm Liu Qian der Kunstakademie der Beijing Normal losophische Parabel auf eine aus allen Fugen geratene Gesellschaft, Maske Yang Hong University. 2003 schloss er mit dem Kurzfilm Regieassistenz Kuerbanjiang THURSDAY, WEDNESDAY sein Studium an der in der im Kampf um Reichtum und Macht keine moralischen Skrupel mehr gelten. Inszeniert als Hommage an die Italowestern eines Sergio Casting Lian Zhang Filmakademie Peking im Fach Kamera ab.