Source: Global Times (3/21/19)
Chen Kaige’s new film project ‘Me and My Motherland’ to celebrate PRC’s 70th anniversary
From left: Chinese filmmakers Wen Muye, Xue Xiaolu, Zhang Yibai, Chen Kaige, Huang Jianxin, Guan Hu and Ning Hao pose for a photo at a media event for Me and My Motherland in Beijing on Wednesday. Photo: Liu Zhongyin/GT
“Back in 2008, my mother called me to ask if I was involved in preparations for the Beijing Olympic Games Opening Ceremony. I wasn’t then, but this time I can confidently say that I will be responsible right from start for producing Me and My Motherland,” Chinese director Zhang Yibai said at a press conference in Beijing on Wednesday announcing his new film project.
Zhang, however, will not be alone. He is one of seven directors that will work on the film, an anthology that will tell different stories about ordinary Chinese during major historical moments since the founding of the People’s Republic of China, which will celebrate its 70th anniversary on October 1. Continue reading
Source: China Daily (3/14/19)
Fantasy novel about antiques becomes hit online series
By XU FAN
A poster from the online series The Golden Eyes. [Photo provided to China Daily]
When veteran producer Bai Yicong occasionally “clicked” on a fantasy novel online in 2010, he could scarcely have thought that it would one day become one of his biggest-budget productions.
The work of fiction, titled Huangjin Yan, or The Golden Eyes, follows the adventures of a young pawnshop employee, who possesses the power to be able to see the past and future of every object he sees after his eyes are injured by a group of robbers.
Thus the protagonist becomes a legend in the antique world and an easy winner in gambling on stones, the practice of buying a raw rock and then cutting it open, with the hope of it holding some gems.
The story, penned by online writer Tang Yong, better known by his pseudonym Dayan, has accumulated more than 30 million views since its debut on China’s largest internet literature site Qidian in 2010.
“I was deeply attracted by the novel. It has a lot of riveting depictions about underground adventures, enriching my knowledge about antiques,” says Bai, sitting in his office located in eastern Beijing. Continue reading
Source: SCMP (3/12/19)
How China’s Fifth Generation filmmakers defied censorship and criticism to break new ground
New ways of storytelling and rich political allegories were the innovations that this new breed of maverick directors introduced. Bold in abstraction and symbolism, their films relied on images rather than dialogue for expression
By Richard James Havis
A still from Zhang Yimou’s directorial debut Red Sorghum (1988).
It has been 41 years since China’s Fifth Generation filmmakers started classes at the Beijing Film Academy, and 35 years since The Yellow Earth, directed by Chen Kaige and photographed by Zhang Yimou, changed the face of filmmaking in the country.
The Chinese film industry has modernised so quickly that the innovations this disparate group brought to filmmaking in the country, and the courage they showed in the face of censorship by the state authorities, has been all but forgotten.
A retrospective at this year’s Hong Kong International Film Festival (HKIFF) aims to set the record straight. The five-film retrospective presents classic early works by the Fifth Generation, including The Yellow Earth, Tian Zhuangzhuang’s semi-abstract masterpiece The Horse Thief, and the cheeky satirical comedy The Black Cannon Incident. Continue reading
Source: ChinaFile (3/8/19)
Here’s How the Trade War Is Affecting Hollywood
By Ying Zhu
(China Photos/Getty Images) An audience watches a 3D movie at an IMAX theater in Wuhan, Hubei province, February 8, 2007.
In February 2017, the United States and China began renegotiating the five-year film pact that had limited the annual number of foreign film exports to China to 34 and the share of revenue payable to foreign-rights holders to 25 percent of gross box office. Hollywood wanted an increase in revenue-sharing films, a higher share of box-office receipts, and more access to key viewing windows in China’s ever-expanding film market. In January 2018, Beijing agreed to discuss “policies and practices that may impede the U.S. film industry’s access to China’s market,” and in April Chinese negotiators reportedly offered to raise annual quotas. But then the talks stalled amidst the contentious U.S.-China trade negotiations. And now, the same trade dynamics affecting products as diverse as soybeans and auto parts have hit Hollywood. Continue reading
My monograph, Animated Encounters: Transnational Movements of Chinese Animation 1940s-1970s, is in print now. Thank you all for providing me with the much-needed community support over the past 11 years!
For the table of contents, abstract, and preview, please see https://www.amazon.com/Animated-Encounters-Transnational-Movements-1940s-1970s/dp/0824877640
Hope to see some of you soon at the annual conference of AAS in Denver!
Daisy Yan Du <email@example.com>
Source: The New Yorker (3/6/19)
“An Elephant Sitting Still,” Reviewed: A Young Chinese Filmmaker’s Masterly Portrait of Political and Intimate Despair
By Richard Brody
Hu Bo, the director of “An Elephant Sitting Still,” is as much a documentarian as he is an aesthete. Photograph Courtesy KimStim
“An Elephant Sitting Still,” the 2017 film by the Chinese director Hu Bo that’s being released this Friday, is one of the greatest recent films; its mighty ambition and mighty power are suggested by its unusual length (it runs nearly four hours) and its distinctive, original style and tone. Yet it’s rooted in a familiar kind of story, a tale of the sort that lesser filmmakers could easily dramatize in familiar ways but which Hu expanded into a vision of life.
The movie, set in a grim and decrepit industrial town in northern China, is centered on a conflict among older high-school students, all around seventeen: a boy named Yu Shuai (Zhang Xiaolong) accuses another, Li Kai (Ling Zhenghui), of stealing his cell phone. Li’s best friend, a boy named Wei Bu (Peng Yuchang), comes to his defense. In a resulting hallway fight, Wei accidentally yet nonetheless gravely injures Yu Shuai, whose older brother, Yu Cheng (Zhang Yu), a local minor gangster, plots revenge, and Wei plots his escape. Continue reading
I am probably among a few still around who actually saw Shi Hui’ works. I remember being deeply touched by My Whole Life 我這一輩子 and Joys and Trepidations of Middle Age 哀樂中年 as a child and a teenager. Reading this article prompts me to think there is some similarity between Shi’s fate and that of Lao She–both seemed so eager to fit in with the PRC but both ended with a tragic suicide.
Lily Lee <firstname.lastname@example.org>
Source: SupChina (3/1/19)
The Tragic End Of Shi Hui, Maoist China’s Most Promising Actor-Director
By TRISTAN SHAW
Persecuted and misunderstood, Shi Hui was one of many individuals swept up and destroyed by the Anti-Rightist Movement. Chinese cinema is irrevocably poorer for it.
During the late 1940s and early 1950s, Shi Hui 石挥 was one of the most popular actors in China. Shi’s range was wide, and he portrayed a variety of mostly lower-class characters during his film career, playing a school principal, a tailor, a peasant soldier, a pimp, and even a (white) American capitalist. Whatever his role, Shi always brought depth and humanity to his characters, whether they were heroes or not. His performances in movies like Miserable at Middle Age 哀乐中年 and This Life of Mine 我这一辈子 were brilliant, and today, both movies still top lists of the most-acclaimed Chinese movies. Continue reading
Source: Variety (2/11/19)
Zhang Yimou’s ‘One Second’ Pulled From Berlin Festival Lineup
By PATRICK FRATER and NICK VIVARELLI
Zhang Yimou’s “One Second,” set during China’s 1966-76 Cultural Revolution, has been withdrawn from the Berlin Film Festival, where it was to premiere in competition. A post Monday on the film’s official Weibo social media site announced that the film had been yanked, saying that it was for “technical reasons.” The festival confirmed the information, and explained that the film had not been completed.
The move means that Berlin’s competition section will drop from 17 to 16 films. However, Berlin expects to play another, older, film by Zhang in the same time slot on Friday, albeit out of competition. Sources close to the festival said that Zhang’s 2002 art-house actioner “Hero” will fill the slot. Continue reading
Wandering Earth has received a lot of attention domestically in China and abroad. While most people have talked about its special effects and particularly Chinese cultural elements, few people have talked about what it says about Chinese millennials.–Lee Mack <email@example.com>
Source: White Confucius.com (2/26/19)
Wandering Earth and the Chinese Millennial
There’s a new Chinese movie out – Wandering Earth. Chinese people are pretty excited about it. It made a bajillion RMB during Spring Festival. It’s currently the second-highest rated film on Douban. It’s been written about extensively by Western media, which unanimously crowned it “China’s first sci-fi blockbuster”. It accomplished the rare feat of uniting both Western film critics and Chinese government officials in praise. Intrigued, I went to see it. I did find something very interesting in it, but not what you might expect.
The film’s set-up goes something like this. Sometime in the not-too-distant future, Earth is falling apart. This is due to the sun, which is dying. In fact, things have gotten so bad, humanity has migrated to underground cities. You now need a space suit to go to the surface. A global government has mobilized and built 20,000 rocket thrusters on the surface of the planet, turning Earth in effect into a giant spaceship. The idea is to navigate our way to another solar system, a trip which will take a thousand generations. Unfortunately, around Jupiter, something goes wrong, Earth is sucked into Jupiter’s gravitational pull and it’s going to slam into it in 36 hours. Unless someone saves the day. Cue unlikely-but-ultimately-heroic effort. Continue reading
Source: China Daily (2/19/19)
Zhai’s doctorate revoked after investigation
By Zhang Yangfei | chinadaily.com.cn
Actor Zhai Tianlin. [Photo/IC]
Beijing Film Academy has revoked the doctoral degree of actor Zhai Tianlin after he was found to have committed academic misconduct, the academy announced on Tuesday.
As stated by the academy, the investigation team found in a dissertation Zhai published while pursuing his PhD in the academy, Zhai used the viewpoints of other experts but didn’t give credit, which showed Zhai didn’t act normatively and precisely in his academic work. Zhai’s tutor, Chen Yi, also showed negligence on academic ethics and norms and failed to guide and review the dissertation in a responsible manner, the academy said. Continue reading
Source: Bruce-Humes.com (2/17/19)
Synopsis: “Moŋgoliya,” A Contemporary Novel of Strip Mining, Quests for the Altaic Soul and Social Justice
By Bruce Humes
Moŋgoliya《蒙古里亚》 郭雪波 著
Original novel in Chinese by Guo Xuebo
Synopsis by Bruce Humes
A tale of ruthless ecological exploitation,
a 20th-century European explorer’s fascination with Altaic culture
& epiphany in today’s Inner Mongolia
Guo Xuebo, author of “Moŋgoliya”
This semi-autobiographical novel comprises three parallel narratives that eventually intersect in 21st-century Inner Mongolia: A spiritual journey, in which the author — ostensibly the narrator — seeks his Shamanic roots, long obscured in post-1949, officially atheist China; vignettes from the Xinjiang and Mongolian adventures of Henning Haslund-Christensen, born to a Danish missionary family in 1896, explorer and real-life author of the anthropological masterpiece Men and Gods in Mongolia; and the tribulations of Teelee Yesu, a fictional modern-day Mongolian herdsman, seemingly the village idiot, whose very survival is threatened by the encroaching desert and coal mine truckers running roughshod over his tiny tract of pastureland.
Motifs interwoven throughout the tale include the affinities between the peoples of Europe and the Mongols, despite the sedentary lifestyle of the former and nomadic ways of the latter; the fusion of Shamanism and Buddhism over the centuries; two different quests, the narrator’s for the origins of his soul, and the foreign adventurer’s for the essence of steppe culture; and the exploitation and degradation of the grasslands by political powers over the centuries — first the Manchu, then the Japanese and Han — that is in stark contrast to the Mongolian veneration of Nature as sacred and endowed with sentient spirits. Continue reading
Sorry, there was a problem with the previous posting of this announcement. This one is correct. MCLC and MCLC Resource Center are pleased to announce publication of Li Guo’s review of Animation in China: History, Aesthetics, Media (Routledge 2016), by Sean Macdonald. The review appears below and at its online home: http://u.osu.edu/mclc/book-reviews/li-guo/. My thanks to Jason McGrath, MCLC media studies book review editor, for ushering the review to publication.
Kirk A. Denton, editor
By Sean Macdonald
Reviewed by Li Guo
MCLC Resource Center Publication (Copyright February, 2019)
In the introduction to his ground-breaking monograph Animation in China: History, Aesthetics, Media, Sean Macdonald describes his approach as an examination of “a quasi-official corpus produced during a key period of PRC film and cultural history, from the 1950s to the 1980s” and conducting “a reading of the historically mainstream animation produced at the Shanghai Animation Film Studio (or SAFS)” (2). Prior to Macdonald’s book, Rolf Giesen’s study Chinese Animation, A History and Filmography, 1922-2012 had provided a chronological overview of China’s animation industry and works. Macdonald deepens our understanding of the national narrative of animation in the People’s Republic of China by shifting focus to the specific processes through which China’s state interventions in animation production can be problematized and historicized. To explicate the contexts for the “official, canonical, national history of China’s animation,” Macdonald begins with the story of SAFS, tracing its connections back to film production in the Sino-Japanese War period. The book re-contextualizes the national history of animation within transnational animation history while simultaneously reflecting on animation itself as “a nation-building industry” (2). Continue reading
I can think of a few other Chinese science fiction films not mentioned in the article (not including films from Hong Kong). What am I missing?
Transcendent 《镜像人·明日青春》, d. Zhang Linzi, 2018
The Htrae 《异星》, Will Jung, 2007
Save Love 《拯救愛情》, Lin Xin, 2001
Dislocation 《錯位》, Huang Jianxin, 1987
Shelly Kraicer <firstname.lastname@example.org>
Source: NYT (2/4/19)
China’s Film Industry Finally Joins the Space Race
By Steven Lee Myers
Wu Jing in a scene from “The Wandering Earth.” The actor contributed money to the budget.CreditCreditChina Film Group
BEIJING — China was a latecomer to space exploration, and in the movies, it has been a latecomer to science fiction, too. That is about to change.
The country’s first blockbuster set in space, “The Wandering Earth,” opens Tuesday amid grandiose expectations that it will represent the dawning of a new era in Chinese filmmaking.
It is one in a series of ambitious, big-budget films tackling a genre that, until now, has been beyond the reach of most filmmakers here — technically and financially. Those movies include “Shanghai Fortress,” about an alien attack on Earth, and “Pathfinder,” about a spaceship that crashes on a desert planet. Continue reading