Zhang Yuan

When the call of the Yellow Mocker woke her, Charity raised up to look out the window- perched on a limb in the tree near the window, the mockingbird set, singing his bothersome tune and staring in at her. Looking over to where Henry lay sleeping beside her on the bed, she longed to cuddle up beside him and shut the outside world away, but the mocker’s beckoning call stirred her to action. For months, she had dreaded this day coming; no mother should ever have to watch their child die. Rising slowly

28 years have passed since the first collaboration between the awarded Chinese filmmaker, Zhang Yimou, and the renowned actress, Gong Li. That first movie was “Red Sorghum” - not really one of my favorites - and their successful association would become stronger in subsequent essential dramas, all of them from the 90’s, cases of “Ju Dou”, “Raise the Red Lantern”, “The Story of Qiu Ju”, “To Live”, and “Shanghai Triad”. Now, they reunite one more time in “Coming Home”, eight years after “The Curse

has the most trouble assimilating to the domestic life of servitude that is expected of her. The harsh traditions and expectations present in the manor are made clear through Yimou Zhang’s use of framing. The vastness of the manor is assumed however Zhang choses to show limited areas neatly framed in geometric symmetry. Characters in the shot are always framed within a structure of the manor and placed carefully in each frame so not to disturb the symmetry and order in each shot. The precision of the

To continue, we will be analysing a sequence of Zhang Yimou’s Hero all whilst considering its mise en scene, cinematography, editing, sound and performance. This sequence is approximately 50 minutes into the film. It takes place during the second recount of Sky, Flying Snow and Broken Sword’s supposed assassinations by Nameless: The King of Qin’s imagined version of the events. It takes place at a lake, where Nameless, whom had previously killed Flying Snow, fights Broken Sword over her death.

Color Emphasis in Raise the Red Lantern Chen Ning (Jenny) Yen 58935107 ASIA 355 Professor Rui Wang 23/11/2012 Scholars and film critiques have often regarded the fifth-generation film Director, Zhang Yi Mou’s films as a visually sensual feast (Zhu 26). The predominant use of the color Red in his highly stylized films: Red Sorghum (1988), Ju Dou and Raise the Red Lantern (1991) are evidence of his trademark visual style thus leading scholars to critically

Zhang Yimou directed both the critically acclaimed House of Flying Daggers and the visual masterpiece Curse of the Golden Flower, movies with wuxia influences which are not only popular locally, but overseas as well. Yimou infuses his films with several themes that reinforce the Chinese tradition of upholding social, political, and natural norms. Despite their differences and due to their similarities, House of Flying Daggers and Curse of the Golden Flower emphasize the importance of obeying authority

Zhang Yimou’s To Live is a powerful indictment of communist authoritarian rule and blind patriotism. The film places the viewer in the position of an insider as the Communist Revolution alters the political and social landscape of China. By using dramatic irony, Zhang Yimou appraises communist collectivist culture, class structure and power in revolutionary China, and the Cultural Revolution. In addition, by using shadow puppetry as a symbol of indoctrination, Zhang Yimou examines the link between

1. Grendel is a character in who poses more capabilities than a normal human being. The presentation in the novel portrays him as a demon. The novel makes him look like the devil himself is controlling him. The novel has a hero who is Beowulf. Ironically, Grendel also has his own powers and acts which make him seem like a hero although he is not the main hero in the play. He uses his powers and little intelligence to threaten and instill fear in others, such as Danes, so that he can win. Grandel

One of the most significant changes occurred in the wake of the Cultural Revolution. During the revolution itself, China was virtually cut off from the rest of the world in a form of extreme “cultural protectionism” (Hong, 1998, p.2). There was a severe lack of cultural imports during the Cultural Revolution, regardless of whether they were industrial or cultural imports. However, under Deng Xiaoping’s leadership, an era of reform began in China. The nation began to open itself up politically and

Many of the greatest inventions ever to be created were coined in ancient China. Soap, gunpowder, even alcohol was first made in China, long ago. The clock, however, is, I believe, the most important of all the great chinese inventions. It tells us when to get up in the morning, when to be at school, at work, how long to brush your teeth, everything! The world runs completely on time, and it’s all because of a certain man who changed the course of the future by just wanting to find out how to tell