> Recommends
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Memories of Television and Film
While Wu Song does include some acrobatic fighting, the television show that really created a sensation in the mainland was the Hong Kong-produced series Legend of a Fighter (Huo Yuanjia), aired by CCTV in May of 1984 This series caused mainland audiences to become hooked on Hong Kong-style martial arts dramas ever since From today’s perspective we might note the strange phenomenon that although intellectual and academic circles in Hong Kong do not demonstrate a very strong identification with the nation-state, in terms of both mass culture and popular culture the exact opposite is true
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The Impervious Zhen Huan
While many television shows which attempt to reflect reality end up leaving no impressions other than the faces of the actors who star in them, Empresses in the Palace gives a much more realistic feeling, As the show’s popularity and lively discussion around it has demonstrated, this is precisely because of these four factors, which are collectively constructed by contemporary Chinese people’s specific views of reality
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Maintaining Purity in the Midst of Filth
The problem is that not even the producers themselves believe that such purity can be attained in today’s China In The Seal of Love (Qiu zhi baihua),[14] for instance, the director needed to get Dou Xiao to play Qu Qiubai, as if only this Canadian-raised emigrant could convey a sense of revolutionary purity After reading online blogs written in obsessively geeky, over-the-top, or willfully carefree styles, and looking at all sorts of cold, cruel, and meaningless youthful existences, I am tempted to think this is the case
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Endless Details
Nearly every detail becomes a nerve ending for the capitalist system of production and consumption, just as VANCL products take advantage of the proliferation of VANCL style, which has been etched into everyone’s memories Sooner or later, the excess of “VANCL style” will become “VANCL annoyance,” causing those who were once captivated by it to loose all interest
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The Era of “Bei …”
Given the widespread increase and popularity of “bei ” in recent years, the new words it has been used to create have continued to stack up: “suicide-ized” (bei zisha), “slip-upped” (bei shizu), “patriotic-ified” (bei aiguo), “donation- ified” (bei juanxian), “thankfulled” (bei ganxie), “jubilant-ized” (bei huanxinguwu), “brim-ified-with-confidence” (bei chongmanxinxin), and so on Actually, I get an ominous feeling from this The preponderance of the “bei ” construction, however, is not due solely to the uncontrolled situation described above There are also some deeper, more expansive reasons which are quietly at play
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How the Society of Spectacle Has Taken Shape？
My friends who work in literature and art would probably sneer at my superficial observation: taking all the possible plot twists and throwing them into the same story and the same character is obviously necessary for constructing a model person in a model environment—this allows art to not only spring from life, but surpass it，I don’t understand art, but I worry that if this perfect image were to take root in the hearts of the audience, when they once again turn to look at reality and find it to be not so perfect, they might see it as unreal
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The Film Back to 1942
The narrator commentary tries to reveal the historical reality of public apathy towards the disaster that has been “forgotten,” as well as the fact that the refugees and their plight weighed very little in the political considerations of Chiang Kai-shek at the time However, in spite of this combined structure, the narrator neither highlights the role of the people to eventually “control their fate,” nor does he criticize the reactionary government’s total disregard for the suffering of the victims
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Nanjing’s Fantasy, Lu Chuan’s Flaws
To fall asleep or to be woken with a start in a cinema is perhaps one of our most unpleasant modern experiences While the whole audience is under the impression that City of Life and Death will use themes we are familiar with to offer up an ideological lullaby, director Lu Chuan unexpectedly employs humanist methodologies, as well as his own ideas on human nature
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The Hopeless Bullet: On Let the Bullets Fly
In this sense, Let the Bullets Fly is indeed an important film Its depiction of revolution and the response this depiction has elicited in its audience perfectly captures the basic mood of our era: Despite all manner of oppression and discontent, people still hold back, unwilling to reimagine or understand themselves