“Green Seedlings” (Photo courtesy of the China Disabled People’s Performing Art Troupe)
Monday, December 1, 4:30-6:00PM
Logan Center Seminar Terrace Room, 801 (915 E 60th Street)
Yan Haiping (Chair of Foreign Languages and Literatures, Tsinghua University)
“My Dream: The Intermedial Turn in Contemporary Chinese Performing Arts”
On Monday, December 1, please join APEA and the Theater and Performance Studies Workshop for a discussion of Yan Haiping’s article “My Dream: The Intermedial Turn in Contemporary Chinese Performing Arts.” The article is available here (please contact Nicholas Lambrecht at email@example.com if you need assistance accessing the file).
Yan Haiping is a former full professor of Critical Studies in the School of Theatre, Film and Television at UCLA and professor of Theatre, Comparative Literature, and East Asian Studies at Cornell University, and has also been a University Professor of Cross-Cultural Studies at Shanghai Jiaotong University and a Fellow at the Cornell Institute for the Study of Economy and Society, Cornell University. She is currently the Chair of Foreign Languages and Literatures, Vice Dean of the College of the Humanities, and Dean of the Tsinghua Institute for World Literatures and Cultures at Tsinghua University.
Please note the special day, time, and location of this meeting. The Theater and Performance Studies Workshop is also hosting a dinner at the Snail following the presentation. To RSVP, please contact Amy Stebbins (firstname.lastname@example.org) or Anne Rebull (email@example.com) by Saturday evening at 5PM. We look forward to seeing you there!
Wang Renmei, “the wildcat of Shanghai”
Thursday, November 6, 4:30-6:30PM in CEAS 319 (1155 E 60th St)
Richard J. Meyer (President Emeritus, San Francisco Silent Film Festival)
“Politics in the Shanghai Film Industry in Republican China: The Case of Wang Renmei”
On Thursday, November 6, please join us for a presentation by Richard Meyer, author of Ruan Ling-yu: The Goddess of Shanghai and Jin Yan: The Rudolph Valentino of Shanghai. Meyer’s recent work on Wang Renmei “explores her artistic achievements amid the prevalent anti-feminist and feudal society in China prior to the founding of the People’s Republic in 1949,” and shows that “[her] life is emblematic of the experiences of many left-wing and Communist Party members from the Shanghai film community who were viewed with suspicion and enmity by the Yan’an clique headed by Mao and later the Gang of Four” (Columbia University Press).
Please note the special day and time of this presentation. Light refreshments will be served at the workshop.
This event has been rescheduled for January 25:
Chunchun Ting, PhD Candidate in EALC
The “Besieged City” – Ann Hui’s Cinematic Portraits of the Homely and the Unhomely
This paper focuses on the “besieged city” of Tin Shui Wai, a remote new town in Hong Kong made infamous by its shocking number of family murder and suicide cases. In both its generic urban form and unique social tragedy, Tin Shui Wai is representative of the working class suburban towns expanding at the periphery of many cities. My study pursues two lines of inquiry. The first one examines family dysfunction in a bedroom community like Tin Shui Wai to consider the relation between the actual space of the home and its urban setting. My second question is specifically about media representation of the disadvantaged and dispossessed. As Tin Shui Wai’s heightened media exposure raised public sympathy and provoked social discrimination, its case questions the relationship between visibility and empowerment, and interrogates the claim of Hong Kong as a collective home by drawing attention to its internal exclusion. I look at Hong Kong director Ann Hui’s two films on this neighborhood – The Way We Are (2008) and Night and Fog (2009) – to explore these two sets of questions. I contrast the homely portrait of a single-parent household in The Way We Are with the attempt to capture a sense of uncanny in Night and Fog. While the former attests to the resilience and agency of ordinary people in reshaping their environment and community, the latter reveals Tin Shui Wai’s built environment as a misleading urban façade concealing a diametrically opposed social reality. As the two films follow the movement from the homely to the unhomely, they form an important whole that provides fresh insights into Tin Shui Wai and the contemporary world, by leading their viewers to look at individual lives in this ill-famed neighborhood, and to reflect on a more general human condition that far exceeds the boundary of the “besieged city.”
Ting’s talk will be held on Friday, January 25 from 3:00-5:00, in Judd Hall, room 313.
This workshop is sponsored by the Council on Advanced Studies in the Humanities. Persons who believe they may need assistance to participate fully, please contact the coordinator (Joshua Solomon) in advance at: firstname.lastname@example.org