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Journal articles on the topic 'Zhang Yimou'

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Published: 4 June 2021
Last updated: 27 April 2022

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1

김주희. "Dance in Chinese films - Focusing on Zhang Yimou -." Korean Journal of Dance Studies 64, no. 2 (June 2017): 25–37. http://dx.doi.org/10.16877/kjds.64.2.201706.25.

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2

Jia-Xuan, Zhang. ": Red Sorghum . Zhang Yimou, Xian Film Studio, Wu Tianming." Film Quarterly 42, no. 3 (April 1989): 41–43. http://dx.doi.org/10.1525/fq.1989.42.3.04a00080.

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3

Sheppard, W. Anthony. "Tan Dun and Zhang Yimou between Film and Opera." Journal of Musicological Research 29, no. 1 (January 29, 2010): 1–33. http://dx.doi.org/10.1080/01411890903475957.

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4

Jia-Xuan, Zhang. "Review: Red Sorghum by Zhang Yimou, Xian Film StudioWu Tianming." Film Quarterly 42, no. 3 (1989): 41–43. http://dx.doi.org/10.2307/1212602.

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5

Huot, Marie Claire. "Deux pôles yang du nouveau cinéma chinois : Chen Kaige et Zhang Yimou." Cinémas 3, no. 2-3 (March 15, 2011): 103–25. http://dx.doi.org/10.7202/1001194ar.

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Seul deux cinéastes chinois sont connus aussi bien en Chine qu’à l’étranger. Il s’agit de Chen Kaige et de Zhang Yimou. L’article tente de démontrer la polarisation de leur cinéma respectif à partir de leurs positions qui sont diamétralement opposées. Celle de Chen est dite hanxu, allusive qui incite à l’auto-réflexion alors que celle de Zhang est du ressort yanggang, soit en faveur de l’émotion vive et directe. L’article rend compte de ces deux pôles dans leurs différences, mais aussi dans ce qui les unit, leur « impensé » qui touche à la différence sexuelle et à l’écriture chinoise.
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6

Qian, Kun. "Zhang Yimou: Globalization and the Subject of Culture by Wendy Larson." China Review International 24, no. 4 (2017): 317–21. http://dx.doi.org/10.1353/cri.2017.0078.

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7

Bachora, Łukasz, and Masa Gustin. "Zhang Yimou – twórca niezależny, twórca koniunkturalny? Metamorfozy artysty w państwie komunistycznym." Gdańskie Studia Azji Wschodniej, no. 16 (2019): 110–27. http://dx.doi.org/10.4467/23538724gs.19.019.11864.

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Gouvêa, Lívia Gegenheimer. "O Erotismo dos fantasmas: sadismo, imundície e automutilação no cinema chinês contemporâneo." Anagrama 8, no. 1 (December 13, 2013): 1–15. http://dx.doi.org/10.11606/issn.1982-1689.anagrama.2014.78978.

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Este artigo tem como objetivo expor as diferentes formas de erotismo dos filmes Lanternas vermelhas de Zhang Yimou, Amor á flor da pele de Wong Kar Wai e O buraco de Tsai Ming Liang. Busca-se compreender a representação da identidade dos três locais abordados, China Continental, Hong Kong e Taiwan na instancia erótica. Para tanto a analise comparativa procura evidenciar os rastros históricos nas metáforas eróticas dos filmes, seguindo o conceito de Georges Bataille
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9

Ye, Tan, and Zhang Yimou. "From the Fifth to the Sixth Generation: An Interview with Zhang Yimou." Film Quarterly 53, no. 2 (December 1999): 2–13. http://dx.doi.org/10.2307/1213716.

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10

Ye, Tan, and Zhang Yimou. "From the Fifth to the Sixth Generation: An Interview with Zhang Yimou." Film Quarterly 53, no. 2 (December 1999): 2–13. http://dx.doi.org/10.1525/fq.1999.53.2.04a00020.

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11

Farquhar, Mary Ann. "Oedipality in Red Sorghum and ]udou." Cinémas 3, no. 2-3 (March 15, 2011): 60–86. http://dx.doi.org/10.7202/1001192ar.

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This article analyses the representation of masculinity in Red Sorghum and Judou, two films directed by Zhang Yimou. The focus is on oedipality, in particular the murder of the real or symbolic "father" as a condition for the liberation of the son and his wife / mistress. The text is divided into three sections: patriarchy and the social order; patriarchy and the body; and patriarchy and legitimacy. The argument is that oedipality in these films is not presented as a "universally valid" psychic condition (Freud) but as an inevitable result of the patriarchal family system.
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12

Nie, Lingzhi. "La (in)traducibilidad del prototexto audiovisual: el color en Hero, de Zhang Yimou." Entreculturas. Revista de traducción y comunicación intercultural, no. 11 (March 3, 2021): 105–19. http://dx.doi.org/10.24310/entreculturasertci.v1i11.12106.

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Las imágenes y los colores son una parte inherente del cine y constituyen al mismo tiempo un prototexto narrativo que se suele asumir como una lengua franca en traducción audiovisual (TAV). Sin embargo, cada comunidad lingüística puede descodificar de un modo diferente esta información semiótica en función de la ideología presente en su lengua. En la película Hero de Zhang Yimou se da especial importancia a los colores. Por ello, realizamos una comparación de las connotaciones de los colores negro, rojo y azul para investigar si la diferencia en la percepción de dichos colores provoca asimetrías en la información que reciben los espectadores en la versión original y la traducida. A partir de la simbología y los valores connotados de los colores, valoramos hasta qué punto la traducción va asociada a una pérdida, adición o alteración del significado y en qué medida este proceso afecta a la recepción de la película por parte de los espectadores de la lengua meta.
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13

Wei, Chenlin. "The Three “ThingnessWorlds” in the Films of Zhang Yimou - Using Raise the Red Lantern as an Example." International Journal of Languages, Literature and Linguistics 3, no. 3 (September 2017): 86–90. http://dx.doi.org/10.18178/ijlll.2017.3.3.115.

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14

Hoang, Cam-Giang. "Vietnamese and Chinese Movies about Royalty." Asian Studies 8, no. 2 (May 20, 2020): 135–62. http://dx.doi.org/10.4312/as.2020.8.2.135-162.

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Since 2002, with the enormously successful release of the movie Hero by Zhang Yimou, we have been witnessing the resurrection of the royal theme in contemporary East Asian cinema, and the return of Confucian cosmology as its philosophical foundation. In this paper, I focus on Vietnamese films which represent royal subjects and court life, like Heroes of the Tay Son Dynasty (Tây Sơn hào kiệt; Lý Hùng, Lý Huỳnh, and Phượng Hoàng; 2010), Blood Letter (Thiên mệnh anh hùng, Victor Vũ, 2012), and Tam Cam The Untold Story (Tấm Cám chuyện chưa kể, Ngô Thanh Vân, 2016); and Chinese films, like Hero (英雄, Zhang Yimou, 2002), The Banquet (夜宴, Feng Xiaogang, 2006), and Red Cliff (赤壁, John Woo, 2008). Firstly and most importantly, my essay examines how the cosmic and environmental elements in such movies are manipulated to advocate some particular political discourse as a kind of ecological politics. From this analysis, I analyse and explain the similarities in how the filmmakers in Vietnam and China establish the stereotypes of power and legitimacy of authority utilizing and transforming the Confucian spiritual cosmology. I also try to clarify the difference between the two cinemas in how they express the concepts “the Unity of Heaven and Man” (tianren heyi), “Rectification of Names” (zhengming), and “Virtue of Loving Life” (haosheng) in their political implications. Finally, I will discuss the layers of meaning and visual narratives by analysing the characters and social contexts of the films to reaffirm the varying degrees of influence of Confucian tradition on contemporary forms of cultural and political practices.
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15

Yang, M. M. h. "Of Gender, State Censorship, and Overseas Capital: An Interview with Chinese Director Zhang Yimou." Public Culture 5, no. 2 (January 1, 1993): 297–313. http://dx.doi.org/10.1215/08992363-5-2-297.

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16

Chow, R. "Toward an Ethics of Postvisuality: Some Thoughts on the Recent Work of Zhang Yimou." Poetics Today 25, no. 4 (December 1, 2004): 673–88. http://dx.doi.org/10.1215/03335372-25-4-673.

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17

Law, Wing-Wah, and Jianyi Du. "Not One Less directed by Zhang Yimou. Guangxi Film Studio, 1999. 106 minutes. [In Chinese.]." Comparative Education Review 59, no. 1 (February 2015): 192–96. http://dx.doi.org/10.1086/679396.

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18

Keyser, Anne Sytske. "Chinese Films at the 1992 Rotterdam Film Festival: On Chen Kaige, Zhang Yimou And More." China Information 6, no. 4 (March 1992): 19–31. http://dx.doi.org/10.1177/0920203x9200600402.

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19

Larson, Wendy. "Chinese Culture on the Global Stage: Zhang Yimou and Riding Alone for Thousands of Miles." ASIANetwork Exchange: A Journal for Asian Studies in the Liberal Arts 20, no. 1 (November 15, 2012): 3. http://dx.doi.org/10.16995/ane.77.

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20

Shim, young-deuk. "A Study on the Formation of the Group Unconscious in the Cinema of Zhang Yimou." Korean Society of Culture and Convergence 40, no. 4 (August 30, 2018): 521–46. http://dx.doi.org/10.33645/cnc.2018.08.40.4.521.

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21

Teo, Stephen. "Confucian Orientalism and Western Outlook in Martial Arts Film." Journal of Chinese Film Studies 1, no. 1 (March 11, 2021): 65–82. http://dx.doi.org/10.1515/jcfs-2021-0006.

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Abstract This paper discusses the martial arts genre with reference to the films of the Japanese master Kurosawa Akira and the Chinese director Zhang Yimou, discussing how both directors converge in their themes and styles through the concept of “Eastern Orientalism.” Such Orientalism is based on Confucian precepts of zhengming (rectification of names), chaos theory, and the defense of the people undertaken by militaristic but heroic individual protagonists (samurai or xia). In raising the issue of Orientalism, the paper probes into the Western perceptions of the genre and the imperative of directors like Kurosawa and Zhang in pandering to Western tastes. However, these same directors seem equally preoccupied with fostering a sense of self and nationalistic expression in their response to and treatment of Orientalized content. The paper concludes with a discussion on The Great Wall (2016) as a comparative review of the Western and Eastern viewpoints at play in the US-China co-production. Here the analysis revolves around the issue of sameness, dramatized as a main theme in the film.
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22

Kraicer, Shelly. "Zhang Yimou in Lumière et Compagnie (1995): 52 Seconds x 9 Readings: An Exercise in Over-interpretation." Asian Cinema 10, no. 1 (September 1, 1998): 112–17. http://dx.doi.org/10.1386/ac.10.1.112_1.

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23

Repertório, Teatro &. Dança Periódico. "GRAND OUVERTURE Um espetáculo no Ninho [Leonardo Boccia]." REPERTÓRIO, no. 11 (July 20, 2009): 26. http://dx.doi.org/10.9771/r.v0i11.4322.

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A construção do Estádio Olímpico de Pequim custou ao governo chinês US$ 500 milhões. O Ninho, como também é conhecido por sua estrutura em aço que reproduz as formas de um ninho de pássaro, tem 91 mil lugares e, em 08.08.2008, por ocasião da cerimônia de abertura de jogos olímpicos de Pequim, é transformado em gigantesco teatro de arena. De acordo com recentes pesquisas, a cerimônia de abertura das Olimpíadas de Pequim, sob a direção do influente cineasta chinês Zhang Yimou, por sua complexidade e criatividade, sensibilizou mais de 3 bilhões de espectadores-ouvintes em todo o mundo. Neste ensaio, apresento seqüências daquela cerimônia de abertura e discuto pontos de intersecção entre cultura, música e artes cênicas que, durante pouco mais de uma hora, cativaram o público no estádio ninho de pássaro e a audiência mundial com o mais ousado espetáculo cultural da atualidade. <br />
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Xia, Zhou, and Yiwen Liu. "Director Guang Chunlan in Conversation." Feminist Media Histories 5, no. 1 (January 1, 2019): 95–112. http://dx.doi.org/10.1525/fmh.2019.5.1.95.

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This interview features Guang Chuanlan, a Sibe director who has been active since 1976. Guang is known for establishing Chinese Muslim cinema made in the Xinjiang autonomous region in socialist China. Many of her films are released and awarded in Arabic countries and in India. Her enduring career exemplifies the key role women filmmakers have played in building Chinese cinema under state-driven film policies. While it is commonly believed that the Fifth Generation (represented by male directors such as Zhang Yimou, Chen Kaige, and Tian Zhuangzhuang) put post–Cultural Revolution Chinese cinema on the international map, Guang's career (along with those of other women directors) compels us to reexamine Chinese film historiography and excavate a more complex constellation, especially with regard to women's authorship in intersection with race/ethnicity and the state, and inter-Asian film interactions based on a shared religion—a dimension oftentimes obscured by the dominant paradigm of East-West internationality.
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25

Karki, Dhruba. "Blending Myth and Modernity in the Global Chinese Cinema: The Hong Kong Action Hero in Zhang Yimou-Directed Hero." Tribhuvan University Journal 32, no. 2 (December 31, 2018): 37–56. http://dx.doi.org/10.3126/tuj.v32i2.24702.

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Zhang Yimou’s Hero presents an action hero, yet in a slightly different cinematic mode than that of Stephen Chow-directed Shaolin Soccer to blend myth and modernity. In Yimou’s martial arts cinema, Jet Li-starred Nameless hero uses martial arts to combat the king’s adversaries, including Donnie Yen-starred Long Sky, Maggie Cheung-starred Flying Snow and Tony Leung Chiu-Wai-starred Broken Sword in the service to the Qin Dynasty (221 BC – 207 BC). The warrior hero’s indigenous body art helps the Qin Dynasty transform the smaller warring kingdoms into a powerful Chinese Empire, a strong foundation of modern China with economic and military superpower. Like their western counterparts, including T1000 and Neo, the Hong Kong action heroes, such as the warrior hero and the Qin King have been refashioned in the Hollywood controlled twentieth-century popular culture. Different from their Hollywood counterparts in actions, the Hong Kong action heroes in Hero primarily use their trained bodies and martial skills to promote the Chinese civilization, an adaptation of the Hollywood tradition of technologized machine body. Reworking of myth and archetype in Nameless’s service to the Qin Dynasty and the emperor’s mission to incept the Chinese Empire, the Hong Kong action heroes appear on screen, a blend of tradition and modernity. The film industry’s projection of the Chinese history with the legendary action heroes, including Nameless soldier and the Qin King globalizes the indigenous Chinese culture by using modern electronic digital technology, a resonance of the western technological advancement.
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Chow, Rey. "Sentimental Returns: On the Uses of the Everyday in the Recent Films of Zhang Yimou and Wong Kar-wai." New Literary History 33, no. 4 (2002): 639–54. http://dx.doi.org/10.1353/nlh.2002.0035.

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27

윤성은. "A Study on the Nationalism of Contemporary Chinese Films -Focus on the historic martial arts trilogy of Zhang Yimou-." Contemporary Film Studies 4, no. 1 (May 2008): 129–52. http://dx.doi.org/10.15751/cofis.2008.4.1.129.

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Chen, Huai-Hsuan, and Po-Yi Hung. "Performing Frontier as Home:YuanshengtaiPerformance and the Representational Politics of Homeland in Southwest China." Space and Culture 22, no. 4 (February 2018): 324–40. http://dx.doi.org/10.1177/1206331217751779.

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Yuanshengtai, a term derived from Chinese idea of ecotourism to indicate the pristine condition of environment, has been connected to an imagined authentic indigenous culture in China. With the mark of Zhang Yimou—one of the most famous film director in China, the show Impression Lijiang has strived for exploiting the symbols and icons of ethnic minority culture in order to invent an imaginary space for tourists to experience a yuanshengtai borderland in southwest China. A UNESCO site, Lijiang is known for its geographic imagery of cultural and natural landscape and as the brightest prospect for expressing Chinese nationalism and cultivating modern Chinese tourists. As such, it has been gradually transformed into a stage for displaying and (dis)locating the spatial imagery of home for Chinese tourists in post-socialist China. This article illustrates how yuanshengtai performances are a cultural mechanism of the Chinese state to spark a yearning for home. We will proceed with a theoretical approach relating home and homemaking in China’s cultural politics. After noting the research methods, we contextualize the development of yuanshengtai performances in Southwest China.
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Widiawati, Ambar, Tri Budianingsih, and Sri Hartati. "Perbandingan Novel Raise the Red Lantern Karya Su Tong dan Film Raise the Red Lantern Karya Zhang Yimou dengan Pendekatan Ekranisasi." JURNAL Al-AZHAR INDONESIA SERI HUMANIORA 6, no. 2 (September 30, 2021): 136. http://dx.doi.org/10.36722/sh.v6i2.648.

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<p><strong>Raise the Red Lantern is one of Zhang Yimou's films adapted from Su Tong's Raise the Red Lantern novel. This novel and film tells the story of polygamy in Chinese society in the 1920s. Tells the story of the competition of 4 wives in fighting over the love and power of a wealthy master. The shift from the novel Raise the Red Lantern to the film Raise the Red Lantern causes the deletion, addition, and various changes in the intrinsic elements of the novel. These aspects are analyzed from data in the form of novels and films using the ecranisation approach. The goal is to find out the differences, similarities, and changes that occur as a result of the process of transferring vehicles from these two different material objects. The results of the analysis of the ecranisation of the novel Raise the Red Lantern into the film Raise the Red Lantern show that there are additions and deletions of events, alterations and deletions of settings, as well as replacement and removal of characters in the novel. However, the process of transferring vehicle does not change the outline of the story.</strong></p><p><strong><strong><em>Keywords </em></strong></strong><em>-<strong><strong> </strong></strong>novel, film, raise the Red Lantern, ecranisation.</em></p>
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Yao, Sijia. "Zhang Yimou: Globalization and the Subject of Culture. By Wendy Larson. Amherst, N.Y.: Cambria Press, 2017. xv, 420 pp. ISBN: 9781604979756 (cloth)." Journal of Asian Studies 77, no. 2 (May 2018): 515–16. http://dx.doi.org/10.1017/s002191181800013x.

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Clark, Paul. "Zhang Yimou: Globalization and the Subject of Culture, by Wendy Larson. Amherst, NY: Cambria, 2017. ix+420 pp. US$129.99 (cloth), US$38.99 (eBook)." China Journal 81 (January 2019): 212–14. http://dx.doi.org/10.1086/700392.

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32

Kang, Ik-Mo. "Study on Establishment of Urban Character Illustrated During the Opening Ceremony of Beijing Olympic : Focus on Analysis of Presentation of Opening Ceremony by Zhang Yimou." Joural of the Korea Entertainment Industry Association 2, no. 2 (December 31, 2008): 9. http://dx.doi.org/10.21184/jkeia.2008.12.2.2.9.

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33

XU guang, and TIAN Yezhuang. "The Innovation Behavior Elements of Improvisation in the Creative Team based on the Grounded Theory Study-Zhang Yimou Creative Team in the Opening Ceremony of the Olympic Games as the Example." INTERNATIONAL JOURNAL ON Advances in Information Sciences and Service Sciences 5, no. 4 (February 28, 2013): 54–59. http://dx.doi.org/10.4156/aiss.vol5.issue4.7.

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34

Aleksandrowicz, Joanna. "Czerwień i chłód – Żony i konkubiny Su Tonga i Zawieście czerwone latarnie Zhanga Yimou." Media - Kultura - Komunikacja Społeczna 4, no. 15 (December 30, 2020): 35–55. http://dx.doi.org/10.31648/mkks.6244.

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W artykule przedstawiono strategie adaptacyjne zastosowane przez Zhanga Yimou w filmie Zawieście czerwone latarnie (1991), opartym na opowiadaniu Su Tonga Żony i konkubiny. Kluczową dla filmu grę pomiędzy tym, co pokazane, a tym, co ukryte autorka analizuje w kontekście pojęcia pustki w estetyce Wschodu oraz kompozycyjnej ramy wykorzystanej w scenografii i w strukturach narracyjnych. Specyficzną ramę tworzy także rytmizacja fabuły poprzez cykl pór roku oraz codzienne rytuały wypełniające życie bohaterów. Rytualizacja łączy się z motywem gry, pojawiającym się zarówno w filmie, jak i w noweli. Celem analizy jest ukazanie, w jaki sposób, dzięki niewielkiemu przeniesieniu akcentów, ta – w gruncie rzeczy bardzo wierna wobec pierwowzoru ‒ adaptacja nabiera nowych znaczeń i otwiera się na odmienne interpretacje. Mimo konkretnych aluzji politycznych wpisanych w dzieło Zhanga Yimou pełna niedopowiedzeń narracja umożliwia też odczytywanie filmu w kategoriach uniwersalnych.
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Nawrotkiewicz, Joanna. "Polityczna wizja masakry nankińskiej w zwierciadle Chińskiej Republiki Ludowej — Kwiaty wojny Zhanga Yimou." Roczniki Kulturoznawcze 9, no. 4 (2018): 19–39. http://dx.doi.org/10.18290/rkult.2018.9.4-2.

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Lan, Luu Thi Phuong, Ellwood Brooks B., Tomkin Jonathan H., Nestell Galina P., Nestell Merlynd K., Ratcliffe Kenneth T., Rowe Harry, et al. "Correlation and high-resolution timing for Paleo-tethys Permian-Triassic boundary exposures in Vietnam and Slovenia using geochemical, geophysical and biostratigraphic data sets." VIETNAM JOURNAL OF EARTH SCIENCES 40, no. 3 (June 4, 2018): 253–70. http://dx.doi.org/10.15625/0866-7187/40/3/12617.

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Two Permian-Triassic boundary (PTB) successions, Lung Cam in Vietnam, and Lukač in Slovenia, have been sampled for high-resolution magnetic susceptibility, stable isotope and elemental chemistry, and biostratigraphic analyses. These successions are located on the eastern (Lung Cam section) and western margins (Lukač section) of the Paleo-Tethys Ocean during PTB time. Lung Cam, lying along the eastern margin of the Paleo-Tethys Ocean provides an excellent proxy for correlation back to the GSSP and out to other Paleo-Tethyan successions. This proxy is tested herein by correlating the Lung Cam section in Vietnam to the Lukač section in Slovenia, which was deposited along the western margin of the Paleo-Tethys Ocean during the PTB interval. It is shown herein that both the Lung Cam and Lukač sections can be correlated and exhibit similar characteristics through the PTB interval. Using time-series analysis of magnetic susceptibility data, high-resolution ages are obtained for both successions, thus allowing relative ages, relative to the PTB age at ~252 Ma, to be assigned. Evaluation of climate variability along the western and eastern margins of the Paleo-Tethys Ocean through the PTB interval, using d18O values indicates generally cooler climate in the west, below the PTB, changing to generally warmer climates above the boundary. A unique Black Carbon layer (elemental carbon present by agglutinated foraminifers in their test) below the boundary exhibits colder temperatures in the eastern and warmer temperatures in the western Paleo-Tethys Ocean.ReferencesBalsam W., Arimoto R., Ji J., Shen Z, 2007. Aeolian dust in sediment: a re-examination of methods for identification and dispersal assessed by diffuse reflectance spectrophotometry. International Journal of Environment and Health, 1, 374-402.Balsam W.L., Otto-Bliesner B.L., Deaton B.C., 1995. Modern and last glacial maximum eolian sedimentation patterns in the Atlantic Ocean interpreted from sediment iron oxide content. Paleoceanography, 10, 493-507.Berggren W.A., Kent D.V., Aubry M-P., Hardenbol J., 1995. Geochronology, Time Scales and Global Stratigraphic Correlation. SEPM Special Publication #54, Society for Sedimentary Geology, Tulsa, OK, 386p.Berger A., Loutre M.F., Laskar J., 1992. Stability of the astronomical frequencies over the Earth's history for paleoclimate studies. Science, 255, 560-566.Bloemendal J., deMenocal P., 1989. Evidence for a change in the periodicity of tropical climate cycles at 2.4 Myr from whole-core magnetic susceptibility measurements. Nature, 342, 897-900.Chen J., Shen S-j., Li X-h., Xu Y-g., Joachimski M.M., Bowring S.A., Erwin D.H., Yuan D-x., Chen B., Zhang H., Wang Y., Cao C-q, Zheng Q-f., Mu L., 2016. High-resolution SIMS oxygen isotope analysis on conodont apatite from South China and implications for the end-Permian mass extinction. Palaeogeography, Palaeoclimatology, Palaeoecology, 448, 26-38.Da Silva A-C., Boulvain F., 2002. Sedimentology, magnetic susceptibility and isotopes of a Middle Frasnian carbonate platform: Tailfer Section, Belgium. Facies, 46, 89-102.Da Silva A.-C., Boulvain F., 2005. Upper Devonian carbonate platform correlations and sea level variations recorded in magnetic susceptibility. Palaeogeography, Palaeoclimatology, Palaeoecology, 240, 373-388.Dettinger M.D., Ghil M., Strong C.M., Weibel W., Yiou P., 1995. Software expedites singular-spectrum analysis of noisy time series. EOS. Transactions of the American Geophysical Union, 76, 12-21.Dinarès-Turell J., Baceta J.I., Bernaola G., Orue-Etxebarria X., Pujalte V., 2007. Closing the Mid-Palaeocene gap: Toward a complete astronomically tuned Palaeocene Epoch and Selandian and Thanetian GSSPs at Zumaia (Basque Basin, W Pyrenees). Earth Planetary Science Letters, 262, 450-467.Ellwood B.B., García-Alcalde J.L., El Hassani A., Hladil J., Soto F.M., Truyóls-Massoni M., Weddige K., Koptikova L., 2006. Stratigraphy of the Middle Devonian Boundary: Formal Definition of the Susceptibility Magnetostratotype in Germany with comparisons to Sections in the Czech Republic, Morocco and Spain. Tectonophysics, 418, 31-49.Ellwood B.B., Wang W.-H., Tomkin J.H., Ratcliffe K.T., El Hassani A., Wright A.M., 2013. Testing high resolution magnetic susceptibility and gamma gradiation methods in the Cenomanian-Turonian (Upper Cretaceous) GSSP and near-by coeval section. Palaeogeography, Palaeoclimatology, Palaeoecology, 378, 75-90.Ellwood B.B., Wardlaw B.R., Nestell M.K., Nestell G.P., Luu Thi Phuong Lan, 2017. Identifying globally synchronous Permian-Triassic boundary levels in successions in China and Vietnam using Graphic Correlation. Palaeogeography, Palaeoclimatology, Palaeoecology, 485, 561-571.Ghil M., Allen R.M., Dettinger M.D., Ide K., Kondrashov D., Mann M.E., Robertson A., Saunders A., Tian Y., Varadi F., Yiou P., 2002. Advanced spectral methods for climatic time series. Reviews of Geophysics, 40, 3.1-3.41. http://dx.doi.org/10.1029/2000RG000092.Gradstein F.M., Ogg J.G., Smith A.G., 2004. A geologic Time Scale 2004. Cambridge University Press, England, 589p.Hartl P., Tauxe L., Herbert T., 1995. Earliest Oligocene increase in South Atlantic productivity as interpreted from “rock magnetics” at Deep Sea drilling Site 522. Paleoceanography, 10, 311-326.Imbrie J., Hays J.D., Martinson D.G., McIntyre A., Mix A.C., Morley J.J., Pisias N.G., Prell W.L., Shackleton N.J., 1984. The Orbital Theory of Pleistocene Climate: Support from a Revised Chronology of the Marine Delta 18O Record. In Berger A.L., Imbrie J., Hays J., Kukla G., Saltzman B. (Eds.), Milankovitch and Climate, Part I, Kluwer Academic Publishers, 269-305.Mead G.A., Yauxe L., LaBrecque J.L., 1986. Oligocene paleoceanography of the South Atlantic: paleoclimate implications of sediment accumulation rates and magnetic susceptibility. Paleoceanography, 1, 273-284.Salvador A., (Ed.), 1994. International Stratigraphic Guide: The International Union of Geological Sciences and The Geological Society of America, Inc., 2nd Edition, 214p.Scotese C.R., 2001. Atlas of Earth History, Volume 1, Paleogeography, PALEOMAP Project, Arlington, Texas, 52p.Scotese C.R., 2013. Map Folio 49, Permo-Triassic Boundary (251 Ma), PALEOMAP PaleoAtlas for ArcGIS, Triassic and Jurassic Paleogeographic, Paleoclimatic and Plate Tectonic Reconstructions, PALEOMAP Project, Evanston, IL, 3.Shackleton N.J., Crowhurst S.J., Weedon G.P., Laskar J., 1999. Astronomical calibration of Oligocene-Miocene time. Philosophical Transactions of the Royal Society London, A357, 1907-1929.Shaw A.B., 1964. Time in Stratigraphy. New York, Mc Graw Hill, 365p.Shen S.-Z., Crowley J.L., Wang Y., Bowring S.A., Erwin D.H., Henderson C.M., Ramezani J., Zhang H., Shen Y.,Wang X.-D., Wang W., Mu L., Li W.-Z., Tang Y.-G., Liu X.-L., Liu X.-L., Zeng Y., Jiang Y.-F., Jin Y.-G., 2011a. High-precision geochronologic dating constrains probable causes of Earth’s largest mass extinction. Science, 334, 1367-1372. Doi:10.1126/science.1213454.Swartzendruber L.J., 1992. Properties, units and constants in magnetism. Journal of Magnetic Materials, 100, 573-575.Weedon G.P., Jenkyns H.C., Coe A.L., Hesselbo S.P., 1999. Astronomical calibration of the Jurassic time-scale from cyclostratigraphy in British mudrock formations. Philosophical Transactions of the Royal Society London, A357, 1787-1813.Weedon G.P., Shackleton N.J., Pearson P.N., 1997. The Oligocne time scale and cyclostratigraphy on the Ceara Rise, western equatorial Atlantic. In: Schackleton N.J., Curry W.B., Richter C., and Bralower T.J. (Eds.). Proceedings of the Ocean Drilling Program, Scientific Results, 154, 101-114.Whalen M.T., Day J.E., 2008. Magnetic Susceptibility, Biostratigraphy, and Sequence Stratigraphy: Insights into Devonian Carbonate Platform Development and Basin Infilling, Western Alberta. Papers on Phanerozoic Reef Carbonates in Honor of Wolfgang Schlager. SEPM (Society for Sedimentary Geology) Special Publication, 89, 291-314.
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37

Petty, Sheila. "Never Forfeit the Self: The Art of Zhang Yimou." Film-Philosophy 7, no. 5 (September 2003). http://dx.doi.org/10.3366/film.2003.0036.

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38

Giafferri, Xiaomin. "Le langage des couleurs dans les films de Zhang Yimou." Cahiers de Narratologie, no. 16 (May 25, 2009). http://dx.doi.org/10.4000/narratologie.982.

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39

Ng, Yvonne. "Zhang Yimou's Shanghai Triad." Kinema: A Journal for Film and Audiovisual Media, September 22, 1998. http://dx.doi.org/10.15353/kinema.vi.867.

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Just when it seemed as if every variety of the gangster genre had been played out, Mainland Chinese director Zhang Yimou sprang a pleasant surprise with his film Shanghai Triad (Yao a yao yao dao wai po qiao, 1995). The film is probably the last collaboration between the director and Gong Li, the leading actress in all his previous films(1) and his off-screen partner until the completion of this film. Few gangster movies have been made in recent years that equal the film in its freshness, style, intelligence, sensual and lyrical beauty. However, in his interview with Zhang at the 1995 Cannes Film Festival, Nigel Andrews reported that Zhang's latest film had been indifferently received by critics who thought no more of it than "just a gangster film" and a mere waste of the director's talent(2). Though under-appreciated as a gangster film, Shanghai Triad's merit has not been totally ignored....
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40

Phuong, Bui Thi Thuy. "COLOUR SYMBOL IN ZHANG YIMOU’S MOVIES." VNU Journal of Foreign Studies 36, no. 5 (October 31, 2020). http://dx.doi.org/10.25073/2525-2445/vnufs.4617.

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Zhang Yimou is one of the most representative directors for the fifth generation of Chinese cinema. His films have earned critical acclaim from film critics and among them many have won prestigious awards in China as well as international film festivals. One of the things that appealed to his film was his unique and effective use of colors. His artistic films such as Red Sorghum, Ju Dou, and Raise the Red Lantern are the works that show his success in this respect. The paper mainly analyzes the characteristics and meaning of applying colors in the aforementioned films, and initially finds out the role of color symbol with particular art films and impression building as well as his artistic style in general.
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41

Phuong, Bui Thi Thuy. "COLOUR SYMBOL IN ZHANG YIMOU’S MOVIES." VNU Journal of Foreign Studies 36, no. 5 (October 31, 2020). http://dx.doi.org/10.25073/2525-2445/vnufs.4617.

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Zhang Yimou is one of the most representative directors for the fifth generation of Chinese cinema. His films have earned critical acclaim from film critics and among them many have won prestigious awards in China as well as international film festivals. One of the things that appealed to his film was his unique and effective use of colors. His artistic films such as Red Sorghum, Ju Dou, and Raise the Red Lantern are the works that show his success in this respect. The paper mainly analyzes the characteristics and meaning of applying colors in the aforementioned films, and initially finds out the role of color symbol with particular art films and impression building as well as his artistic style in general.
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42

Sullivan, Mac. "The Great Wall: Matt Damon, Zhang Yimou, Edward Zwick and...Dragons?" Film Criticism 41, no. 3 (June 1, 2017). http://dx.doi.org/10.3998/fc.13761232.0041.309.

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43

Llora, Miguel, and Magdalena Guaman. "The commerce of popular culture: did China’s fifth generation “sell out”?" revistapuce, November 29, 2016. http://dx.doi.org/10.26807/revpuce.v0i103.46.

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Hay un carácter específico en la “claudicación” que se da en la Quinta Generación. Zha apenas oculta su incul­pación como ella se cuestiona retórica­mente si “él [Zhang Yimou] debe su po­pularidad a la astuta comercialización de exotismo oriental hacia Occidente” (Zha, 1995: 94). Este proceso se caracteriza por el “marketing” de la mística de la mujer asiática que juega en las fantasías mascu­linas occidentales. Es así que, Gong Li se convirtió en una aclamada actriz porque tuvo la oportunidad de participar en mu­chos papeles de películas que ella obtuvo debido a su poder de ser una estrella. Se ve que la mayoría de los chinos nativos creen que los tipos de películas produ­cidas por la Quinta Generación son una representación auténtica de éxitos en sus carreras, no de lo que ellos sienten que su cultura debería ser. También se puede de­cir que “este tipo de películas es realmen­te un lanzamiento por el placer ocasional de los extranjeros” y cómo se puede ver Zhang Yimou le debe la mayor parte de su éxito al público extranjero que toda­vía se sorprende con su espectáculo en películas como Héroe (Ying Xiong, 2002) (Zha, 1995: 94). Éxito, también descrito como minglishuangshou: “que ha cose­chado la fama y la fortuna”, que es un tér­mino halagador a la del director filosófico.
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44

De la Garza, Armida. "‘Reading’ the Cinema of Zhang Yimou: Between the Chinese and the Global." Ícone 11, no. 1 (July 10, 2009). http://dx.doi.org/10.34176/icone.v11i1.230151.

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How are national identities transformed? If they are mostly narratives of belonging to a community of history and destiny to which people subscribe, those boundarymaking procedures that constitute the political field by instituting difference can provide a tentative answer to this question. This paper is concerned with one such cultural practice, namely film viewing. Globalisation, a boundary-blurring practice, has been the backdrop against which transformations in national identity are often discussed, either bemoaned as cultural imperialism or celebrated as ongoing hybridisation. This piece of research took Zhang Yimou’s controversial film “Hero” as a point of departure, and asked groups of Chinese audiences how they understood the Chinese identity it conveys. Although it is still a work in progress, provisional results are reported below.
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45

Ng, Yvonne. "The Irresistible Rise of Asian Cinema 3." Kinema: A Journal for Film and Audiovisual Media, April 10, 1994. http://dx.doi.org/10.15353/kinema.vi.756.

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TIAN ZHUANGZHUANG: A DIRECTOR FOR THE 21st CENTURY Nowadays, when one speaks of mainland Chinese cinema, the names of directors Chen Kaige (Yellow Earth, Farewell, My Concubine) and Zhang Yimou (Red Sorghum, The Story of Qiu Ju) come easily to mind. Yet there are other fine directors in the country who are less well known but no less outstanding. One of them is Tian Zhuangzhuang, a contemporary of both Chen and Zhang. Born in 1952 in Beijing, Tian comes from a family of film personalities; his father Tian Fang and his mother Yu Lan, both communist cadres, were well-known actors before the Cultural Revolution (1966-1976). Tian Fang, now deceased, was the first head of the Beijing Film Studio while Yu Lan is still in charge of the Children's Film Studio in Beijing. Tian Zhuangzhuang was just fourteen when the Cultural Revolution broke out. Two years later he was sent...
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46

Ng, Yvonne. "Imagery and Sound in Red Sorghum." Kinema: A Journal for Film and Audiovisual Media, April 10, 1995. http://dx.doi.org/10.15353/kinema.vi.777.

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WHEN ZHANG YIMOU MADE HIS DIRECTORIAL DEBUT, Red Sorghum, in 1987, he was better known as a cinematographer whose talent had been crucial to the success of critically acclaimed films like Zhang Junzhao's One and Eight (1984, released 1987) and Chen Kaige's Yellow Earth (1984). Not only did Red Sorghum become a seminal film of the Fifth Generation, it also won the Golden Bear at Berlin in 1988, becoming the first mainland Chinese film ever to be awarded the highest honour at a major international film competition. Set in the 1920s and '30s in northern China, Red Sorghum's narrative centres on the fate of a young woman who is forced to marry a rich old leper but who eventually falls in love with a younger man. The motif of female oppression in feudal China is repeated in Zhang's next two films, Ju Dou (1990) and Raise the Red Lantern...
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47

Alvarado Duque, Carlos Fernando. "Lo que puede un cuerpo: técnica y arte en el cine Wuxia." Escribanía, September 26, 2021. http://dx.doi.org/10.30554/escribania.v19i1.4326.

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Con el fin de explorar la misteriosa sentencia de Spinoza: nadie sabe lo que puede un cuerpo, revisamos el cine Wuxia contemporáneo con el fin de mostrar que el séptimo arte ha ofrecido su propia cuota sobre la tematización de lo corpóreo. La hipótesis de base es que este cine sabotea el cuerpo como biología y anticipa, en sus relatos de época, lo post-humano. Nos habla de los cuerpos por-venir, antes de las técnicas del presente. Para ello, analizamos tres variaciones sobre el cuerpo del guerrero de artes marciales en tres diferentes obras, de grandes maestros del cine chino: Iron Monkey (1993) de Yuen Wooping, Ashes of Time Redux (1994, 2008) de Wong Kar-wai y Hero (2002) de Zhang Yimou.
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48

Reynaud, Bérénice. "Claire Shen Hsiu-chen, L’Encre et l’Ecran. A la recherche de la stylistique cinématographique chinoise, Hou Hsiao-hsien et Zhang Yimou (Ink and the Screen : In Search of Chinese Film Stylistics, Hou Hsiao-hsien and Zhang Yimou)." China Perspectives 2004, no. 5 (October 1, 2004). http://dx.doi.org/10.4000/chinaperspectives.424.

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49

Battagliese, Rodolfo. "Poder estatal y dominación de género: sus representaciones en La linterna roja (China, 1991) de Zhang Yimou." Cuadernos del Centro de Estudios de Diseño y Comunicación, no. 68 (September 27, 2019). http://dx.doi.org/10.18682/cdc.vi68.1148.

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El film puede interpretarse como una representación estética de los minuciosos mecanismos del ejercicio del poder que tienen por finalidad y tal como lo plantea Michel Foucault en los distintos tramos de su obra, disciplinar y normalizar a aquellos que pretenden cuestionarlo. Foucault lo planteó refiriéndose a las formas modernas del ejército, la escuela, las prisiones, hospitales, que podemos extender a las relaciones de género, temática de la que no se ocupó el autor. En la Linterna roja, las representaciones fílmicas del autoritarismo no sólo están asociadas a la vida cotidiana de mujeres subordinadas a la ley del varón, tanto en el plano social como cultural, sino que pueden interpretarse, como la construcción de un tipo de poder disciplinador que atraviesa los distintos regímenes políticos de la historia de China del siglo XX. Filmada poco tiempo después de la represión en la plaza de Tiananmen, las potentes imágenes sobre el poder y el patriarcado representan las normas morales tradicionales del Confucionismo y resignifican por extensión, a las de la China comunista.
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50

Yuan, Yilei, and Duoxiu Qian. "Simplification in subtitling filmic Beijing Opera." Onomázein Revista de lingüística filología y traducción, no. 53 (2021). http://dx.doi.org/10.7764/onomazein.53.04.

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In recent years, opera translation and surtitling has become a field of growing popularity in translation studies. While current research often revolves around opera in the western countries or opera translation for the stage, this paper aims to explore the translation of Beijing Opera in films. The discussion will draw upon literature on opera translation and surtitles while examining Beijing Opera. With reference to Raise the Red Lantern (1991), directed by Zhang Yimou, an internationally acclaimed filmmaker, this paper will focus on the rendition of Beijing Opera and propose subtitles for an opera sequence in the film. The major finding is that it is possible to convey the general meaning of the lyrics of Beijing Opera through simplification, i.e. culturally-bound references could be simplified for better understanding. This is an addition to the existing research on translation from other languages into English and will have implications for future practices in this domain.
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