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jackOLantern 100%

Jack-o’-lantern It’s Halloween and Jack hates Halloween;


KD remasteredResourceSheet 96%

Starting Gear Settlement Name Hide Organ Basic Resources Scrap Iron Herb White Lion Resources Broken Lantern Scrap Elder Cat Teeth Bone Love Juice Organ, Consumable Fresh Acanthus Herb During settlement phase, you may archive this to Intimacy (event).



                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 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


Lanterns' Eve 96%

Lanterns’ Eve By Nikos Gaitanopoulos Lanterns’ Eve, it’s here again Don’t forget to treat the dead Lantern’s Eve, night of dread Lest they will trick you instead Time’s now to spare some sweets For the little specters seek treats But there is another task A most important – if you ask In the streets the little ones rush Faces hidden under masks Jacks o’ Lanterns meet scarecrows Witches gather bands of trows On each door they do knock On each doorstep will they flock But expect to see none out When it’s nearing midnight hour Tick – tack – flows time No one sings the well-known rhyme Shut the door and slam its latch Something else is on the march Every year in such a night The moon fades, the soil feels light And be sure that until dawn You’ll offer what the dead want Drapes of mist the trees engulf Eerie cries, unworldly laughs From the graveyard they do soar In the moonlight, ghostly horde The undertaker starts to drink Closes eyes, tries not to think On his doorstep lies a mask For he knows what the dead ask Nothing pierces the night’s gown The lost kids flood into town Like an ocean fill the streets The wind moans and with them weeps And inside every house Silence reigns from man to mouse They just pray and only hope That there’s no knock on the door From the window shades Dare only peek the brave Listening to the song That the faceless sing along “Hollow night, lantern’s eve Let’s visit those who live Trick them or claim their treat Into memory we won’t drift” Lanterns’ Eve, it’s here again Don’t forget to treat the dead Lantern’s Eve, night of dread Lest they will trick you instead


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There were also traditional food shop where you could buy Takoyaki, octopus thing or chicken on a stick.” Picture Fabrizio shoot this picture in Miyazaki, Japan “T he Lantern Festival is a Chinese festival celebrated on the fifteenth day of the first month in the Chinese calendar.


Halloween 82%

The most celebrated Halloween decoration is the jack-o’-lantern, traditionally a hollowed-out pumpkin 1.Halloween Witch carved The Halloween witch riding her broom past the moon is a continuation of ancient Druidic and Celtic beliefs that on the evening of October 31, evil spirits and the spirits of the dead were called out by the lord of the dead.


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Name M F Hunt XP Age When you name your survivor, gain +1 survival Age Age Age Retired Chronicles Family Born in the Year of the Lantern Lantern flame was Extinguished Survival Primary Stats Dodge Limit Cause of Death Encourage Age Base Dash Surge Gear/ Temp Great Deeds Movement Cannot use/gain survival +spaces Accuracy Strength +hit roll +wound roll Evasion Luck - monster acc +crit roll Speed +hit roll Brain Arms Head H Body Waist Legs L L L L H H H H Insanity If your insanity is 3+ you are insane Heavy Injury:


PJ806 TF NaplesLantern onepager 78%

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Flux 400 Review 76%

Another little feature that I feel could be changed is the location of the lantern hanging point;


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check reports to find the latest information Possible air quality issues Best times to visit food festival National Day (9th) Lantern Festival Temperature Hong Kong Rainfall Best times to visit Chinese New Year Lantern Festival (Feb/Mar) Ching Ming Festival Dragon Boat Festival MidAutumn Festival Temperature Manila, Phillipines Too many festivals to list here!


NIFF programme as of 06.03.2018 68%

Coming Soon Horror Rabbit Shorts A I Magic Lantern Anthology Street Life Magic Lantern Doomsday &


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Green Lantern - Green Lantern DC comics 13.


march2 61%


Zhen ZImmerman 61%

4 6 1 Code of Honor [major] Vengeful [minor] (Hemmer's Toll) Phobia [minor] (Cemeteries) Attractive - +2 charisma Rego (Control) - Rank 1 +2 Fighting [agility] Knowledge (Occult) [smarts] Notice [smarts] Riding [agility] Shooting [agility] Guts [spirit] Persuasion [spirit] ammo (50 x .45, 50 x .22) 6 lb 6lb 1/2 lb 8 lb mulet horse rope saddle canteen mess kit lantern bedroll matches (100) 5 lb 3 lb 4 lb 10 lb 1/4 lb Fancy dress Rations (5 days) Photo plate $121.50 1/4 lb of ghost rock (~$25) 24 lbs Terram (Earth) Rank 1 Anam (Animal) Rank 1 Pepperbox .22 Peacemaker 5/10/20 1 12/24/48 1 Rents a room above Ross Major's store 2d6 + 1 2d6 +1 AP 1 Husband rising from the grave, again.