Everyone has a world in their heart, and I am no exception. My family was poor and couldn't afford to go to school, so I moved to my cousin's house. My cousin had matters to attend to so he left for a long journey, leaving behind my cousin and me ...

With 25 essays that embrace a wide spectrum of topics and perspectives including intertextuality, transnationality, gender representation, repetition, the use of music, color, and sound, depiction of time and space in human affairs, and Wong’s highly original portrayal of violence, A Companion to Wong Kar-Wai is a singular examination of the prestigious filmmaker known around the world for the innovation, beauty, and passion he brings to filmmaking. Brings together the most cutting edge, in-depth, and interesting scholarship on arguably the greatest living Asian filmmaker, from a multinational group of established and rising film scholars and critics Covers a huge breadth of topics such as the tradition of the jianghu in Wong's films; queering Wong's films not in terms of gender but through the artist's liminality; the phenomenological Wong; Wong's intertextuality; America through Wong's eyes; the optics of intensities, thresholds, and transfers of energy in Wong's cinema; and the diasporic presence of some ladies from Shanghai in Wong's Hong Kong Examines the political, historical, and sociological influence of Wong and his work, and discusses his work from a variety of perspectives including modern, post-modern, postcolonial, and queer theory Includes two appendices which examine Wong’s work in Hong Kong television and commercials

Describes and rates more than twenty thousand videos, and provides indexes by theme, awards, actors, actresses, and directors.

The “May Fourth Movement” of 1919 is generally seen as the central event in China’s transformation from the traditional to the modern. It signalled the arrival of effective student activism on the political scene; it heralded the success of outspoken anti-imperialist ideologies; its slogans and pamphlets demonstrated the rhetorical qualities of the new vernacular writing; some of its participants went on to become leading cultural and political figures; it is said to have given birth to the Communist Party. The latter aspect has ensured that a particular narrative of the movement remained enshrined in official Chinese state ideology for many decades, a narrative often opposed by those outside China for similarly ideological reasons. No movement in modern Chinese history and culture has been more researched, yet none has been less understood. This award-winning book, by one of Peking University’s most famous professors, represents a groundbreaking attempt to return to a study of “May Fourth” that is solidly grounded in historical fact. Favouring smaller stories over grand narratives, concentrating on unknown, marginal materials rather than familiar key documents, and highlighting “May Fourth”’s indebtedness to the cultural debates of the preceding late Qing period, Chen Pingyuan reconstructs part of the actual historical scenery, demonstrating the great variety of ideas expressed during those tumultuous decades.

A guide to programs currently available on video in the areas of movies/entertainment, general interest/education, sports/recreation, fine arts, health/science, business/industry, children/juvenile, how-to/instruction.

You who have dreamed of finding the love worth fighting for, the friends worth fighting with, and the secrets of the martial arts: dream no longer. Welcome to Shen Zhou: a China that never was, a land of mysteries and adventures, appearing for the first time in the Legends of the Wulin Role Playing Game. Welcome to the Wulin itself to the "world of martial arts," where the dreams and ambitions of heroes collide. Become a wuxia hero, with a grander-than-life personality, capable of great joy and overwhelming melancholy. Step outside the accepted order of things: it cannot contain the immense passions and inspirations that move you. Take up your blade and join your martial brothers. Master an array of new and powerful kung fu styles and learn the deep mysteries of the secret arts. It's time to become a legend. Guard the Sun and Moon. Weave the Divine Iron Web. Invoke the Hell-Pattern Judgment. Practice the Hidden Execution Strike. Recite the Mantra of Immolation. Call upon the Iron Buddha's Disapproval. Fly like the Golden Crow. Wield the Lotus-Forged Needles. Master medicine, confound your enemies with the secret arts of intrigue, and read from the sacred registers. Inflict curses and blessings. Practice extraordinary Daoist techniques. Carry the lightning of Heaven hidden in your hand.

Part historical drama, part thriller, and part comedy, Tsui Hark's Peking Opera Blues (1986) invites--if not demands--examinations from multiple perspectives. Tan See Kam rises to the challenge in this study by first situating Tsui in a Sinophone context. The diasporic director explores different dimensions of "Chineseness" in the film by depicting competing versions of Chinese nationalism and presenting characters speaking two Chinese languages, Cantonese and Mandarin. In the process he compels viewers to recognize the multiplicities of the Chinese identity and rethink what constitutes cultural Chineseness. The challenge to a single definition of "Chinese" is also embodied by the playful pastiches of diverse materials. In a series of intertextual readings, Tan reveals the full complexity of Peking Opera Blues by placing it at the center of a web of texts consisting of Tsui's earlier film Shanghai Blues (1984), Hong Kong's Mandarin Canto-pop songs, the "three-women" films in Chinese-language cinemas, and of course, traditional Peking opera, whose role-types, makeup, and dress code enrich the meaning of the film. In Tan's portrayal, Tsui Hark is a filmmaker who makes masterly use of postmodernist techniques to address postcolonial concerns. More than a quarter of a century after its release, Tan shows, Peking Opera Blues still reverberates in the present time.

This volume sets out a new paradigm in intersemiotic translation research, drawing on the films of Ang Lee to problematize the notion of films as the simple binary of transmission between the verbal and non-verbal. The book surveys existing research as a jumping-off point from which to consider the role of audiovisual dimensions, going beyond the focus on the verbal as understood in Jakobsonian intersemiotic translation. The volume outlines a methodology comprising a system of various models which draw on both translation studies and film studies frameworks, with each model illustrated with examples from Ang Lee’s Crouching Tiger, Hidden Dragon; Lust, Caution; and Life of Pi. In situating the discussion within the work of a director whose own work straddles East and West and remediates between cultures and semiotic systems, Zhang argues for an understanding of intersemiotic translation in which films are not simply determined by verbal source material but through the process of intersemiotic translators mediating non-verbal, quality-determining materials into the final film. The volume looks ahead to implications for translation and film research more broadly as well as other audiovisual media. This book will appeal to scholars interested in translation studies, film studies, media studies and cultural studies in general.