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follow up report on Chinese speaking corp in Goons 100%
Follow up report on a new Ascee like Chinese speaking corporation in Goons, and future plans New Eden Three-body Organization Corporation current status Since Mittani gave me the greenlight to head a Chinese corporation within gsf, we have grow steadily since inception.
https://www.pdf-archive.com/2018/01/26/follow-up-report-on-chinese-speaking-corp-in-goons/
26/01/2018 www.pdf-archive.com
20151102 Exchange Rate 97%
CNY - Chinese Yuan Renminbi AD CNY - Chinese Yuan Renminbi Please choose a currency ...
https://www.pdf-archive.com/2015/11/02/20151102-exchange-rate/
02/11/2015 www.pdf-archive.com
20151103 Exchange Rate 97%
CNY - Chinese Yuan Renminbi AD CNY - Chinese Yuan Renminbi Please choose a currency ...
https://www.pdf-archive.com/2015/11/03/20151103-exchange-rate/
03/11/2015 www.pdf-archive.com
20151105 Exchange Rate 97%
CNY - Chinese Yuan Renminbi AD CNY - Chinese Yuan Renminbi Please choose a currency ...
https://www.pdf-archive.com/2015/11/05/20151105-exchange-rate/
05/11/2015 www.pdf-archive.com
20151209 Exchange Rate 97%
CNY - Chinese Yuan Renminbi AD CNY - Chinese Yuan Renminbi Please choose a currency ...
https://www.pdf-archive.com/2015/12/09/20151209-exchange-rate/
09/12/2015 www.pdf-archive.com
20160610 Exchange Rate 97%
CNY - Chinese Yuan Renminbi AD CNY - Chinese Yuan Renminbi Please choose a currency ...
https://www.pdf-archive.com/2016/06/10/20160610-exchange-rate/
10/06/2016 www.pdf-archive.com
20160614 Exchange Rate 97%
CNY - Chinese Yuan Renminbi AD CNY - Chinese Yuan Renminbi Please choose a currency ...
https://www.pdf-archive.com/2016/06/14/20160614-exchange-rate/
14/06/2016 www.pdf-archive.com
20160615 Exchange Rate 97%
CNY - Chinese Yuan Renminbi AD CNY - Chinese Yuan Renminbi Please choose a currency ...
https://www.pdf-archive.com/2016/06/15/20160615-exchange-rate/
15/06/2016 www.pdf-archive.com
IS ZHANG YIMOU A SELFORIENTALIST 97%
IS ZHANG YIMOU A SELFORIENTALIST? Lawson Jiang Film 132B: International Cinema, 1960present February 5, 2016 TA: Isabelle Carbonell Section D Along with the rise of the Fifth Generation directors,1 the contemporary Chinese cinema has gained more popularities on the international film festivals since the early 1990s. While these films presenting the local Chinese culture are well received internationally, the Fifth Generation directors, particularly Zhang Yimou, are often denounced for their selfOrientalist filmmaking practice of selling films packaged with exoticized Chineseness to the Western audience. Based on the belief that the interpretations on cinema can result differently according to various ideological reading, the assertion that Zhang deploys Orientalism in his films can be a result of misinterpretation. This article—through reviewing several books and journals about his 1992 film adaptation Raised the Red Lantern —will explore how Zhang is perceived by various Chinese and Hong Kong scholars in order to find out whether or not he is a selfOrientalist. Zhang, the cinematographerturneddirector who began his career after graduated from Beijing Film Academy in 1983, has been receiving both extreme acknowledgments and criticisms on his films such as Hero (2002), House of Flying Daggers (2004), Curse of the Golden Flower (2006) from the Chinese film critics. On the one hand, Zhang is recognized as a successful director of commercial productions; on the other hand, these commercial titles are also criticized for their banalities due to the lack of depth in storytelling.2 Hero , along with his earlier work Raise the Red Lantern , are criticized by some Chinese journalist as selfOrientalist exercises catering the West. Despite Red Lantern astonishes many Western audience, the film, in 1 The Fifth Generation refers to the group of Chinese directors began their filmmaking since the 1980s. Some of the notable figures are Zhang Yimou, Zhang Yimou, Feng Xiaogang, and Chen Kaige. Although the Sixth Generation emerged in the mid1990s, some the Fifth Generation directors like Zhang Yimou and Feng Xiaogang continues their productions and has become more commercialoriented in Mainland China. 2 I found a brief comment in the entry page of Hero on Douban.com during the research, it goes “Zhang, you should stick back to your cinematography, but not directing.” Lawson Jiang 1 the eyes of a native Beijinger, as Dai Qing3 comments, is “really shot for the casual pleasures of foreigners [who] can go on and muddleheadedly satisfy their oriental fetishisms.”4 Dai, from a native perspective, criticizes that Red Lantern —though the red lanterns provide stunning visual motif—represents a false image of China in terms of the miseenscene. First, Dai notices the Zhangish Chineseness on the walls of the third wife’s room are decorated with large Peking opera masks, which is a major symbol of Chineseness that did not come into fashion until the 1980s and even then only among certain “selfstyled avantgarde” artists would like to show off their “hipness” through these mask decorations. The third wife “would never have thought of decking her walls with those oversized masks,”5 hinting that Zhang is the one who is responsible for this historical mistake in his production. Second, Dai points out that Zhang has also made a fundamental—and the foremost—mistake on the portrayal of the Master: I have never seen nor heard nor read in any book anything remotely resembling the highhanded and flagrant way in which this “master” flaunts the details of his sex life. Even Ximen Qing, the protagonist of the erotic Chinese classic Jin Ping Mei and the archetype of the unabashedly libidinous male, saw fit to maintain a discreet demeanor in negotiating his way among his numerous wives, concubines, and mistresses, and even then he had to resort occasionally to sending a servant to tender his excuses.6 The speaking of one’s sex life has been treated as a taboo in Chinese society—a topic that is forbidden to be brought up publicly—even in the present. As a result, such a portrayal of the 3 Chinese people who do not have an English name, in the English context, would usually have their names sorted in the same order as they are in the Chinese context (family name goes first and given name goes after) In this case, Dai Qing is referred by Dai as Zhang Yimou is referred by Zhang . 4 Dai Qing, “Raised Eyebrows for Raise the Red Lantern.” Translated by Jeanne Tai. Public Culture 5, no. 2 (1993): 336. 5 Ibid., 335. 6 Ibid., 334. Lawson Jiang 2 Master’s sex life, in a traditional sense, is a major flaw of the filmic setting. Dai understands that it is inevitable for Zhang to exoticize and to sell the Chineseness to the Western audience as Zhang is “a serious filmmaker being forced to make a living outside his own country,” suggesting that it is worth the Chinese audience’s sympathy to some extent.7 Dai identifies herself as a person who belongs to the generation of Chinese whose sensibilities have been “ravaged by the Maostyle proletarian culture,”8 Dai—along with her generation who are not allowed and are unable to interpret films from other philosophical perspective—can only seek extreme authenticities in films. “I know nothing about film theory, cinematic techniques, auteurs, schools,” Dai declares in the first paragraph of her journal, “my only criterion is how I respond emotionally to a film.”9 With the Maostyled materialistic influence, Dai’s generation can no longer enjoy any new fashions and trends that she labels as “halfbaked” and that the experiencing of new attempts of storytelling and filmic presentation as “sensibilityrisking.”10 To Dai’s generation, authenticity is the only criteria concerned in judging a film. Whatever reflects the real Chineseness—the Chineseness that is culturally and historically correct—is considered a good film. That is, authenticity provides emotional satisfactions. Raise the Red Lantern , unfortunately, fails to accomplish these two tasks, and the lack of understanding on film theory limits Dai’s interpretation on Red Lantern . She would have been surprised that the red lantern motif that makes her raising eyebrows does far more than that: a basic reading of the lantern, for example, can be viewed as a reinforcement of male authority, while the color of red implies the state of purgatory that the wives suffer in the household—any 7 Ibid., 337. Ibid., 336. 9 Ibid., 333. 10 Ibid., 336. 8 Lawson Jiang 3 of these symbolic implications can easily be identified by the younger generation of Chinese audience. Dai’s demand on authenticities leads to a deviation from reading the theme, that what she has observed from the film are only twisted cultural products; the exotic Chineseness contrived by Zhang. Hence, Dai’s focus on reading the filmic setting rather than the theme results in a biased comment denouncing Zhang as a selfOrientalist. Jane Ying Zha, a Chinese writer from Beijing—the same city where Dai is from—adopts a relatively moderate view on Red Lantern . In her journal “Lore Segal, Red Lantern, and Exoticism” Zha does not perceives the film as “a work of realism in a strict sense” as “some of the details in the movie seem exaggerated, even false, to any historically informed and realisticminded audience.”11 That is, Red Lantern does not attempt, in any sense, to accurately reflect the history of feudal China, but to present the woman’s suffering under the patriarchy in the feudal context. The context functions as a “stage” assisting the director to achieve his expression that is alterable to be set in modern China—while the notion of patriarchal oppression is remain firmly unchanged. Zha views the film as a formalistic exercise due to Zhang’s cinematographic expertise built up earlier in his career, which shares a similar perspective with Rey Chow, who writes in her book Primitive Passions , “the symmetrical screen organizations of architectural details, and the refinedlooking furniture, utensils, food, and costumes in Rain the Red Lantern are all part and parcel of the recognizable cinematographic expertise of Zhang and his collaborators.”12 Zha is impressed by the camera work that deliberately avoid giving closeup to the Master as “[Zhang] thought nothing of shooting the awkwardly melodramatic scenes from the eyes of a Jane Ying Zha, “Lore Segal, Red Lantern, and Exoticism.” Public Culture 5, no. 2 (1993): 331. Rey Chow, Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema. (New York: Columbia University Press, 1995), 143. 11 12 Lawson Jiang 4
https://www.pdf-archive.com/2016/04/06/is-zhang-yimou-a-selforientalist/
06/04/2016 www.pdf-archive.com
20151104 Exchange Rate 97%
CNY - Chinese Yuan Renminbi AD CNY - Chinese Yuan Renminbi Please choose a currency ...
https://www.pdf-archive.com/2015/11/04/20151104-exchange-rate/
04/11/2015 www.pdf-archive.com
Chinas Luxury Market - Losing Sheen 97%
The Chinese yuan’s surprise devaluation is expected to dull sales of luxury goods further.
https://www.pdf-archive.com/2017/01/27/chinas-luxury-market-losing-sheen/
27/01/2017 www.pdf-archive.com
Album Notes CD 1-8 97%
Chinese Ancient Music Table of Contents http://www.verycd.com/topics/2733984/ Box Name:
https://www.pdf-archive.com/2016/12/12/album-notes-cd-1-8/
12/12/2016 www.pdf-archive.com
Extended Essay Final Draft 96%
Effect of Chinese Imperial Examinations on the Great Divergence in Late Dynastic China Shamikh Hossain Research Question:
https://www.pdf-archive.com/2015/11/11/extended-essay-final-draft/
11/11/2015 www.pdf-archive.com
1960 Tibet and the Chinese People's Republic 95%
Tibet and the Chinese People's Republic A Report to the International Commission of Jurists by its Legal Inquiry Committee on Tibet INTERNATIONAL COMMISSION O F JURISTS GENEVA 1960 "
https://www.pdf-archive.com/2017/08/16/1960-tibet-and-the-chinese-people-s-republic/
16/08/2017 www.pdf-archive.com
1 China Definitive Draft 03 06 2013 2 95%
Chinese Policy towards the EU Page 19 6.
https://www.pdf-archive.com/2018/12/28/1--china-definitive-draft-03-06-2013-2/
28/12/2018 www.pdf-archive.com
2017 promo brochure 18.06 95%
+65 6635 1188 | Visit www.itb-asia.com ITB ASIA 2017 | BUYERS PROGRAM PARTNERS RWS LOGO - A GENTING RESORT RWS LOGO - A GENTING RESORT RWS LOGO - A GENTING RESORT ENGLISH 4C FULL COLOUR SIMPLIFIED CHINESE 4C FULL COLOUR TRADITIONAL CHINESE 4C FULL COLOUR ENGLISH 1C MONOTONE SIMPLIFIED CHINESE 1C MONOTONE TRADITIONAL CHINESE 1C MONOTONE ENGLISH 2 COLOUR SIMPLIFIED CHINESE 2 COLOUR TRADITIONAL CHINESE 2 COLOUR SIMPLIFIED CHINESE INVERSE COLOUR / ON COLOURED BACKGROUND (2 COLOUR) TRADITIONAL CHINESE INVERSE COLOUR / ON COLOURED BACKGROUND (2 COLOUR) C M Y CM MY CY CMY K ENGLISH INVERSE COLOUR / ON COLOURED BACKGROUND (2 COLOUR) For more information on how to be a Buyer’s Program Partner, please contact Joyce at joyce.wang@itb-asia.com ENGLISH INVERSE COLOUR / ON COLOURED BACKGROUND (4 COLOUR) SIMPLIFIED CHINESE INVERSE COLOUR / ON COLOURED BACKGROUND (4 COLOUR) TRADITIONAL CHINESE INVERSE COLOUR / ON COLOURED BACKGROUND (4 COLOUR)
https://www.pdf-archive.com/2017/06/18/2017-promo-brochure-18-06/
18/06/2017 www.pdf-archive.com
WUXIA 94%
WUXIA : A CINEMATIC RECONFIGURATION OF KUNG FU FIGHTING IN THE ERA OF GLOBALIZATION Lawson Jiang Film 132B: International Cinema, 1960present March 8, 2016 TA: Isabelle Carbonell Section D Wuxia , sometimes commonly known as kung fu , has been a distinctive genre in the history of Chinese cinema. Actors such as Bruce Lee, Jet Li, and Donnie Yen have become noticeable figures in popularizing this genre internationally for the past couple decades. While the eyecatching action choreographies provide the major enjoyment, the reading of the ideas—which are usually hidden beneath the fights and are often culturally associated—is critical to understand wuxia ; the stunning fight scenes are always the vehicles that carry these important messages. The ideas of a wuxia film should not be only read textually but also contextually—one to scrutinize any hidden ideas as a character of the film, and as a spectator to associate the acquired ideas with the context of the film. One would then think about “what makes up the Chineseness of the film?” “Any ideology the director trying to convey?” And, ultimately, “does every wuxia film necessarily functions the exact same way?” After the worldwide success of Ang Lee’s Crouching Tiger, Hidden Dragon in 2000, the film has intrigued many scholars around the globe in developing new—cultural and political—readings of the text. As of the nature that it is a very cultural product, the different perceptions of Western and local Chinese audience, and the accelerating globalization has led to a cinematic reconfiguration of wuxia from its original form of fiction. Therefore, a contextual analysis of the genre is crucial to understand what wuxia really is beyond a synonym of action, how has it been interpreted and what has it been reconfigured to be. First, it is important to define wuxia and its associated terms jiang hu before an indepth analysis of the genre. The two terms do not simply outline the visual elements, but also implying the core ideas of the genre. The title of this essay should be treated as a play on words, because the meaning of the two terms does not necessarily interweave. The action genre with kung fu involved—such as the Rush Hour series starring Jackie Chan—does not equal to wuxia . Wuxia itself is consist of wu and xia in its Chinese context, in which wu equates to martial arts, and the latter bears a more complex meaning. Xia , as Kenfang Lee notes, is “seen as a heroic figure who possesses the martial arts skills to conduct his/her righteous and loyal acts;” a figure that is “similar to the character Robin Hood in the western popular imagination. Both aiming to fight against social injustice and right wrongs in a feudal society.1” The world where the xia live, act and fight is called jiang hu , a term that can hardly be translated, yet it refers to the ancient outcast world that exists as an alternative universe in opposition to the disciplined reality;2 a world where the government or the authoritative figures are underrepresented, weaken or even omitted. Wuxia can thus be seen as a genre that provides a “Cultural China” where “different schools of martial arts, weaponry, period costumes and significant cultural references are portrayed in great detail to satisfy the Chinese popular imagination and to some degree represent Chineseness;3” an idealised and glorified alternate history that reflects and criticizes the present through its heroic proxy. The Chineseness here should not be read as a selfOrientalist product as wuxia had been a very specific genre in Chinese popular culture that originated in the form of fiction (and had later developed to comics or other visual entertainments such as TV series4) before entering the international market with Ang Lee’s Crouching Tiger, Hidden Dragon in the form of cinema. Ang Lee’s cultural masterpiece can be seen as an adaptation of the contemporary wuxia fiction that later inspires many productions including Zhang Yimou’s Hero 1 Kenfang Lee, “Far away, so close: cultural translation in Ang Lee's Crouching Tiger, Hidden Dragon,” InterAsia Cultural Studies 4, no. 2 (2003): 284. 2 Ibid. 3 Ibid., 282. 4 Ibid. (2002). Although the first wuxia fiction, The Water Margin , was written by Shih Nai’an (12961372) roughly 650 years ago in the Ming dynasty, it was not until the postwar era from 1950s to 1970s had the genre reached its maturity. Since then, the contemporary fiction has become popular in Hong Kong and Taiwan with notable authors such as Louis Cha and Gu Long, respectively.5 The two authors has reshaped and defined the contemporary wuxia to their Chinesespeaking readers and audience till today.6 The original wuxia as a form of fiction was malecentric. The xia were mostly male that a great heroine was rarely featured as the sole protagonist in the story; female characters were usually the wives or sidekicks of the protagonists in Louis Cha’s various novels, or sometimes appeared as femme fatale. Although most of the female characters were richly developed and positively portrayed, it is inevitable to see such a fact that the nature of wuxia is masculine. Like hero and heroine in the English context, xia refers to hero while the equivalence of heroine is xianü ( nü suggests female; the female hero). It was not until Ang Lee’s worldwide success of Crouching Tiger, Hidden Dragon , had the global audience—casual moviegoer, film theorists and scholars—noticed the rise of the genre since the film “was the first foreign language film ever to make more than $127.2 million in North America.7 ” Apart from being a huge success in Taiwan, Crouching Tiger is a hit from Thailand and Singapore to Korea but not in mainland China or Hong Kong. Kenfang Lee observes that “many viewers in Hong Kong consider this film boring, slow and without much action” in which “nothing new compared to other movies in the wuxia tradition in the Hong 5 Ibid., 284. The contemporary fiction written by the two authors mentioned previously have also provided the fundamental sites to many film and TV adaptations, such as Wong Karwai’s Ashes of Time (Hong Kong, 1994), an art film that is loosely based on the popular novel Eagleshooting Heroes , and the TV series The Return of the Condor Heroes (Mainland China, 2006) is based on The Legend of the Condor Heroes . Both novel were authored by Louis Cha. 7 Lee, “Far away, so close: cultural translation in Ang Lee's Crouching Tiger, Hidden Dragon,” 282. 6 Kong film industry… [they] claimed that seeing people running across roofs and trees might be novel for Americans, but they have seen it all before.8” Moreover, some of them rebuke the film for “pandering to the Western audience” in which “the success of this film results from its appeal to a taste for cultural diversity that mainly satisfies the craving for the exotic;” denouncing the film as a selfOrientalist work that “most foreign audiences are attracted by the improbable martial art skills and the romances between the two pairs of lovers.9 ” Lee concludes that the exoticized Chineseness and romantic elements “betray the tradition of wuxia movies and become Hollywoodized;10 ” that is, Crouching Tiger represents an inauthentic China. Kenneth Chan considers such negative reactions toward the film as an “ambivalence” that is “marked by a nationalist/antiOrientalist framework” in which the Chinese and Hong Kong audience’s claims of inauthenticity “reveal a cultural anxiety about identity and Chineseness in a globalized, postcolonial, and postmodern world order.11” Such an ambivalence and anxiety toward the inauthenticity are caused by the production itself as Crouching Tiger is funded mostly by Hollywood.12 Through studying Fredric Jameson’s investigations of the postmodernism, Chan declares that “postmodernist aesthetics and cultural production are implicated and shaped by the global forces of late capitalist logic. By extension, one could presumably argue that popular cinema can be considered postmodern by virtue of its aesthetic configurations.
https://www.pdf-archive.com/2016/04/06/wuxia/
06/04/2016 www.pdf-archive.com
menu 93%
$8.65 Beef with Chinese greens .
https://www.pdf-archive.com/2015/02/20/menu/
20/02/2015 www.pdf-archive.com
TeatimeChina 93%
The fifth lifts me to the realms of the unwinking gods Chinese Mystic, Tang Dynasty Better to be deprived of food for three days, than tea for one.
https://www.pdf-archive.com/2015/05/07/teatimechina/
07/05/2015 www.pdf-archive.com
aNewAge 93%
Aznpwned Preface - How the US Failed on its Chinese Assumptions It’s important to view the context of which Sino-American relations were normalized under President Nixon.
https://www.pdf-archive.com/2018/04/29/anewage/
29/04/2018 www.pdf-archive.com
BI KEXUAN EGE GRAF 93%
La stampa a colori con copertina rigida 16 aperto carta patinata opaca 150gr 20pagine OF COLLECTIO XU BEIHONG The founder of modern Chinese art Distinguished painter and art educator Xu Beihong Xu Beihong (Chinese:
https://www.pdf-archive.com/2017/05/09/bi-kexuan-ege-graf/
08/05/2017 www.pdf-archive.com
Builder 8567 Hi-Res Desktop Printing[1] 93%
Trade Agreements Compliance Program ITA Helps Small Exporter Deliver on Big Sale Introduction The Department of Commerce’s International Trade Administration (ITA) recently helped Klinge Corporation, a small company based in York, Pennsylvania, overcome inconsistent certification requirements that threatened to exclude it from the Chinese market.
https://www.pdf-archive.com/2014/07/18/builder-8567-hi-res-desktop-printing-1/
18/07/2014 www.pdf-archive.com
Zhejiang University 92%
certificate issued by School of Management Highlights ·With a focus on "Entrepreneurship in China” ·In one of the most dynamic areas of private economy in China – Zhejiang ·Walk around the World Heritage listed West Lake ·An opportunity to be a real “entrepreneur” in China ·Language and cultural sessions offered throughout the program Structure Orientation and welcome party Lectures Chinese language course and cultural immersion sessions City/campus exploration Company visits &
https://www.pdf-archive.com/2015/12/21/zhejiang-university/
21/12/2015 www.pdf-archive.com
Chinese New Year 92%
The 31st January 2014 saw the beginning of the Chinese New Year - the year of the horse - with celebrations taking place in London on 2nd February.
https://www.pdf-archive.com/2014/02/05/chinese-new-year/
05/02/2014 www.pdf-archive.com
Euan Grant Integrity Initiative WR WE 220718 92%
Together with Keith Sargent, on 16th attended a Henry Jackson Society (John Hemmings) invitation only, closed door meeting on Australia’s perception of the Chinese threat.
https://www.pdf-archive.com/2018/12/28/euan-grant-integrity-initiative-wr-we-220718/
28/12/2018 www.pdf-archive.com