Chinese Fan

Film in China

Name: Aurora Lloro

Title of Article: Film in China: Modern World

Author: Jing Luo

Name of Publication: Daily Life through History

Date of Publication: 9, Nov 2011

Source of Article: Daily Life through History

http://dailylife2.abc-clio.com/Search/Display/1423223?terms=china

Summary: The development of film in china since its early beginnings can be divided into three time periods. The first time period was from 1949 to 1966, when the newly develop republic of China used film as a tool to transmit communist ideologies and propaganda. During this period hundreds of feature films and documentaries were produced under the sponsorship of the newly founded Chinese Communist government. The second time period occurred from 1966 to 1976, which was called the Cultural Revolution. During this time period the film industry was severely restricted. Often film producers were exiled or forced to work in labor camps, just like thousands of other Chinese intellectuals. Artistic liberties during this period were cut. The reason for the restrictions was that films made during this era were aimed to attack the old ideas, old culture, old customs, and old habits—in order to bring the areas of education, art, and literature in line with a hard-line Communist ideology. The third period began in the 1980s, when the Chinese government decided to open its economy to market demand. The Chinese film industry started to enjoy greater freedom and prosperity in this period. In recent decades, Chinese films have found success with international audiences.

Luo, Jing. "Film in China: Modern World." Daily Life through History. ABC-CLIO, 2011. Web. 9 Nov. 2011.

The Flower-Sitting Chair

Vocabulary:

Dowry- Money or property brought by a bride to her husband at marriage.

Mourning- The actions or expressions of one who has suffered a lost of a love ones.

Weep- To tears as an expressions of emotion.

Embroidered- To ornament with needlework.

Tribulation- A state of suffering or distress.

Regalia- The emblems and symbols of royalty.

Palanquin- A covered litter carried on poles on the shoulders of four or more people.

Broth- The water in which meat, fish or vegetables have been boiled.

Tilted- To incline in an angle, to cause a slope.

Chamber- A room in the house, especially a bedroom.

 

The Flower-Sitting Chair

Summary:

This chapter is mainly about Lily's wedding preparations. It starts by Madame Wang telling a story about a young married woman and everything she had to endure through marriage. The story served as a guideline with good morals and tips of how to be a good wife. 

Next it jumps to the pre wedding ceremonies, one of them consisted in the bride not eating in the final 10 days before the wedding. During this time she also gets to meet her in-laws where she gets their approval on the marriage. Her mother in-law ended up sympathizing with Lily.

After this, they take Lily to their village where she will meet her future husband. Before she left she received a letter from Snow Flower where she stated that she was afraid that Lily would forget her. Lily felt horrible that she read the letter after she left and could not tell Snow Flower that she will always remember her.

The chapter ends with Lily getting married and feeling anxious about seeing Snow Flower on her third day of marriage when they read books written for her, but Snow Flower never showed-up. 

Chinese Art Paintings of Zou Chuan-an

Realism and Romanticism in China

Name: Aurora Lloro

Date: October 4, 2011

Title of Article: Revolutionary realism and romanticism in China: Modern World

Author: Luo, Jing

Name of Publication: Daily Life through History

Date of Publication: 4, Oct, 2011

Source of Article: Daily Life through History
http://dailylife2.abc-clio.com/Search/Display/1423384?terms=chinese+art

Summary: This article is about the realism and romanticism in literary works in China. Mao Zedong was a Chinese Communist revolutionary, guerrilla warfare strategist, and most important a Marxist political philosopher who was the first to put forward the policy of revolutionary realism and revolutionary romanticism. Mao said that the content of a poem should be "the unity of realism and romanticism" because people would not be able to compose poems at all if they were too realistic. Two important shifts can be found in this new policy. First, China's own literary tradition was emphasized. The other important shift in this new policy was the stress on romanticism. As a literary method or mode, romanticism was almost as popular as realism in China after the 1910s, but after 1942, especially in the Communist-controlled Liberated Areas, romanticism became much less preferred because realism was thought to be a better artistic mode in describing reality and encouraging readers to actively involve themselves in society. There was a lot of controversy after Mao's new teaching was announced; hot discussions appeared about the difference between revolutionary realism and conventional realism, and the relationship between socialist realism and Mao's "revolutionary realism." At the end it was generally agreed that Mao's instruction was the most progressive method for advancing China's literature and art.

Luo, Jing. "Revolutionary Realism and Romanticism in China: Modern World." Daily Life through History. ABC-CLIO, 2011. Web. 3 Nov. 2011.