By Doreen D. Wu
Those essays study the discourses of Cultural China from a globalizaton standpoint, and try and comprehend modern Cultural China through recording, describing and explaining how present discourses communicate and write concerning the country.
content material: Glocalization and the discourses of cultural China : an creation / Doreen D. Wu --
clash, quandary, and discourse fight in cultural China. reputable discourse of a "well-off society" : developing an fiscal country and political legitimacy / Bei Cai --
Dances with discursive ghosts : ideology of the physique in modern chinese language cinema from Unrequited like to giant shot's funeral / Sihui Mao --
a lady warrior or a forgotten concubine? : verbal development of a feminist baby-kisser in Taiwan / Sai-hua Kuo --
The SARS case file as a style : the way it figures in anti-SARS social perform / Hailong Tian --
Hybridized and diversive discourses in cultural China. styles of global-local fusion in chinese language online advertising / Doreen D. Wu --
kid's tv prograns in China : a discourse of good fortune and modernity / Kara Chan and Fanny Chan --
Confucianism and utilitarianism in Jiang-Clinton rhetoric / D. Ray Heisey --
East is east and west is west? : values and kinds of verbal exchange in foreign-invested firms in China / Sim Liang --
information assurance on Soong Meiling's loss of life throughout maniland China, Hong Kong, and Taiwan / Changfeng Chen and Jiani Zhang --
Discourse and id in cultural China. Discourse and cultural identification : in the direction of a world identification for Hong Kong / Anthony Fung --
studying chinese language id this present day : new insights into identification ratings of teenagers in city China / Shutian Zhang and Steve Kulich --
The mediated chinese language person globality / Xiaohui Pan --
in the direction of a Chinese-discourse-studies method of cultural China : an epilogue / Shi-xu.
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Additional resources for Discourses of cultural China in the globalizing age
The creation of the character Tianbai is, to me, much more symbolic than that. It is significant to notice that, at the end of the film, it is the silent Tianbai (who is young, violent, explosive and powerful), not the village elders, who acts out the drama of the patriarchal ideology in killing Tianqing, his natural father, who has disturbed the symbolic order. As Callahan (1993, 63) points out: Hence as much as Ju Dou and Tianqing struggle against the system, they produce it — literally and figuratively — in Tianbai (who in carrying out the imperatives of Confucian morality — eventually — ironically commits perhaps the greatest Confucian crime: patricide).
However, economic confidence and romanticism can be utilized and driven by non-economic motives, affecting China’s social, political and economic issues. To begin with, the CPC may politicize economic issues. Pressing problems such as uneven economic development, income disparity, and massive unemployment challenge the CPC’s legitimacy and political control. Under these increasing political pressures, the CPC may be compelled to intervene politically to address 22 Bei Cai these distressing economic problems.
In its 100 years of existence (1905–2005), Chinese cinema has had its share of ups and downs: a spring time (mid-1920s to late 1930s) with Shanghai as the “Celluloid Capital,” a warring period (1949 to late 1960s) with three distinct film industries — mainland China (mainly movies of “socialist realism”), colonial Hong Kong (dominated by entertainment-minded majors, the most popular genre being the Kungfu movie — Stephen Chow’s recent international success with his Kungfu Hustle once again convinces the world that the legend continues, with a fringe of leftist film-makers), and nationalist Taiwan (anti-Communist propaganda movies with some sentimental middle-class melodramas), a red/dark age (1966 to 1976) for mainland China when the whole nation had little more than a dozen revolutionary war movies and eight “de-sexed” modern Peking operas and some imported from brother socialist countries then such as the Soviet Union, Yugoslavia, Albania and North Korea, and an age of renewal (since late 1970s) with new independent production companies in Hong Kong, the government-financed Central Motion Picture Corporation in Taiwan starting Dances with Discursive Ghosts 29 new productions of films directed by new talents such as Edward Yang, Hou Hsiao-hsien, and Ang Lee, and mainland China catching up with productions of sensuous melodramas by directors like Xie Jin and the dazzling rise of the Fifth Generation (mainly graduated from Beijing Film Academy in the early 1980s) who began directing movies from China’s marginalized studios such as the tiny Guangxi Film Studio (One and Eight directed by Zhang Junzhao in 1984 with Zhang Yimou as cinematographer) and gradually expanded their territory into the fiercely resistant centre of Chinese film industry.