DOCSLIB.ORG

Deserved Oscar Winner Or Rip-Off ? Love Saga the fi Lm That Has Won Martin Scorsese the Top Award Is a Re-Make of a 2002 Bags Hong Kong Crime Thriller

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Deserved Oscar Winner Or Rip-Off ? Love Saga the fi Lm That Has Won Martin Scorsese the Top Award Is a Re-Make of a 2002 Bags Hong Kong Crime Thriller 18 LIFE CHINA DAILY TUESDAY FEBRUARY 27, 2007 Chinese Deserved Oscar winner or rip-off ? love saga The fi lm that has won Martin Scorsese the top award is a re-make of a 2002 bags Hong Kong crime thriller. Does that take away some of the shine, or does it mean Raymond Zhou Golden another pat on the back for the original, wonders Bear hinese film fans a resounding encouragement to are overjoyed that a the original. Tuya’s Marriage, an revered filmmaker To add a dramatic twist, the unconventional Chi- has finally won an announcer for the Oscar show nese love story about a Academy Award, misidentified Infernal Affairs herdswoman and her two Cbut they are ambivalent as “a Japanese fi lm”, creating husbands, has won the whether the fi lm that got him an immediate backlash online. Golden Bear prize for best the accolade deserves an honor Fortunately, Martin Scorsese picture at the 57th Berlin by itself. set it right when he took the Film Festival. Martin Scorsese has always podium and said something Yu Nan plays the lead been held in high regard by nice about it and “Asian fi lms” role in Tuya’s Marriage, cinephiles in China, who in general. which looks at the impact watched in dismay as he was In other China-related news, of China’s boom on centu- snubbed time and again by the ancient China lost to ancient ries of tradition. Oscar voters. The Departed, the France in the sartorial duel as Directed by Wang fi lm that brought him into the Best Costume Design went to Quan’an, the fi lm paints exclusive club of Oscar winners Marie Antoinette instead of The a touching portrait of a on Sunday night, true to form, Curse of the Golden Flower. But female Mongolian herder is not a regular movie. It is a Best Documentary Short Sub- who attempts to resist remake of a 2002 Hong Kong ject was given to The Blood of the economic pressures crime thriller that was celebrat- Yingzhou District, a stunningly to move from the barren ed as an instant classic and re- shot, sensitive portrait of the epi- plains of her homeland ceived universal acclaim in the demic through the life of an AIDS in northern China to the Chinese-speaking world. orphan in Anhui Province. city. However, Infernal Affairs, a The Oscar show was not The only professional modern-day Hong Kong noir televised live on the Chinese actor in the fi lm is Yu with a cosmopolitan feel and mainland. CCTV-6, the movie Nan. The other parts were sophisticated sensibility, raked channel, aired an abridged played by real herdsmen in only $169,659 in box offi ce version in the evening slot after and women. receipts when it debuted in the primetime. Many eager viewers The film tells the United States. The Departed, on turned to websites for updates, story of Tuya and her the other hand, got more than and some discovered a secret disabled husband, $131million. As a result, many overseas site that streamed the Bater, who decide to Chinese movie fans concluded event live online. divorce after she falls the American remake had The predominant favorite ill so that she can go in unjustifiably overshadowed among Chinese viewers was search of a new hus- the original even before the Babel, the polyglot multithread band capable of looking latter’s Oscar glory. drama with globalization as after the whole family. It is very hard for them not The Departed producer Graham King (left), actor Leonardo DiCaprio (center) and writer Felix Chong pose at the 79th Annual Acad- its theme. It has been selling She is persuaded to to make comparisons. And that emy Awards Governors Ball in Hollywood. The movie won the Oscar for Best Film. Chong is also one of the two script writers for briskly on DVD stands and is move from her pastures has led many of them to believe the original Infernal Affairs. Reuters expected to hit movie theat- in the Inner Mongolia Au- that the remake is not as good ers soon. Otherwise, with the tonomous Region to the as the original. Chen Daming, Sohu.com survey, about a third several factors: The original is But there are critics here who can undertones. The same absence of a major Chinese city but subsequently is director of One Foot Off the of the respondents expressed embraced so wholeheartedly point out the Scorsese remake survey also found that slightly participant in the Oscar race, forced to decide whether Ground, said “The Departed is displeasure at the American that any difference in treat- stands on its own as a piece of more respondents are happy the Chinese press has been to choose love over the genuinely not a good movie.” He version getting credit for some- ment would automatically be engrossing filmmaking. It is that the movie they love has discussing why Zhang Yimou’s survival of her own hastened to add that he is a fan thing they feel is borrowed. judged with suspicion; on the so different in style from the found a new incarnation. Di- Curse was shut out during the family. of Scorsese, but loves his early The misgivings these people other hand, the remake follows original as to make comparison rector Zhang Yuan echoed these nomination process, and study- Wang said that the work only. have about Scorsese’s version of the original’s plot so closely that meaningless. It is a totally new sentiment when he said that the ing tea leaves about Oscar’s film was an attempt Chen is not alone. In a the gangster drama derive from some feel it’s a rip-off. fi lm infused with rich Ameri- Oscar nod to the remake is also “new trends”. to explore the massive environmental, cultural and social effects of China’s rapid economic growth on ordinary AIDS victim’s tale earns Academy nod people in Inner Mon- golia, where the way of By Chen Nan ious Grand Jury Prize at the makers not only talked to the I kind of knew they slowed life has remained the 2006 Silverdocs Documentary orphaned children but also the fi lm down. Tom would fl y same for centuries. Festival in Washington DC un- got to quiz offi cials about the in and we’d have screaming “I think that it is Gao Jun is an orphan. He der its belt and has so far been extent of the scourge. matches over cutting the fi lm important, particularly is 2 or 3 years old (no one screened at 13 fi lm festivals Yang and Lennon are found- down.” in this time when the knows for sure) and is also an across the world. ers of the China AIDS Media The fi lm shows the chil- economy is booming, to outcast. “It’s a very quietly stunning Project, an ambitious new dren’s fi erce determination ponder and reflect on With both his parents fi lm,” said Nina Gilden Seavey, effort to bring disease preven- to survive. In one scene, the what we’re losing,” he dead from AIDS and him- director of Silverdocs’ Docs Rx tion to a country that only children resolve to become said. “Once the culture self HIV-positive, Guo is offerings. “You look for movies in recent years has acknowl- educated as a way to one day and tradition are lost, shunned by everyone in his that tell a deep story that is edged its AIDS epidemic. In better their tormentors. “I hate we’ll never be able to remote village of East Chi- unexpected. This one does.” 2004, they wrote and edited being looked down upon,” get them back.” na’s Anhui Province. Even The fi lmmakers tell their the fi rst major AIDS preven- says one boy. “One day I will Tuya’s Marriage beat his relatives dare not go tale through the children tion campaign to air on the surpass them all.” 21 other competition near him, fearing they can turned pariahs in four vil- Chinese mainland television. Gao Jun, the boy at the entries to the prize, catch the deadly virus. lages in Anhui. “The villagers What Yang saw broke her heart of the film, is now on including Robert de Gao is the central character knew Gao Jun was sick but he heart, especially when she medication and his health Niro’s much-hailed in The Blood of Yingzhou Dis- was neglected and ignored. entered the home where the has improved significantly, Hollywood CIA drama trict, a documentary by Hong He lived like an animal,” Yang children lived alone. “There according to Yang. He has The Good Shepherd, Kong-born fi lmmaker Ruby said. Gao’s parents, like many was this smell of death,” she also been moved to the starring Matt Damon Yang and award-winning other farmers, fell victim to said. “We had to fi nd that home of an elderly couple and Angelina Jolie, and producer Thomas Lennon, AIDS after donating their balance where you don’t who have lost their two sons Steven Soderbergh’s about an epidemic that has so blood to earn a bit of money. overwhelm the audience or and one daughter-in-law to The Good German star- far orphaned 75,000 children With the help of the local drive them away, yet at the AIDS, and they are believed ring George Clooney throughout China. charity head Zhang Ying, same time keep the power of to be taking good care of and Cate Blanchett, a Just 39 minutes long, the Yang gained the trust of the the narrative.
Load more

Recommended publications
  • Uva-DARE (Digital Academic Repository)
    UvA-DARE (Digital Academic Repository) Red Sonic Trajectories - Popular Music and Youth in China de Kloet, J. Publication date 2001 Link to publication Citation for published version (APA): de Kloet, J. (2001). Red Sonic Trajectories - Popular Music and Youth in China. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:08 Oct 2021 L4Trif iÏLK m BEGINNINGS 0 ne warm summer night in 1991, I was sitting in my apartment on the 11th floor of a gray, rather depressive building on the outskirts of Amsterdam, when a documentary on Chinese rock music came on the TV. I was struck by the provocative poses of Cui Jian, who blindfolded himself with a red scarf - stunned by the images of the crowds attending his performance, images that were juxtaposed with accounts of the student protests of June 1989; and puzzled, as I, a rather distant observer, always imagined China to be a totalitarian regime with little room for dissident voices.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles the How and Why of Urban Preservation: Protecting Historic Neighborhoods in China a Disser
    UNIVERSITY OF CALIFORNIA Los Angeles The How and Why of Urban Preservation: Protecting Historic Neighborhoods in China A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Urban Planning by Jonathan Stanhope Bell 2014 © Copyright by Jonathan Stanhope Bell 2014 ABSTRACT OF THE DISSERTATION The How and Why of Preservation: Protecting Historic Neighborhoods in China by Jonathan Stanhope Bell Doctor of Philosophy in Urban Planning University of California, Los Angeles, 2014 Professor Anastasia Loukaitou-Sideris, Chair China’s urban landscape has changed rapidly since political and economic reforms were first adopted at the end of the 1970s. Redevelopment of historic city centers that characterized this change has been rampant and resulted in the loss of significant historic resources. Despite these losses, substantial historic neighborhoods survive and even thrive with some degree of integrity. This dissertation identifies the multiple social, political, and economic factors that contribute to the protection and preservation of these neighborhoods by examining neighborhoods in the cities of Beijing and Pingyao as case studies. One focus of the study is capturing the perspective of residential communities on the value of their neighborhoods and their capacity and willingness to become involved in preservation decision-making. The findings indicate the presence of a complex interplay of public and private interests overlaid by changing policy and economic limitations that are creating new opportunities for public involvement. Although the Pingyao case study represents a largely intact historic city that is also a World Heritage Site, the local ii focus on tourism has disenfranchised residents in order to focus on the perceived needs of tourists.
    [Show full text]
  • Ruby's New Precious
    Film Edited by Arthur Tam [email protected] xxxx xxxx have voices that might not be heard, before and they have to study so – they’re very street smart – and sensitive topic, which can be stopped and about the changes in people’s many different types of braille for that’s what I found very charming. I at any time. lives. I think if you look at it, the different subjects. And in just one liked that a lot. themes are very similar. If you look afternoon, this one girl has to use all So now that you’re based in at the children being affected by these different tools to get through Was it strange that there are Hong Kong does that mean you’ll AIDS or the farmer who studies one class. It’s extremely difficult. some disabled students mixed pursue more issues dealing with environmental law to save his with non-disabled students? One Hong Kong? village, you see a common thread How many months did you have group is dealing with tangible Yes. There are many issues I’d emerging – the human spirit. This to spend filming? disabilities while the other like to explore, like ageing. And is what you can see in this film as The whole thing took over 90 days. one is not. then another one might be about Tattered and unwanted well. It is the challenge of the human And the post-production took a I think that it is good because, I media coverage in Hong Kong or But they’ll get through spirit, and it’s about humanity.
    [Show full text]
  • Asian American International Film Festival 2015 Presents a Stellar Group of Chinese and Chinese American Films
    FOR IMMEDIATE RELEASE Media contact: Kevin Lee Asian CineVision [email protected] . Asian American International Film Festival 2015 presents a stellar group of Chinese and Chinese American Films NEW YORK, June 23, 2015 – Chinese and Chinese American films have always been well represented at AAIFF and this year Asian CineVision presents a robust crop of films from popular Chinese filmmakers. Drawing on stories about growth and self-discovery to moral challenges and patriotism, this year’s slate of films is fueled by passionate directors who are driven by the energy and conviction of their characters. Highlighted by our Opening Night Presentation of Ruby Yang’s MY VOICE, MY LIFE, the 2015 program features Zhang Wei’s FACTORY BOSS, Daniel Lee’s DRAGON BLADE and Andrew Lau’s REVENGE OF THE GREEN DRAGONS among others. AAIFF 2015 will also showcase six Chinese short films included in our Made in NY, Arthouse, and LGBT programs. FEATURE FILMS MY VOICE MY LIFE AAIFF 2015 raises the opening night curtains with Oscar-winning documentary filmmaker Ruby Yang’s feature film MY VOICE, MY LIFE. Following a group of under-privileged Hong Kong youngsters, MY VOICE, MY LIFE is the life affirming journey of self-discovery and growth as this group of misfits undergoes six-months of rigorous training to produce a musical on stage. FACTORY BOSS Directed by Zhang Wei, is a compelling look into the heart of China's manufacturing culture. Based on Wei’s personal experiences in Shenzhen, FACTORY BOSS follows the global economic effect of the rising demand for cheap Chinese labor and the social issues surrounding its labor force.
    [Show full text]
  • 1 Demolition and Reconstruction in Chinese Urban Cinema in The
    Demolition and Reconstruction in Chinese Urban Cinema in the 1990s Francesca Kaufman University of Edinburgh In the closing decade of the Twentieth Century China experienced a boom in urban construction. From the post-Mao period of the late 1970s economic reforms became increasingly important within centralised planning. Focused initially on transforming the productive capacity of the countryside, in the early 1980s attention shifted to revitalising China’s urban areas with the aim of promoting business growth and attracting foreign investment. What followed was an unprecedented wave of large-scale urbanisation sweeping through the cities of China to rebuild them as global centres1. Changes occurred in the architectural landscape and associated social dynamics of the urban environment on a rapid scale. Vernacular housing compounds (for example the hutongs in Beijing) which had stood for centuries were cleared and rebuilt as skyscrapers, shopping centres and motorway ring roads. Communities were forcibly relocated to multiple locations to make way for hotels and business centres funded by overseas investment. In response to Deng Xiaoping’s declaration in 1992 1 Zhang Zhen considers that the intensity of the urban upheavals caused by the new economic policies can only be compared to the modernisation of the treaty ports in the first years of the Twentieth Century: Zhang Zhen, ‘Bearing Witness: Chinese urban cinema in the era of “transformation” (Zhuanxing)’, in Zhang Zhen (ed.) The Urban Generation: Chinese cinema and society at the turn of the Twenty-First Century (Durham NC, 2007), p. 2. 1 that “socialism can also practise market economy”, a complete overhaul of China’s infrastructure took place, best exemplified by the ubiquitous presence of bulldozers and construction sites.
    [Show full text]
  • A Moment in Time -- Press Release
    A Moment in Time -- Press Release A Moment in Time, a new film by Oscar-winner Ruby Yang, is a one-hour documentary about the experience of the Chinese in America through the films they loved. It harkens back to a time when six movie theaters in San Francisco’s Chinatown crystallized the memories, the beliefs, the sorrows and aspirations of Chinese immigrant families. The principal speakers in A Moment in Time grew up here: Irene Dea Collier, Jimmie Lee, Chuck Gee, Cecilia Wong, Amy Chung, Norman Fong. As children they associated Chinese movies (and the Chinese language) with their parents’ alien, backward world. Chinese mothers loved Cantonese Opera films in which tyrannical parents wrench young lovers apart. For them, movies were a rare break in an endless workweek. Chinese movies also translated national disasters – World War II, for example – into personal dramas of separation and loss. For Chinese immigrants they were true to life, unlike the sunny family shows on American TV. The immigrants’ American kids eventually found their own reasons to appreciate Chinese film. Partly in self defense -- because they were seen as Chinese -- the children developed a pride in Chinese things. The heartbeat of A Moment in Time is a series of clips from films that were hits in Chinatown. Hollywood Westerns were always popular. Wong Fei Hung, a Robin Hood character from Hong Kong, defended the weak with a smile and a bullwhip. Films from revolutionary mainland China sparked battles in Chinatown between long-haired youths and a conservative older generation. 1950s bobbysoxer films from Hong Kong proved that Chinese girls can be cool.
    [Show full text]
  • The Curious Case of Chinese Film Censorship: an Analysis of The
    THE CURIOUS CASE OF CHINESE FILM CENSORSHIP: AN ANALYSIS OF THE FILM ADMINISTRATION REGULATIONS by SHUO XU A THESIS Presented to the School of Journalism and Communication and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts December 2017 THESIS APPROVAL PAGE Student: Shuo Xu Title: The Curious Case of Chinese Film Censorship: An Analysis of Film Administration Regulations This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the School of Journalism and Communication by: Gabriela Martínez Chairperson Chris Chávez Member Daniel Steinhart Member and Sara D. Hodges Interim Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2017 ii © 2017 Shuo Xu iii THESIS ABSTRACT Shuo Xu Master of Arts School of Journalism and Communication December 2017 Title: The Curious Case of Chinese Film Censorship: An Analysis of Film Administration Regulations The commercialization and global transformation of the Chinese film industry demonstrates that this industry has been experiencing drastic changes within the new social and economic environment of China in which film has become a commodity generating high revenues. However, the Chinese government still exerts control over the industry which is perceived as an ideological tool. They believe that the films display and contain beliefs and values of certain social groups as well as external constraints of politics, economy, culture, and ideology. This study will look at how such films are banned by the Chinese film censorship system through analyzing their essential cinematic elements, including narrative, filming, editing, sound, color, and sponsor and publisher.
    [Show full text]
  • The Flâneur in Shanghai: Moviegoing and Spectatorship in the Late Qing and Early Republican Era
    1 The Flâneur in Shanghai: Moviegoing and Spectatorship in the Late Qing and Early Republican Era SUGAWARA Yoshino 上海の遊歩者 ― 清末民初の映画鑑賞について 菅 原 慶 乃 本稿は、上海における映画受容を、都市と娯楽文化の近代化の総体的文脈の中に位置 づけたうえで、（1）遊歩や観劇文化の近代化の文脈における映画受容と、（2）知的な文 明、あるいは近代教育の工具としての映画受容の二つについて明らかにするものである。 上海において、映画は観劇文化を代表とする伝統的娯楽文化と強い親和性を持ち、伝統 的娯楽文化の近代化の過程においてその文脈の内に包摂されていった。数々の日記資料 が明らかにするところによれば、映画鑑賞とは近代的娯楽の中核を成す遊歩という行為を 構成する諸々の遊興行為の一要素であった。映画は遊歩に従属する行為であり、遊歩の 過程で人々が目にする様々な都市の風景の一断片であった。遊歩に依拠した映画鑑賞態 度は、1910年代には遊楽場という遊興施設を誕生させ、1920年代には国産映画の美学へ 強い影響を及ぼすこととなった。他方、映画は娯楽文化とは全く異なる文脈においても受 容された。西洋式の学校や公共施設、宗教団体の会所などで上映される映画や幻灯は、 西洋（あるいは近代）がもたらす「啓蒙的」で「知的」なメディアとしても受容されていた。 このような空間における映画上映は、「健全」なものとして市井の商業上映とは全く異な るヘテロトピア―映画の教育的ミリュー―を創造した。1920年代の国産映画が社会教化 を強く志向したのは、このような映画受容に直接のルーツを求めることができるのである。 2 Preface The development of digital technology and archival efforts to preserve and publish early movies through various media and opportunities has dramatically improved the ac- cessibility of those unseen movies. Although many movies are to be repaired and re- searched yet, many early works are no longer antiques stored in the darkness of film ar- chives, unseen for decades. Yet, some important questions about movie exhibition and spectatorship in the initial movie years remain unanswered or unexamined; they encapsu- late the attitude of movie spectators, the social and cultural milieus of the movie exhibition venues, and the recognition and acceptance of movies as a new media by the early audi- ence. Among the early studies on movie spectatorship and audiences, Miriam Hansen’s Babel and Babylon should be marked as one of the most unique and insightful due to its methodology, which utilizes both aesthetic and historical methods in analyzing early spec- tatorship in the United States. One of Hansen’s achievements in this work is her theoriza- tion of the different stages of early film spectatorship, based on her analysis of a profound number of early movies.
    [Show full text]
  • MY VOICE, MY LIFE Directed by Ruby Yang
    Presented by: In association with: MY VOICE, MY LIFE Directed by Ruby Yang PRESS PACKET Running Time: 91 minutes Language: Cantonese with English subtitles Rating: IIA (Hong Kong) Theatrical Release: October 16, 2014 (Hong Kong) For More Info: www.myvoicemylifemovie.com www.facebook.com/mvmlmovie www.youtube.com/mvmlhk Contact: [email protected] MY VOICE, MY LIFE Synopsis Short Synopsis “My Voice, My Life,” a Hong Kong documentary directed by Oscar winner Ruby Yang, chronicles the trials and tribulations of a group of underprivileged middle and high school students as they underwent six months of vigorous training to produce a musical on stage. A life-affirming journey of self-discovery and growth, the stories of these young people will challenge every parent, teacher and policy maker to reflect on our way of nurturing the young. The film is presented by the L plus H Creations Foundation, in association with the Lee Hysan Foundation. 250-Word Synopsis Oscar-winning documentary filmmaker Ruby Yang’s newest film,My “ Voice, My Life” follows an unlikely group of misfit students from four Hong Kong middle and high schools cast in a musical theater performance. From low self-esteem to blindness, each student confronts unique personal challenges in the process of developing his or her character. Many of the musical theater troupe’s students come from Hong Kong’s underprivileged schools, which admit the territory’s academically underperforming students. Others come from a school for the blind that seeks to teach its students how to perform basic tasks and function in the sighted world. Bad boy Jason regularly cuts class, smokes, and is generally a troublemaker.
    [Show full text]
  • Film and the Chinese Medical Humanities
    5 The fever with no name Genre-blending responses to the HIV-tainted blood scandal in 1990s China Marta Hanson Among the many responses to HIV/AIDS in modern China – medical, political, economic, sociological, national, and international – the cultural responses have been considerably powerful. In the past ten years, artists have written novels, produced documentaries, and even made a major feature-length film in response to the HIV/AIDS epidemic in China.1 One of the best-known critical novelists in China today, Yan Lianke 阎连科 (b. 1958), wrote the novel Dream of Ding Village (丁庄梦, copyright 2005; Hong Kong 2006; English translation 2009) as a scath- ing critique of how the Chinese government both contributed to and poorly han- dled the HIV/AIDS crisis in his native Henan province. He interviewed survivors, physicians, and even blood merchants who experienced first-hand the HIV/AIDS ‘tainted blood’ scandal in rural Henan of the 1990s giving the novel authenticity, depth, and heft. Although Yan chose a child-ghost narrator, the Dream is clearly a realistic novel. After signing a contract with Shanghai Arts Press he promised to donate 50,000 yuan of royalties to Xinzhuang village where he researched the AIDS epidemic in rural Henan, further blurring the fiction-reality line. The Chi- nese government censors responded by banning the Dream in Mainland China (Wang 2014: 151). Even before director Gu Changwei 顾长卫 (b. 1957) began making a feature film based on Yan’s banned book, he and his wife Jiang Wenli 蒋雯丽 (b. 1969) sought to work with ordinary people living with HIV/AIDS as part of the process of making the film.
    [Show full text]
  • June 2019 Home & Relocation Guide Issue
    WOMEN OF CHINA WOMEN June 2019 PRICE: RMB¥10.00 US$10 N 《中国妇女》 Beijing’s essential international family resource resource family international essential Beijing’s 国际标准刊号：ISSN 1000-9388 国内统一刊号：CN 11-1704/C June 2019 June WOMEN OF CHINA English Monthly Editorial Consultant 编辑顾问 Program 项目 《中 国 妇 女》英 文 月 刊 ROBERT MILLER（Canada） ZHANG GUANFANG 张冠芳 罗 伯 特·米 勒（ 加 拿 大） Sponsored and administrated by Layout 设计 All-China Women's Federation Deputy Director of Reporting Department FANG HAIBING 方海兵 中华全国妇女联合会主管/主办 信息采集部（记者部）副主任 Published by LI WENJIE 李文杰 ACWF Internet Information and Legal Adviser 法律顾问 Reporters 记者 Communication Center (Women's Foreign HUANG XIANYONG 黄显勇 ZHANG JIAMIN 张佳敏 Language Publications of China) YE SHAN 叶珊 全国妇联网络信息传播中心（中国妇女外文期刊社） FAN WENJUN 樊文军 International Distribution 国外发行 Publishing Date: June 15, 2019 China International Book Trading Corporation 本 期 出 版 时 间 ：2 0 1 9 年 6 月 1 5 日 中国国际图书贸易总公司 Director of Website Department 网络部主任 ZHU HONG 朱鸿 Deputy Director of Website Department Address 本刊地址 网络部副主任 Advisers 顾问 WOMEN OF CHINA English Monthly PENG PEIYUN 彭 云 CHENG XINA 成熙娜 《中 国 妇 女》英 文 月刊 Former Vice-Chairperson of the NPC Standing 15 Jianguomennei Dajie, Dongcheng District, Committee 全国人大常委会前副委员长 Director of New Media Department Beijing 100730, China GU XIULIAN 顾秀莲 新媒体部主任 中国北京东城区建国门内大街15号 Former Vice-Chairperson of the NPC Standing HUANG JUAN 黄娟 邮编：100730 Committee 全国人大常委会前副委员长 Deputy Director of New Media Department Tel电话/Fax传真：(86)10-85112105 新媒体部副主任 E-mail 电子邮箱：[email protected] Director General 主 任·社 长 ZHANG YUAN 张媛 Website 网址 http://www.womenofchina.cn ZHANG HUI 张慧 Director of Marketing Department Printing 印刷 Deputy Director General & Deputy Editor-in-Chief 战略推广部主任 Toppan Leefung Changcheng Printing (Beijing) Co., 副 主 任·副 总 编 辑·副 社 长 CHEN XIAO 陈潇 Ltd.
    [Show full text]
  • Filmkrantindex 0-166
    Inhoud/Toelichting 1 INDEX NR 0 T/M 166 T/M 0 INDEX NR Deze index op de nummers 0 tot en met 166 van de Filmkrant is ingedeeld in de hieronder vermelde categorieën. Elke categorie is gealfabetiseerd: op trefwoord, op titel of op naam. De alfabetisering volgt het 'computer-systeem', d.w.z. dat begonnen wordt met leestekens ('Crocodile' Dundee), vervolgens cijfers (06) en daarna letters (A demain). Artikelen .............................................................................. 2 Filmrecensies ................................................................... 20 U vindt hier artikelen en series (b.v. Flashback) die buiten In deze categorie vindt u uitsluitend echte recensies met alle andere categorieën vallen. Géén filmbesprekingen of credits. de inhoud van de rubrieken 'Nieuws' of 'Geruchten- machine'. Films op video ................................................................ 37 Sinds kort de rubriek waar films worden besproken die Boekrecensies ................................................................... 8 wel op video maar niet in de bioscoop worden uitge- Hier vindt u echte boekrecensies, niet de rubrieken van bracht. U vindt hier geen credits, alleen de uitbreng- Jan Hilkemeijer en Anita Snoek. datum en de distributeur. Columns ............................................................................... 10 Interviews .......................................................................... 39 Persoonlijke notities van Jan Beijsterbos, Jan Heijs, Ian U treft hier, naast interviews met filmmakers over hun Kerkhof,
    [Show full text]