Love and Duty: Translating Films and Teaching Online Through a Pandemic

The Chinese Film Classics project, launched in 2020, is an online research and teaching initiative aimed at making early Chinese films and cinema history more accessible to the general public. Led by Christopher Rea at the University of British Columbia, the project is centered on the website http://chinesefilmclassics.org and the companion YouTube channel Modern Chinese Cultural Studies. These two platforms together host new English translations of over two dozen Republican-era Chinese films, over two hundred film clips organized into thematic playlists, and a free online course of video lectures on Chinese film classics. This essay tells the story of how the Chinese Film Classics project grew from being a book project into a multiplatform translation, teaching, and publication project during the COVID-19 pandemic. Online teaching and social media publication involved multiple global storytellers: filmmakers, educators, translators, students, and the broader Internet public. How might moving things online change, or improve, the practice of cultural history? Rea highlights in particular the practical considerations facing the translator and gives examples of how, in a social media context, some of the stories are told not by creators and audiences but by data analytics.

Looking Backwards and Forwards: The Development of Film Art in the People’s Republic of China

The development of film art in the People’s Republic of China throughout the past 70 years can be roughly divided into two stages: before and after the reform and opening-up. During this period, Chinese films not only influenced the political, economic, social, and cultural spheres, but they also produced aesthetics with uniquely Chinese characteristics, distinguishing themselves on the world film stage. However, after 70 years of development, Chinese films still have many contradictions and problems, namely: how to deal with the relationships between education and entertainment, plan and market, tradition/China/subjectivity, and modernity/world/diversity. Prejudicial tendencies can be avoided with a dialectical view of these relationships, and a healthy, integrated, and developmental track can be achieved. With this new historical contextualization in mind, to realize the transformation from a big film country to a strong film country, Chinese films should keep pace with the country’s economic and social strategic development, enhancing their quality and making contributions to a culturally advanced country with many high-standard films in the new era.

The Current Problems of Aesthetic Creation in Chinese Film Art

Current market-led Chinese film production has made huge achievements. Market indicators certainly have their validity. However, the power of the market has been exaggerated so that it controls everything. Because of the disregard of film as an aesthetic object, the content, form and aesthetic sensibility of films have been neglected, preventing creation at a higher level. The loss of multiple cultural identities due to market factors and artistic indifference is hardly sustainable in the long run. In recent years, Chinese films have gradually improved their artistic aesthetics. How to reasonably coordinate the market and the realization of the value of art and culture itself is an urgent problem to be solved. Firstly, Chinese films should have creative imagination; secondly, Chinese films should have the artistic expression of the national core value of heroism; thirdly, Chinese films should have meticulous depictions of people. Under the perspective of aesthetic appreciation, it is a top priority for Chinese films to be more in line with reality and traditional aesthetic culture, and be more characterized in their creation.

The Hero Fallen: Zhang Yimou and the Question of Unstable Authorship

<p>When Zhang Yimou’s film, Hero (2002), was released it was one of the most successful Chinese films ever screened in American theaters. While many critics applauded the film’s aesthetics, other reviewers condemned the film for undermining the political potency of Zhang’s early films and promoting a fascist ideology. The interpretation of Hero as fascist propaganda has incited a controversy over the reception of the film that has penetrated academic as well as journalistic circles. A close look at this controversy reveals that there has been a tendency in the West to read a film and filmmaker in a manner predetermined by where they are from and the discourse that already exists. This ‘auto-reading’ or ‘auto-positioning’ tendency is symptomatic of a reliance on discourses of authorship and national cinema. The manner in which these discourses have permeated the way that the West has responded to Zhang and his films has given rise to three ‘recurring motifs:’ aesthetic virtuosity, cultural authenticity, and national politics. These motifs are characteristics which have been repeated so often that they became defining qualities of his authorship and have often determined the interpretation of his films. This thesis involves a mapping of the critical reception of Hero and the way it relates to Zhang’s prior work, his auteur status, and his relationship to the Chinese nation-state. Specifically, this thesis examines how the discursive reception of Zhang’s career and films provided the context out of which emerged the framework that justifies reading the film as fascist. Tracing the recurring motifs throughout the Western reception of Zhang’s films reveals the problematics of the reliance on the discourses of authorship and national cinema. This thesis will also explore Hero directly to investigate how the film’s ambiguities have contributed to the reading of the film as fascist but also how ambiguity facilitates the potential to interpret other meanings in the film.</p>

The Hero Fallen: Zhang Yimou and the Question of Unstable Authorship

<p>When Zhang Yimou’s film, Hero (2002), was released it was one of the most successful Chinese films ever screened in American theaters. While many critics applauded the film’s aesthetics, other reviewers condemned the film for undermining the political potency of Zhang’s early films and promoting a fascist ideology. The interpretation of Hero as fascist propaganda has incited a controversy over the reception of the film that has penetrated academic as well as journalistic circles. A close look at this controversy reveals that there has been a tendency in the West to read a film and filmmaker in a manner predetermined by where they are from and the discourse that already exists. This ‘auto-reading’ or ‘auto-positioning’ tendency is symptomatic of a reliance on discourses of authorship and national cinema. The manner in which these discourses have permeated the way that the West has responded to Zhang and his films has given rise to three ‘recurring motifs:’ aesthetic virtuosity, cultural authenticity, and national politics. These motifs are characteristics which have been repeated so often that they became defining qualities of his authorship and have often determined the interpretation of his films. This thesis involves a mapping of the critical reception of Hero and the way it relates to Zhang’s prior work, his auteur status, and his relationship to the Chinese nation-state. Specifically, this thesis examines how the discursive reception of Zhang’s career and films provided the context out of which emerged the framework that justifies reading the film as fascist. Tracing the recurring motifs throughout the Western reception of Zhang’s films reveals the problematics of the reliance on the discourses of authorship and national cinema. This thesis will also explore Hero directly to investigate how the film’s ambiguities have contributed to the reading of the film as fascist but also how ambiguity facilitates the potential to interpret other meanings in the film.</p>

The Great Wall: Understanding Chinese People's Psychology Through the Movie Context

Today, the study of Chinese films has attracted the attention of researchers, both in China and other countries. In this regard, this article aims to explore a Chinese movie Great Wall from a psychological perspective. The study uses a qualitative method with descriptive exposure. The researcher uses the Great Wall movie as a data source. The data collection technique is a documentary study. The data analysis technique is carried out with three stages: identification, classification, and reduction. The study's result indicates the psychology of Chinese people in facing the enemies, which raises the psychology of nationalism and justice in dealing with captured enemies. In relation to human psychology with western people, Chinese people raise attitudes related to cautiousness and cooperativeness with western people.

The translation of extralinguistic cultural references in subtitling

There has been substantial scholarly interest in extralinguistic cultural references (ECRs) in translation, especially in audiovisual translation (AVT). However, most scholars have investigated subtitling from English into other languages. Although China has a long tradition of film production, few studies have investigated the subtitling of ECRs from Chinese into English. This article attempts to remedy this by investigating the translation strategies, translation strategy distribution, and fidelity indexes of six subtitled versions of Chinese-language films. We compare our results with Gottlieb’s (2009) results on Danish subtitles, and find that both Chinese and Danish subtitlers hold a target-oriented attitude. We then investigate the share of the strategies in the subtitling of ECRs across different Chinese films and determine that this varies by genre and that the difference in the fidelity index among films of different genres is substantial. The translation of epic films appears to be highly faithful, whereas that of crime and gangster films is much less faithful.

“Man-as-Nation”: Representations of Masculinity and Nationalism in Wu Jing’s Wolf Warrior II

Through an in-depth analysis of gender representation in the box office record-breaking Chinese movie Wolf Warrior II, this study interrogates how the male body is used as a site for the projection of Chinese national power. Furthermore, it illustrates a revival of patriotic pride in China through a contemporary reading of cross-genre action-military films. Developing Shuqin Cui’s notion of “woman-as-nation,” which understands on-screen female victimization in Chinese films as signifying the past suffering of the nation, this study proposes the new concept of “man-as-nation” to explain how the masculine virtues of male protagonists in Chinese films signify the nation’s rejuvenation and strength. Framing male virtue into the paradigms of wu (武), as martial valor, and wen (文), as cultural attainment, this article argues that masculinity has come to symbolize China’s enhanced comprehensive power and to embody its ideological orientation in both global and domestic domains.

Symbols of Heroes in the Indonesian and Chinese Movies

The research aimed to compare a movie with the theme of heroes from Indonesia and China that must contain messages in seeing heroes, hero images, ideology, and even heroic culture the two countries. It explored 20 Indonesian and Chinese films with comparative literary perspectives related to the theme of heroism. The focuses of this research were (1) how could the image of the hero created by the film provide a view of each country’s people’s culture, (2) could the movies provided more detailed information on the policies of each country, (3) how could films strengthen the relationship between Indonesia and China. The approach used in this research was the comparative literary theory of the symbol of heroism that appears in Chinese and Indonesian films. The method used in this research was to use qualitative methods with a comparative literature perspective. The data source from the dialogue in the film “Merah Putih”, “Gie”, “Susi Susanti”, “Soekarno”, “Tanah Surga Katanya”, “3 Srikandi”, “Laskar Pemimpi”, “Guru Bangsa”, “Soegija”, “Jenderal Soedirman”, 攀登者 (The Climbers), 中国机长 (The Captain), 红海行动 (Operation Red Sea), 烈火英雄 (The Bravest),战狼 1 (Wolf Warrior 1), 战狼 2 (Wolf Warrior 2), 建国大业 (The Founding of A Republic), 建党大业 (Beginning of The Great Revival), 建军大业 (The Founding of An Army), 叶问 (IP Man). The data analysis technique used were (1) determining variables, (2) classification, (3) analysis, (4) conclusions. The results show that the symbols of heroism in Indonesian and Chinese films have similarities to the fight against colonialism, injustice, and class. The theme of heroism in the two countries’ films has striking differences, such as Chinese films are more concerned with collective characters’ obligations and interests, the film does not have an element of humor, the theme emphasizes conflicts with other countries. While Indonesia highlights individual characters’ views, movies still include comedy and emphasize domestic problems.