Festival Du Cinema Chinois En France 第五届法国中国电影节
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Independent Cinema in the Chinese Film Industry
Independent cinema in the Chinese film industry Tingting Song A thesis submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy Faculty of Creative Industries Queensland University of Technology 2010 Abstract Chinese independent cinema has developed for more than twenty years. Two sorts of independent cinema exist in China. One is underground cinema, which is produced without official approvals and cannot be circulated in China, and the other are the films which are legally produced by small private film companies and circulated in the domestic film market. This sort of ‘within-system’ independent cinema has played a significant role in the development of Chinese cinema in terms of culture, economics and ideology. In contrast to the amount of comment on underground filmmaking in China, the significance of ‘within-system’ independent cinema has been underestimated by most scholars. This thesis is a study of how political management has determined the development of Chinese independent cinema and how Chinese independent cinema has developed during its various historical trajectories. This study takes media economics as the research approach, and its major methods utilise archive analysis and interviews. The thesis begins with a general review of the definition and business of American independent cinema. Then, after a literature review of Chinese independent cinema, it identifies significant gaps in previous studies and reviews issues of traditional definition and suggests a new definition. i After several case studies on the changes in the most famous Chinese directors’ careers, the thesis shows that state studios and private film companies are two essential domestic backers for filmmaking in China. -
Chinese National Cinema
CHINESE NATIONAL CINEMA What does it mean to be ‘Chinese’? This controversial question has sparked off a never-ending process of image-making in Chinese and Chinese-speaking communities throughout the twentieth century. This introduction to Chinese national cinema, written for scholars and students by a leading critic, covers three ‘Chinas’: mainland China, Hong Kong and Taiwan. It traces the formation, negotiation and problematization of the national on the Chinese screen over ninety years. Historical and comparative perspectives bring out the parallel developments in the three Chinas, while critical analysis explores thematic and stylistic changes over time. As well as exploring artistic achievements and ideological debates, Chinese National Cinema also emphasizes industry research and market analysis. The author concludes that despite the rigid censorship systems and the pressures on filmmakers, Chinese national cinema has never succeeded in projecting a single unified picture, but rather portrays many Chinas. Yingjin Zhang is Professor of Chinese, Comparative Literature, and Cultural Studies at the University of California-San Diego. His publications include Screening China (2002) and Routledge’s Encyclopedia of Chinese Film (1998) which he co-authored and edited with Zhiwei Xiao. NATIONAL CINEMAS SERIES Series Editor: Susan Hayward AUSTRALIAN NATIONAL CINEMA Tom O’Regan BRITISH NATIONAL CINEMA Sarah Street CANADIAN NATIONAL CINEMA Chris Gittings CHINESE NATIONAL CINEMA Yingjin Zhang FRENCH NATIONAL CINEMA Susan Hayward GERMAN NATIONAL -
Critical Arts 25(1)
Living for the city1: cinematic imaginary of the cityscape in China’s transnational films Li Zeng Abstract This essay focuses on urban-set transnational films – films that employ transnational or trans-regional capital and creative talents, and are shown to both domestic and international audiences. The films in question are also culturally important for their depiction of contemporary Chinese society and their exploration of social and spatial transformations in the era of globalisation. The three films selected are set in the city of Shanghai: Shanghai story (Peng Xiaolian 2004), The postmodern life of my aunt (Ann Hui 2006), and The longest night in Shanghai (Zhang Yibai 2007). Through a close analysis, the article examines how these films engage with issues related to Shanghai’s urban transformation, such as the relationships between the local and the global, the traditional/communal and the postmodern/monumental spaces, as well as the position of women in the changing cityscape. Keywords: cityscape, gendered space, globalisation, identity, transnational Introduction The cinematic place is not, therefore, limited to the world represented on the screen (a JHRJUDSK\LQ¿OP EXWWKHPHDQLQJVFRQVWUXFWHG WKURXJKWKHH[SHULHQFHRI¿OP DJHRJUDSK\RI¿OP (Hopkins 1994: 50) Li Zeng is affiliated to Cinema Studies, School of Theatre, Illinois State University, the United States. [email protected] ISSN 0256-0046/Online 1992-6049 pp. 102–117 25 (1) 2011 © Critical Arts Projects & Unisa Press DOI: 10.1080/02560046.2011.552214 102 Living for the city: cinematic imaginary of the cityscape in China’s transnational films ,QDQDUWLFOHRQ&KLQHVHSRVWPRGHUQFXOWXUH¿OPVFKRODU6KHOGRQ+/XDUJXHVWKDW µVSDWLDOFRH[WHQVLRQ¶UDWKHUWKDQµWHPSRUDOVXFFHVVLRQ¶LVWKHGH¿QLQJIHDWXUHRIQRQ Western postmodernity (S. -
Gong Li (As Lang Ping)
© 2020 Beijing J.Q. Media Company Limited, We Pictures Limited, Huaxia Film Distribution Co., Ltd., Huanxi Media Group Limited, Beijing Alibaba Pictures Co., Ltd., Lian Ray Pictures, Such a Good Film, Shooting Pictures Ltd., Shanghai Dimension Films Co Ltd., Goodfellas Pictures Ltd., One Cool Film Production Limited, Zhejiang Hengdian Films Co., Ltd., Huoerguosi Jinyi Film Co., Ltd., X-Frequency Pictures Limited. All Rights Reserved. 1 Production Director : Peter Ho-sun Chan (Dearest, American Dreams in China) Producers : Jojo Hui Yuet Chun (Better Days, Soul Mate) Zhang Yibai (Us and Them) Scriptwriter : Zhang Ji (The Island, Dearest) Director of Photography : Zhao Xiaoshi (This Is Not What I Expected) Art Director : Sun Li (Dearest, American Dreams in China) Costume Designer : Dora Ng (Better Days, Us and Them) Editor : Zhang Yibo (Better Days) Starring : Gong Li (Saturday Fiction, Going Home) Huang Bo (The Island, Dearest) Wu Gang (A City Called Macau) Peng Yuchang (An Elephant Sitting Still, Our Shining Days) Bai Lang China Women’s Volleyball Team Production Company : We Pictures Limited Production Budget : US$18 million Languages: Mandarin, English Release date : 25 Sep 2020 (China) © 2020 Beijing J.Q. Media Company Limited, We Pictures Limited, Huaxia Film Distribution Co., Ltd., Huanxi Media Group Limited, Beijing Alibaba Pictures Co., Ltd., Lian Ray Pictures, Such a Good Film, Shooting Pictures Ltd., Shanghai Dimension Films Co Ltd., Goodfellas Pictures Ltd., One Cool Film Production Limited, Zhejiang Hengdian Films Co., Ltd., Huoerguosi Jinyi Film Co., Ltd., X-Frequency Pictures Limited. All Rights Reserved. 2 Synopsis With glorious days from 5 consecutive championships in the 1980s, the women's national volleyball team of China had transcended the conventional definition of sports in the hearts of Chinese people. -
Afm Product Guide 2003
3DD ENTERTAINMENT 3DD Entertainment, 190 Camden High Street, London, UK NW1 8QP. Tel: 011.44.207.428.1800. Fax: 011 44 207 428 1818. e-mail: [email protected]. Website: www.3dd-entertainment.co.uk Company Type: Distributor At AFM: Dominic Saville (CEO), Charlotte Parton (Director of Sales), James Anderson (Sales Executive), Acquisition Executive: Dominic Saville (CEO) Office: Suite # 334, Tel: 310.458.6700, Mobile: 44 (0)7961 318 665 Film THE ICEMAN COMETH DRAMA Language: ENGLISH Director: JOHN FRANKENHEIMER Producer: ELY LANDAU Co-Production Partners: Cast:LEE MARVIN, JEFF BRIDGES, FREDERIC MARCH Delivery Status: COMPLETED Year of Production: 1973 Country of Origin: USA/UK Budget: NOT AVAILABLE Based on acclaimed playwright Eugene O'Neill's brilliant stage drama, the patrons of The Last Chance Saloon gather for an evening to contemplate their lost faith and dreams. Film A DELICATE BALANCE DRAMA Language: ENGLISH Director: TONY RICHARDSON Producer: ELY LANDAU Co-Production Partners: Cast: KATHARINE HEPBRUN, LEE REMICK, PAUL SCOFIELD Delivery Status: COMPLETED Year of Production: 1973 Country of Origin: USA Budget: NOT AVAILABLE Based on a play by Edward Albee, a dysfunctional couple discovers that they have more than they can handle when a family gathering turns chaotic. Film BUTLEY DRAMA Language: ENGLISH Director: HAROLD PINTER Producer: ELY LANDAU, OTTO PLASCHKES Co-Production Partners: Cast: ALAN BATES, JESSICA TANDY, MICHAEL BYRNE Delivery Status: COMPLETED Year of Production: 1973 Country of Origin: UK Budget: NOT AVAILABLE A self-loathing and misanthropic teacher's life takes a tragic turn when his lover betrays him and his ex-wife remarries, in the screen adaptation of Simon Gray's play. -
Dossier Dirección General Del Libro, Bibliotecas Por Diego De Angelis Y Promoción De La Lectura El Precio De Una Consagración
Cine para lectores Ciclo de cine chino EL VUELO DEL DRAGÓN Dossier Dirección General del Libro, Bibliotecas Por Diego de Angelis y Promoción de la Lectura El precio de una consagración Piano de acero (2010), de Zhang Meng Ya no es noticia que la República Popular berá proporcionarle un piano para que pue- China se encamina a transformarse en la da desarrollar su talento, pero no tiene di- primera potencia mundial. Es casi un he- nero y su única alternativa es fabricarlo. Es cho que desplazará de ese lugar a Esta- en ese momento cuando convoca a sus an- dos Unidos. Pero como toda expansión, su tiguos compañeros de trabajo y cuando jun- despliegue no se reduce a lo estrictamente tos recuperan por un instante la esperanza. económico, sino que alcanza a cubrir todos Piano de acero es una comedia diver- aquellos espacios que detentan la capaci- tida y por momentos genial –una mezcla dad de consolidar su avance. En ese sentido, bizarra entre Loach y Kusturica-. Una pe- el cine representa una oportunidad indiscu- lícula que presenta el devenir grotesco tible por la proyección significante que pue- de un hombre que resiste las penurias de de llegar a conquistar. En los últimos años, un contexto desgraciado. Sobresale por el crecimiento de la industria cinematográ- su fotografía y por la extravagancia de su fica china ha sido extraordinario. En cuanto música. Pero principalmente porque reve- a producción y consumo, su posición en el la el trasfondo de un ascenso imparable. mercado internacional se encuentra cer- ca de superar –también ahí- la hegemonía *** norteamericana. -
Women and Music in Contemporary Chinese Film
Hearing Their Stories Through Polyphonic Soundtracks: Women and Music in Contemporary Chinese Film Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Zhichun Lin, B.A., M.A. Graduate Program in Music The Ohio State University 2013 Dissertation Committee: Professor Arved Ashby, Advisor Professor Danielle Fosler-Lussier Professor Kirk Denton Professor Alexander Leibman Copyright by Zhichun Lin 2013 Abstract My dissertation examines the relationship between women and music in contemporary Chinese film—the early post-Mao melodrama and the Fourth, Fifth, and Sixth Generation film since the 1980s. Through separate interrogations of 1) the relationship between women’s voices and music, 2) the relationship between pre-existing music—a special and idiosyncratic musical application in film—and women’s presentations and representations, and 3) the relationship between popular music and women in urban life, I argue that music in Chinese film provides a complex historical-cultural perspective on the experiences of women, portraying both individual emotion and broad social change. Music also offers a unique channel for interpreting and understanding women, one that both uses and surpasses such old images as the silenced victim, the invisible figure, and the fantasized “other.” When women’s voices and emotions are restrained either by the old patriarchal social system or by an ideological authority, as in early post-Mao, Fourth, and Fifth Generation films, the music conveys content that is otherwise suppressed and understanding the musical signifiers gives us access to it. The use in Chinese film of pre- existing music, such as opera and folk music, both draws on and subverts already-defined stereotypes and offers a means to convey aspects of character in a diverse and compelling way. -
Investigating Narrative Cinema with Female Protagonists Directed
Being Feminist as a Discourse? Investigating Narrative Cinema with Female Protagonists Directed by Chinese Post-Fifth-Generation Filmmakers Yin Huang A thesis submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy in Cultural Studies The University of Canterbury 2012 Abstract Since the naming of the Chinese Fifth Generation in the 1980s, generational study became an important methodology in Chinese film studies. The Chinese directors up to the mid-1980s are categorised into five generations. However, the directors emerging after the Fifth Generation do not so far have a certain generational name. Thus, the identification of this “nameless” group, which is called the post-fifth generation in this thesis, is an interesting issue reflecting the political, economical and cultural discourse in contemporary China. This thesis focuses on these directors’ films narrated with female protagonists, probes the reason why they chose female-centred narratives, and examines how they portrayed women and women’s stories in their filmic representation. In the light of Foucault’s theories of discourse and power, I examine the films as a kind of representation which is generated within discursive formation, and through which the directors identify themselves. The conclusion reached by the discussion is that both the female and the male directors studied in this thesis present very feminine discourse in their films. While the female directors are emphasising, even advertising their identity as women, their male counterparts are trying very hard to simulate and perform a feminine identification. This finding exactly answers the question in the thesis title. Since femininity is something that can be chosen, simulated, used, and played, the word “feminist” can also become a cultural brand from which the directors can benefit. -
Spectatorship : a Study of Haptic Relations Between Independent Cinema and Market-Led Urbanization in Contemporary China
Representations - practice - spectatorship : a study of haptic relations between independent cinema and market-led urbanization in contemporary China Tibrand, Andreas 2008 Link to publication Citation for published version (APA): Tibrand, A. (2008). Representations - practice - spectatorship : a study of haptic relations between independent cinema and market-led urbanization in contemporary China. (Working papers in contemporary Asian studies; No. 23). Centre for East and South-East Asian Studies, Lund University. http://www.ace.lu.se/images/Syd_och_sydostasienstudier/working_papers/Tibrand_Andreas.pdf Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 Download date: 28. Sep. 2021 Representations - Practice - Spectatorship A Study of Haptic Relations between Independent Cinema and Market- led Urbanization in contemporary China.