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China's Youth in Transition
Teaching About Asia Through Youth Culture CONFUCIAN AND COOL China’s Youth in Transition By Robert Moore and James Rizor Kicking Bird could be considered Qingdao University’s first hippie, at least if one were to judge him by his appearance. He had shoulder-length hair and made a point of pub- licly protesting the university’s rules on grooming.1 That was 1994, and even though young Chinese who looked like Kicking Bird could be found in Beijing and Shanghai at that time, they were all but non-existent in provincial cities like Qingdao. In fact, given the conservative grooming of most young Chinese at the time, Kicking Bird’s appearance was striking to say the least. His inspiration came from Hollywood. He had seen the Kevin Costner film Dances with Wolves and, hav- ing been mightily impressed with a Sioux Indian character in that film, had dropped his Chinese name in favor of the character’s and let his hair grow to shoulder length. The university officials were aghast at his be- havior and told him that until he conformed to a more conservative appearance, he wouldn’t be allowed back on campus. Kicking Bird was saved by what might be called the parent-child bond of an enduring Con- fucian mindset—his parents stood up for him and forced the university to back down. We can regard young Kicking Bird as emblematic of the inroads that American popular culture began to make in China once the barriers to outside influences were brought down by the post-Mao reforms initiated in 1978. -
Thesis Chinese Movies in 1990S
Surname 1 Student’s Name Professor’s Name Course Date Chinese Movies in 1990s A case of “In the Heat of the Sun” and “Farewell My Concubine” In 1990s, different film masterpieces were created within China and other parts of the world. Increased innovation led to high-quality movies and the most famous and iconic work included “The Titanic.” At the same time, realist movies started dominating in the market, and phase was also marked by an increase of independent filmmakers. Under this atmosphere, movies, as a form of art, stepped into a new realm in terms of form and content (Silbergeld 2008). Many movies that were produced in 1990s had great effect as they deepened the thoughts of human beings, humanity, and social development. The paper will analyze Chinese movies that were produced in 1990s and use “In the Heat of the Sun” and “Farewell My Concubine” as my examples. In the 70s of last century, the Culture Revolution began in China and it resulted to low development of Chinese economy, culture, and industry, especially in the aspects of civilization and education. Different educators and artists were killed, and students began to undertake various activities in the countryside. China was civilized country with five thousand years history, but during this movement, it faced culture discontinuity which generated people’s fanatic ideas that drown everything. After damaging history relics, the deteriorating Chinese history and culture as well as the humiliated cultural workers were the main themes during the Culture Revolution that had been lasting for ten years (Silbergeld 2008). In the late 1970s, the Culture x-essays.com Surname 2 Revolution finally ended and the Chinese started to rectify the wrong thoughts and behaviors, and it was followed by Chinese reform and opening-up policy. -
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. -
Social Sustainability and Redevelopment of Urban Villages in China: a Case Study of Guangzhou
sustainability Case Report Social Sustainability and Redevelopment of Urban Villages in China: A Case Study of Guangzhou Fan Wu 1, Ling-Hin Li 2,* ID and Sue Yurim Han 2 1 Department of Construction Management, School of Civil Engineering and Transportation, South China University of Technology, Guangzhou 510630, China; [email protected] 2 Department of Real Estate and Construction, Faculty of Architecture, The University of Hong Kong, Hong Kong, China; [email protected] * Correspondence: [email protected]; Tel.: +852-2859-2128 Received: 21 May 2018; Accepted: 19 June 2018; Published: 21 June 2018 Abstract: Rapid economic development in China has generated substantial demand for urban land for development, resulting in an unprecedented urbanization process. The expansion of urbanized cities has started to engulf rural areas, making the urban–rural boundary less and less conspicuous in China. Urban encroachment has led to a rapid shrinkage of the rural territory as the rural–urban migration has increased due to better job opportunities and living standards in the urban cities. Urban villages, governed by a rural property rights mechanism, have started to emerge sporadically within urbanised areas. Various approaches, such as state-led, developer-led, or collective-led approaches, to redevelop these urban villages have been adopted with varying degrees of success. This paper uses a case-study framework to analyse the state–market interplay in two very different urban village redevelopment cases in Guangzhou. By an in-depth comparative analysis of the two regeneration cases in Guangzhou, which started within close proximity in terms of geographical location and timing, we are able to shed light on how completely different outcomes may result from different forms of state–market interplay. -
Journal of Asian Studies Contemporary Chinese Cinema Special Edition
the iafor journal of asian studies Contemporary Chinese Cinema Special Edition Volume 2 – Issue 1 – Spring 2016 Editor: Seiko Yasumoto ISSN: 2187-6037 The IAFOR Journal of Asian Studies Volume 2 – Issue – I IAFOR Publications Executive Editor: Joseph Haldane The International Academic Forum The IAFOR Journal of Asian Studies Editor: Seiko Yasumoto, University of Sydney, Australia Associate Editor: Jason Bainbridge, Swinburne University, Australia Published by The International Academic Forum (IAFOR), Japan Executive Editor: Joseph Haldane Editorial Assistance: Rachel Dyer IAFOR Publications. Sakae 1-16-26-201, Naka-ward, Aichi, Japan 460-0008 Journal of Asian Studies Volume 2 – Issue 1 – Spring 2016 IAFOR Publications © Copyright 2016 ISSN: 2187-6037 Online: joas.iafor.org Cover image: Flickr Creative Commons/Guy Gorek The IAFOR Journal of Asian Studies Volume 2 – Issue I – Spring 2016 Edited by Seiko Yasumoto Table of Contents Notes on contributors 1 Welcome and Introduction 4 From Recording to Ritual: Weimar Villa and 24 City 10 Dr. Jinhee Choi Contested identities: exploring the cultural, historical and 25 political complexities of the ‘three Chinas’ Dr. Qiao Li & Prof. Ros Jennings Sounds, Swords and Forests: An Exploration into the Representations 41 of Music and Martial Arts in Contemporary Kung Fu Films Brent Keogh Sentimentalism in Under the Hawthorn Tree 53 Jing Meng Changes Manifest: Time, Memory, and a Changing Hong Kong 65 Emma Tipson The Taste of Ice Kacang: Xiaoqingxin Film as the Possible 74 Prospect of Taiwan Popular Cinema Panpan Yang Subtitling Chinese Humour: the English Version of A Woman, a 85 Gun and a Noodle Shop (2009) Yilei Yuan The IAFOR Journal of Asian Studies Volume 2 – Issue 1 – Spring 2016 Notes on Contributers Dr. -
The City in Modern Chinese Literature and Film Rutgers University, Spring 2015
The City in Modern Chinese Literature and Film Rutgers University, Spring 2015 Instructor: Professor Weijie SONG (宋伟杰) Telephone number: 848-932-6476 (office) E-mail address: [email protected] Office Hours: Class Hours and Classroom: Course description: This course examines literature and film on modern and contemporary Chinese cities from the early twentieth century to the present. By discussinG urban narrative structures and cinematic imaGinations as evidenced in a dozen of key literary and filmic texts, this class aims to offer a new understandinG of Chinese modernity as marked by its unique urban sensibilities and confiGurations. ReadinGs of marGinal writinG, popular culture, and underGround cinemas are also included in the class. The main issues to be discussed are urban awareness, historical consciousness, individual/collective memories, and nationalist perceptions reGardinG the old and new capital BeijinG, the semi-colonial metropolis ShanGhai and its remnants, the “raped” and traumatized NanjinG, the “abandoned” capital Xi’an, the British Crown Colony HonG KonG, and Taipei under Japanese colonial rule and the subsequent Nationalist Party’s dominance. Requirements and Grading: 1) Attendance, Participation, Sakai posting and Oral presentation (40%): Since this class emphasizes focused discussions of each week’s readings, it is essential that students come to class havinG read all of the assiGned materials carefully and prepared to engage actively in the discussion. Students should bring a copy of each week’s readings. Regular attendance is thus expected. If an absence is unavoidable, the student must consult with the instructor beforehand and make-up work will be assigned. For each week’s readinGs, students will be designated to post a readinG response (approximately 300-400 words) by midniGht three days before each sessions starts. -
EAST353 Approaches to Chinese-Language Cinema Autumn 2020 Friday 1:35-5:25Pm Remote Delivery Tentative Syllabus
EAST353 Approaches to Chinese-language Cinema Autumn 2020 Friday 1:35-5:25pm Remote Delivery Tentative Syllabus Instructor: Prof. Xinyu Dong ([email protected]) Office Hours: TBA Course Description and Objectives This course examines the history of Chinese-language cinema from the 1920s to the 2000s. The course material is organized both chronologically and thematically, moving from early popular and political films in the Republican era, to local productions in mainland China, Hong Kong and Taiwan in the Cold War era, to New Wave and genre films from the 1980s onward. The course familiarizes the students with major critical paradigms for the study of Chinese-language cinema and trains the student to develop skills in theoretical and formal film analyses. All film subtitles and readings in English. Course Delivery Guide The class will meet through live Zoom sessions at the scheduled class time. There will be a combination of lectures (with PowerPoint slide show), discussions, and group activities. The lecture component will be recorded. Professor will hold Zoom office hours each week. Students will be able use the discussion boards to post responses and questions and to communicate with each other. Course Materials All readings will be available on MyCourses. Students will receive information on viewing option (s) for the required films listed as screenings. Course Requirements 1. Discussion Board Posts 30% 2. Open-book Quizzes 30% 3. Take-home Exam 40% NOTE: (1) McGill University values academic integrity. Therefore, all students must understand the meaning and consequences of cheating, plagiarism and other academic offences under the Code of Student Conduct and Disciplinary Procedures (see www.mcgill.ca/students/srr/honest/ for more information). -
New Development Strategies of Guangzhou, China
This is a pre-published version City Repositioning and Competitiveness Building in Regional Development: New Development Strategies of Guangzhou, China Jiang XU and Anthony G.O. YEH Centre of Urban Planning and Environmental Management The University of Hong Kong Pokfulam Road, Hong Kong SAR [email protected] and [email protected] Submitted to International Journal of Urban and Regional Research First Submitted on 22 July 2003 Revised and Re-submitted on 10 August 2004 Final revised submitted on February 2005 City Repositioning and Competitiveness Building in Regional Development: New Development Strategies of Guangzhou, China Jiang XU and Anthony G.O. YEH* Abstract Competition among cities for mobile capital in the 21st century has intensified. Urban hierarchy of a region is undergoing transformation, where economic fortunes vary markedly among different localities. In China, these global forces and regional restructures have caused a relative economic decline of some historically powerful cities, and have also brought about the emergence of new economic centres. In response to these forces, many Chinese cities have been driven into adopting a series of new competitive strategies, which seek to win back and build up their leading positions and competitiveness. To translate these strategies into concrete actions, local governments have promoted high profile and face-lifting projects and investments. The extensive new urban development in Guangzhou is a particularly interesting case. As the provincial capital of the Guangdong Province, and a historically central city in the Pearl River Delta Region, Guangzhou’s importance has recently declined. This paper attempts to reveal the general strategies and specific projects initiated by Guangzhou as important promotion devices in its revitalization program, and to examine the rationales behind them. -
Cinematic Reconstruction of Historical Trauma in Twenty-First Century China
Does Time Heal?: Cinematic Reconstruction of Historical Trauma in Twenty-first Century China By Shiya Zhang B.A., Jilin University, 2004 A Thesis Submitted in Partial Fulfillment of the Requirement for the Degree of MASTER OF ARTS in the Department of Pacific and Asian Studies ©Shiya Zhang, 2018 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee Does Time Heal?: Cinematic Reconstruction of Historical Trauma in Twenty-first Century China By Shiya Zhang Bachelor of Arts., Jilin University, 2004 Supervisory Committee Dr. Richard King, Supervisor (Department of Pacific and Asian Studies) Dr. Katsuhiko Endo, Departmental Member (Department of Pacific and Asian Studies) iii Supervisory Committee Dr. Richard King, Supervisor (Department of Pacific and Asian Studies) Dr. Katsuhiko Endo, Departmental Member (Department of Pacific and Asian Studies) Abstract While the whole world is talking about China’s rise in wealth and power, most focus has been placed on understanding China’s present policies and future orientations. However, very little attention is devoted to examining how historical consciousness affects present China. People take for granted that the past—particularly the landmark traumas of the communist decades— is a far-reaching historical discontinuity, and that China’s profound changes in every aspect of society have rendered the past increasingly irrelevant. However, this thesis argues that this assumption is wrong. This thesis explores the ways that Chinese filmmakers rearticulate the historical traumas which continue to affect Chinese society in the post-WTO era. -
Liu, Xiao. "From the Glaring Sun to Flying Bullets: Aesthetics And
Liu, Xiao. "From the Glaring Sun to Flying Bullets: Aesthetics and Memory in the ‘Post-’ Era Chinese Cinema." China’s iGeneration: Cinema and Moving Image Culture for the Twenty-First Century. Ed. Matthew D. Johnson, Keith B. Wagner, Tianqi Yu and Luke Vulpiani. New York: Bloomsbury Academic, 2014. 321–336. Bloomsbury Collections. Web. 28 Sep. 2021. <http:// dx.doi.org/10.5040/9781501300103.ch-017>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 28 September 2021, 13:31 UTC. Copyright © Matthew D. Johnson, Keith B. Wagner, Tianqi Yu, Luke Vulpiani and Contributors 2014. 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. 17 From the Glaring Sun to Flying Bullets: Aesthetics and Memory in the ‘Post-’ Era Chinese Cinema Xiao Liu How do we remember the past in a post-medium era in which our memories of a previous era are increasingly reliant upon, and thus continually revised by, the ubiquitous presence of media networks? Writing about the weakening historicity under late capitalism, Fredric Jameson sharply points out that the past has been reduced to ‘a multitudinous photographic simulacrum,’ ‘a set of dusty spectacles.’1 Following Guy Debord’s critique of the spectacle as ‘the final form of commodity reification’ in a society ‘where exchange value has been generalized to the point at which the very memory of use value is effaced,’ Jameson reveals the ways in which the past appropriated by what he calls ‘nostalgia films’ is ‘now refracted through the iron law of fashion change and the emergent ideology of the generation’ for omnivorous consumption that is an outcome of neoliberalism and its cultural motor – post- modernism. -
The Historical Trajectory of Individual Life in Three Films Adapted from Wang Shuo’S Novels
From Youth to Midlife: The Historical Trajectory of Individual Life in Three Films Adapted from Wang Shuo’s Novels By Shuyao Zhou A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of East Asian Studies University of Alberta ©Shuyao Zhou, 2019 ABSTRACT This thesis takes three films, Kanshangqu henmei 看上去很美 (Little Red Flowers, d. Zhang Yuan, 2006), Yangguang canlan de rizi 阳光灿烂的日子 (In the Heat of the Sun, d. Jiang Wen, 1994), and Yuanjia fuzi 冤家父子 (Papa, d. Wang Shuo, 1991), all adapted from Wang Shuo’s works of fiction, as cases in which to explore the cinematic representation of individuals’ lives. It deals with three different life stages: childhood, teenage years, and midlife, analyzing some complicated connections between the individual’s daily life and Maoist/Post-Maoist historical discourse. Although much effort by scholars has been put into examining In the Heat of the Sun in isolation, barely any attention has been devoted to the films Little Red Flowers and Papa, and there is no discussion among scholars of these three films in conjunction with one another. This thesis contains a chapter each on Little Red Flowers, In the Heat of the Sun, and Papa, revisiting the particular status of the individual’s life trajectory under different historical circumstances from the 1960s to the 1990s in China, and arguing that there are resonances among these three films. Chapter One gives special attention to the disciplining of young children’s bodies in kindergarten during the 1960s and how the filmmaker in Little Red Flowers disdains the attempt to utilize children’s body for propagandistic display. -
Sent-Down Body‖ Remembers: Contemporary Chinese Immigrant Women‘S Visual and Literary Narratives
The ―Sent-Down Body‖ Remembers: Contemporary Chinese Immigrant Women‘s Visual and Literary Narratives Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Dong Li Isbister, M.A. Graduate Program in Women‘s Studies. The Ohio State University 2009 Dissertation Committee: Linda Mizejewski, Advisor Sally Kitch, Co-advisor Rebecca Wanzo Judy Wu Copyright by Dong Li Isbister 2009 Abstract In this dissertation, I use contemporary Chinese immigrant women‘s visual and literary narratives to examine gender, race, ethnicity, migration, immigration, and sexual experiences in various power discourses from a transnational perspective. In particular, I focus on the relationship between body memories and history, culture, migration and immigration portrayed in these works. I develop and define ―the sent-down body,‖ a term that describes educated Chinese urban youths (also called sent-down youths in many studies) working in the countryside during the Chinese Great Proletarian Cultural Revolution (1966-1976). The ―sent-down body‖ in this context and in my analysis is the politicized and sexualized migrant body. The term also describes previous sent-down youths‘ immigration experiences in the United States, because many of them became immigrants in the post-Cultural Revolution era and are usually described as ―overseas sent-down youths‖ (yangchadui). Therefore, the ―sent-down body‖ is also the immigrant body, and it is racialized. Moreover, the ―sent-down body‖ is gendered, but I study the female ―sent-down body‖ and its represented experiences in specific political, historical, cultural, and sexual contexts. By using ―the sent-down body‖ as an organizing concept in my dissertation, I introduce a new category of analysis in studies of Chinese immigrants‘ history and culture.