Motion pictures were introduced to China in 1896, and today China is a major player in the global film industry. However, the story of how Chinese cinema became what it is today is exceptionally turbulent, encompassing incursions by foreign powers, warfare among contending rulers, the collapse of the Chinese empire, and the massive setback of the Cultural Revolution. This book coversthe cinematic history of mainland China spanning across over one hundred and twenty years since its inception. Historical Dictionary of Chinese Cinema, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 200 cross-referenced entries on the major filmmakers, actors, and historical figures, representative cinematic productions, genre evolution, significant events and institutions, and market changes. This book is an excellent resource for students, researchers, and anyone wanting to know more about Chinese Cinema.
The same was true for terrifying humor. Different methods used to catch ghosts were the same. My name is Bao Yang, a legend with a rooster and a ghost.
I am an antique dealer, earning money from the living and earning money from the dead. In the past few years of roaming the world, he had seen all kinds of bizarre things...
There is a sense of timelessness in the Chinese theater: ever since its maturation, its format has not changed in any significant way. Chinese Theater matured into its final format in the 13th century and flourished during the Yuan, Ming, and Qing Dynasties. It is a unique, exclusive, and self-sufficient system, whose evolution has received little influence from the West and whose influence on Western theaters has been minimal and often misinterpreted. It is essentially a performer's theater; the actors attract the audience with splendid performances perfected through many years of rigorous training. This second edition of Historical Dictionary of Chinese Theater contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 1,500 cross-referenced entries on performers, directors, producers, designers, actors, theaters, dynasties, and emperors. This book is an excellent resource for students, researchers, and anyone wanting to know more about Chinese theater.
Descendant of the Venerable One, descended cultivation, overturned rivers and seas, directly struck the Yellow Dragon, battled immortals and devils, struck the underworld with a rod, and battled to the death. Only I, Great Sage Qi Tian, fought to the heavens. Close]
In this book the author explores the work and living experiences of Confucius Institute Chinese teachers (CICTs) in the UK, how they interpret and make sense of their sojourning experience, and how this context and the wider globalised social environment have impacted on their understandings and their personal growth. Because of their betwixt and between situation, the CICTs’ stories differ from those of other immigrants, international students and pre-service student teachers, who have been the main focus in L2 identity research. The book offers new insights into the Confucius Institutes (CI) with real life stories from teachers drawn from blogs, interviews and focus groups, drawing attention in the process to weaknesses of the CI programme and offering suggestions for ways forward which will be of interest to both stakeholders and those responsible for future international exchange programmes.
Descendant of the Venerable One, descended cultivation, overturned rivers and seas, directly struck the Yellow Dragon, battled immortals and devils, struck the underworld with a rod, and battled to the death. Only I, Great Sage Qi Tian, fought to the heavens. Close]
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