Jia Zhangke on Jia Zhangke is an extended dialogue between film scholar Michael Berry and the internationally acclaimed Chinese filmmaker. Drawing from extensive interviews and public talks, this volume offers a portrait of Jia's life, art, and approach to filmmaking. Jia and Berry's conversations range from Jia's childhood and formative years to extensive discussions of his major narrative films, including the classics Xiao Wu, Platform, The World, Still Life, and A Touch of Sin. Jia gives a firsthand account of his influences, analyzes the Chinese film industry, and offers his thoughts on subjects such as film music, working with actors, cinematography, and screenwriting. From industry and economics to art and politics, Jia Zhangke on Jia Zhangke represents the single most comprehensive document of the director's candid thoughts on the art and challenges of filmmaking.

Jia Zhangke on Jia Zhangke is an extended dialogue between film scholar Michael Berry and the internationally acclaimed Chinese filmmaker. Drawing from extensive interviews and public talks, this volume offers a portrait of Jia's life, art, and approach to filmmaking. Jia and Berry's conversations range from Jia's childhood and formative years to extensive discussions of his major narrative films, including the classics Xiao Wu, Platform, The World, Still Life, and A Touch of Sin. Jia gives a firsthand account of his influences, analyzes the Chinese film industry, and offers his thoughts on subjects such as film music, working with actors, cinematography, and screenwriting. From industry and economics to art and politics, Jia Zhangke on Jia Zhangke represents the single most comprehensive document of the director's candid thoughts on the art and challenges of filmmaking.

In the follow-up to the visionary Hospital, Yang Wei discovers that there’s more to the mysterious hospital than meets the eye—and none of it is as it seems. Yang Wei wakes to find himself still a patient at the hospital. Somehow, he’s aged decades overnight and is confined to the geriatric ward on a massive Hospital ship as it floats along a bloodred sea full of unsightly things. But human remains and sea nymphs are perhaps nothing compared to the goings-on belowdecks. The doctors are nowhere to be found, replaced by a procession of medical robots from whom, of course, no information can be gleaned. So Yang Wei, along with a small group of patients—all just as aged as he is—venture out to explore the uncharted depths of the ship and the answers that are surely hidden within. As they delve deeper into both the ship and why they’re on it, every uncovered secret comes with its own questions. The only thing Yang Wei can be sure of is that the more he learns, the less he understands…and the less he truly wants to know.

High stakes drama starring Sam Riley, Jason Statham, Mickey Rourke and Ray Winstone. The family of Vince Ferro (Riley) are in grave need of money to pay medical bills. When Vince hears of the death of a man who was due to start a well paid job, he steals a letter addressed to the man and heads to New York to try and assume his identity. The ploy works and Vince is taken to the place of his employment but the 'job' is unusual to say the least. Vince finds himself forced to participate in a game of Russian roulette where the winner takes home a fortune and the losers go home in a body bag. Wealthy men, such as Jasper (Statham) - who has entered his less fortunate brother, Ronald (Winstone), into the event - bet on the outcome. Can Vince find a way to survive the horrifying game?

This work delves into the act of reporting on different cultures as a means of exploring our own. The way culture is presented to the media highlights various international and intercultural dynamics, as well as the complexity involved in reporting from a cultural standpoint. Reporting Cultures in 60 Minutes is a study covering the journalistic practice of reporting culture by examining "Tango Finlandia," a broadcast report on Finnish culture produced by the American television news magazine 60 Minutes. It covers the journalistic practice of reporting culture broadly by looking specifically at Finns and Americans reporting about their respective homelands and about the other's culture and social interactions. Unique in its content and approach, this volume: Demonstrates how reports are constructed as deeply cultural forms, couched in points of view derived from one's discursive habits and their meanings. Analyzes reporting done in professional practice/journalism as well as in common social routine. Offers a way through the process that can move reporting on culture from a self-reflective mirror to opening a window onto another cultural world. Scholars and students in communication, intercultural/international studies, and related areas will find much to consider in this work

Over the past four decades, rap and hip hop culture have taken a central place in popular music both in the United States and around the world. Listening to Rap: An Introduction enables students to understand the historical context, cultural impact, and unique musical characteristics of this essential genre. Each chapter explores a key topic in the study of rap music from the 1970s to today, covering themes such as race, gender, commercialization, politics, and authenticity. Synthesizing the approaches of scholars from a variety of disciplines-including music, cultural studies, African-American studies, gender studies, literary criticism, and philosophy-Listening to Rap tracks the evolution of rap and hip hop while illustrating its vast cultural significance. The text features more than 60 detailed listening guides that analyze the musical elements of songs by a wide array of artists, from Afrika Bambaataa and Grandmaster Flash to Nicki Minaj, Jay-Z, Kanye West, and more. A companion website showcases playlists of the music discussed in each chapter. Rooted in the understanding that cultural context, music, and lyrics combine to shape rap's meaning, the text assumes no prior knowledge. For students of all backgrounds, Listening to Rap offers a clear and accessible introduction to this vital and influential music.

Over the past four decades, rap and hip hop culture have taken a central place in popular music both in the United States and around the world. Listening to Rap: An Introduction enables students to understand the historical context, cultural impact, and unique musical characteristics of this essential genre. Each chapter explores a key topic in the study of rap music from the 1970s to today, covering themes such as race, gender, commercialization, politics, and authenticity. Synthesizing the approaches of scholars from a variety of disciplines-including music, cultural studies, African-American studies, gender studies, literary criticism, and philosophy-Listening to Rap tracks the evolution of rap and hip hop while illustrating its vast cultural significance. The text features more than 60 detailed listening guides that analyze the musical elements of songs by a wide array of artists, from Afrika Bambaataa and Grandmaster Flash to Nicki Minaj, Jay-Z, Kanye West, and more. A companion website showcases playlists of the music discussed in each chapter. Rooted in the understanding that cultural context, music, and lyrics combine to shape rap's meaning, the text assumes no prior knowledge. For students of all backgrounds, Listening to Rap offers a clear and accessible introduction to this vital and influential music.

This work delves into the act of reporting on different cultures as a means of exploring our own. The way culture is presented to the media highlights various international and intercultural dynamics, as well as the complexity involved in reporting from a cultural standpoint. Reporting Cultures in 60 Minutes is a study covering the journalistic practice of reporting culture by examining "Tango Finlandia," a broadcast report on Finnish culture produced by the American television news magazine 60 Minutes. It covers the journalistic practice of reporting culture broadly by looking specifically at Finns and Americans reporting about their respective homelands and about the other's culture and social interactions. Unique in its content and approach, this volume: Demonstrates how reports are constructed as deeply cultural forms, couched in points of view derived from one's discursive habits and their meanings. Analyzes reporting done in professional practice/journalism as well as in common social routine. Offers a way through the process that can move reporting on culture from a self-reflective mirror to opening a window onto another cultural world. Scholars and students in communication, intercultural/international studies, and related areas will find much to consider in this work

A twisted, wildly imaginative tale of one man's mysterious illness and his journey through a dystopian hospital system. When Yang Wei travels to C City for work, he expects nothing more than a standard business trip. A break from his day-to-day routine, a good paycheck, a nice hotel-nothing too extravagant, of course. No fuss, but all the amenities. But this is where his problems begin. A complimentary bottle of mineral water from the hotel minibar results in sudden and debilitating stomach pain, followed by unconsciousness. When he wakes three days later, things don't improve; they get worse. With no explanation, the hotel forcibly sends him to a hospital for examination. There, he receives no diagnosis, no discharge date...just a diligent guide to the labyrinthine medical system he's now circulating through. Armed with nothing but his own confusion, Yang Wei travels deeper into the inner workings of the hospital and the secrets it's hiding from the patients. As he seeks escape and answers, one man's illness takes him on a quest through a corrupt system and his own troubled mind.

Hydraulic Fracturing effectively busts the myths associated with hydraulic fracturing. It explains how to properly engineer and optimize a hydraulically fractured well by selecting the right materials, evaluating the economic benefits of the project, and ensuring the safety and success of the people, environment, and equipment. From data estimation to design, operation, and performance management, the text presents a logical, step-by-step process for hydraulic fracturing that aids in proper engineering decision making when stimulating a particular reservoir. Numerous problem sets reinforce the learning and aid in risk assessment. Additional material is available from the CRC Press website.

The portrayal of historical atrocity in fiction, film, and popular culture can reveal much about the function of individual memory and the shifting status of national identity. In the context of Chinese culture, films such as Hou Hsiao-hsien's "City of Sadness" and Lou Ye's "Summer Palace" and novels such as Ye Zhaoyan's "Nanjing 1937: A Love Story" and Wang Xiaobo's "The Golden Age" collectively reimagine past horrors and give rise to new historical narratives.

Michael Berry takes an innovative look at the representation of six specific historical traumas in modern Chinese history: the Musha Incident (1930); the Rape of Nanjing (1937-38); the February 28 Incident (1947); the Cultural Revolution (1966-76); Tiananmen Square (1989); and the Handover of Hong Kong (1997). He identifies two primary modes of restaging historical violence: "centripetal trauma," or violence inflicted from the outside that inspires a reexamination of the Chinese nation, and "centrifugal trauma," which, originating from within, inspires traumatic narratives that are projected out onto a transnational vision of global dreams and, sometimes, nightmares.

These modes allow Berry to connect portrayals of mass violence to ideas of modernity and the nation. He also illuminates the relationship between historical atrocity on a national scale and the pain experienced by the individual; the function of film and literature as historical testimony; the intersection between politics and art, history and memory; and the particular advantages of modern media, which have found new means of narrating the burden of historical violence.

As Chinese artists began to probe previously taboo aspects of their nation's history in the final decades of the twentieth century, they created texts that prefigured, echoed, or subverted social, political, and cultural trends. "A History of Pain" acknowledges the far-reaching influence of this art and addresses its profound role in shaping the public imagination and conception-as well as misconception-of modern Chinese history.

On October 27, 1930, during a sports meet at Musha Elementary School on an aboriginal reservation in the mountains of Taiwan, a bloody uprising occurred unlike anything Japan had experienced in its colonial history. Before noon, the Atayal tribe had slain one hundred and thirty-four Japanese in a headhunting ritual. The Japanese responded with a militia of three thousand, heavy artillery, airplanes, and internationally banned poisonous gas, bringing the tribe to the brink of genocide. Nearly seventy years later, Chen Guocheng, a writer known as Wu He, or "Dancing Crane," investigated the Musha Incident to search for any survivors and their descendants. Remains of Life, a milestone of Chinese experimental literature, is a fictionalized account of the writer's experiences among the people who live their lives in the aftermath of this history. Written in a stream-of-consciousness style, it contains no paragraph breaks and only a handful of sentences. Shifting among observations about the people the author meets, philosophical musings, and fantastical leaps of imagination, Remains of Life is a powerful literary reckoning with one of the darkest chapters in Taiwan's colonial history.

On October 27, 1930, during a sports meet at Musha Elementary School on an aboriginal reservation in the mountains of Taiwan, a bloody uprising occurred unlike anything Japan had experienced in its colonial history. Before noon, the Atayal tribe had slain one hundred and thirty-four Japanese in a headhunting ritual. The Japanese responded with a militia of three thousand, heavy artillery, airplanes, and internationally banned poisonous gas, bringing the tribe to the brink of genocide. Nearly seventy years later, Chen Guocheng, a writer known as Wu He, or "Dancing Crane," investigated the Musha Incident to search for any survivors and their descendants. Remains of Life, a milestone of Chinese experimental literature, is a fictionalized account of the writer's experiences among the people who live their lives in the aftermath of this history. Written in a stream-of-consciousness style, it contains no paragraph breaks and only a handful of sentences. Shifting among observations about the people the author meets, philosophical musings, and fantastical leaps of imagination, Remains of Life is a powerful literary reckoning with one of the darkest chapters in Taiwan's colonial history.

A twisted, wildly imaginative tale of one man's mysterious illness and his journey through a dystopian hospital system. When Yang Wei travels to C City for work, he expects nothing more than a standard business trip. A break from his day-to-day routine, a good paycheck, a nice hotel-nothing too extravagant, of course. No fuss, but all the amenities. But this is where his problems begin. A complimentary bottle of mineral water from the hotel minibar results in sudden and debilitating stomach pain, followed by unconsciousness. When he wakes three days later, things don't improve; they get worse. With no explanation, the hotel forcibly sends him to a hospital for examination. There, he receives no diagnosis, no discharge date...just a diligent guide to the labyrinthine medical system he's now circulating through. Armed with nothing but his own confusion, Yang Wei travels deeper into the inner workings of the hospital and the secrets it's hiding from the patients. As he seeks escape and answers, one man's illness takes him on a quest through a corrupt system and his own troubled mind.

These two searingly funny and unsettling portraits of teenagers beyond the control and largely beneath the notice of adults in 1980s Taiwan are the first English translations of works by Taiwan's most famous and best-selling literary cult figure. Chang Ta-chun's intricate narrative and keen, ironic sense of humor poignantly and piercingly convey the disillusionment and cynicism of modern Taiwanese youth.

Interweaving the events between the birth of the narrator's younger sister and her abortion at the age of nineteen, the first novel, "My Kid Sister, " evokes the complex emotional impressions of youth and the often bizarre social dilemmas of adolescence. Combining discussions of fate, existentialism, sexual awakening, and everyday "absurdities" in a typically dysfunctional household, it documents the loss of innocence and the deconstruction of a family.

In "Wild Child, " fourteen-year-old Hou Shichun drops out of school, runs away from home, and descends into the Taiwanese underworld, where he encounters an oddball assortment of similarly lost adolescents in desperate circumstances. This novel will inevitably invite comparisons with the classic "The Catcher in the Rye, " but unlike Holden Caulfield, Hou isn't given any second chances. With characteristic frankness and irony, Chang's teenagers bear witness to a new form of cultural and spiritual bankruptcy.

"I always compare filmmaking to cooking. Shooting is like buying the groceries. You buy all kinds of ingredients and the better ingredients you get, the better chance you have of making the movie you want."--Ang Lee, from "Speaking in Images"

"Speaking in Images" offers an engaging and rare collection of interviews with the directors who have changed the face of Chinese and international cinema. Michael Berry's discussions with such directors as Ang Lee ( "Crouching Tiger, Hidden Dragon"), Zhang Yimou ( "Hero"), Chen Kaige ( "Farewell My Concubine"), Stanley Kwan ( "Lan Yu"), Tsai Ming-Liang ( "Vive l'Amour"), Edward Yang ( "Yi Yi"), and Hou Hsiao-hsien ( "Flowers of Shanghai") offer an eclectic and comprehensive portrait of contemporary Chinese cinema.

In interviews that capture each filmmaker's unique vision, the subjects discuss their formative years, the ideas and influences that shaped their work, film aesthetics, battles with censors and studios, the mingling of commercial and art film, and the future of Chinese cinema in a transnational context. Berry's introduction to the collection provides an overview of Chinese cinema in the second half of the twentieth century, placing the directors and their work in a wider historical and cultural context.

Set in post-World War II Shanghai, "The Song of Everlasting Sorrow" follows the adventures of Wang Qiyao, a girl born of the "longtong," the crowded, labyrinthine alleys of Shanghai's working-class neighborhoods.

Infatuated with the glitz and glamour of 1940s Hollywood, Wang Qiyao seeks fame in the Miss Shanghai beauty pageant, and this fleeting moment of stardom becomes the pinnacle of her life. During the next four decades, Wang Qiyao indulges in the decadent pleasures of pre-liberation Shanghai, secretly playing mahjong during the antirightist Movement and exchanging lovers on the eve of the Cultural Revolution. Surviving the vicissitudes of modern Chinese history, Wang Qiyao emerges in the 1980s as a purveyor of "old Shanghai"--a living incarnation of a new, commodified nostalgia that prizes splendor and sophistication--only to become embroiled in a tragedy that echoes the pulpy Hollywood noirs of her youth.

From the violent persecution of communism to the liberalism and openness of the age of reform, this sorrowful tale of old China versus new, of perseverance in the face of adversity, is a timeless rendering of our never-ending quest for transformation and beauty.

"I always compare filmmaking to cooking. Shooting is like buying the groceries. You buy all kinds of ingredients and the better ingredients you get, the better chance you have of making the movie you want."--Ang Lee, from "Speaking in Images"

"Speaking in Images" offers an engaging and rare collection of interviews with the directors who have changed the face of Chinese and international cinema. Michael Berry's discussions with such directors as Ang Lee ( "Crouching Tiger, Hidden Dragon"), Zhang Yimou ( "Hero"), Chen Kaige ( "Farewell My Concubine"), Stanley Kwan ( "Lan Yu"), Tsai Ming-Liang ( "Vive l'Amour"), Edward Yang ( "Yi Yi"), and Hou Hsiao-hsien ( "Flowers of Shanghai") offer an eclectic and comprehensive portrait of contemporary Chinese cinema.

In interviews that capture each filmmaker's unique vision, the subjects discuss their formative years, the ideas and influences that shaped their work, film aesthetics, battles with censors and studios, the mingling of commercial and art film, and the future of Chinese cinema in a transnational context. Berry's introduction to the collection provides an overview of Chinese cinema in the second half of the twentieth century, placing the directors and their work in a wider historical and cultural context.

The portrayal of historical atrocity in fiction, film, and popular culture can reveal much about the function of individual memory and the shifting status of national identity. In the context of Chinese culture, films such as Hou Hsiao-hsien's "City of Sadness" and Lou Ye's "Summer Palace" and novels such as Ye Zhaoyan's "Nanjing 1937: A Love Story" and Wang Xiaobo's "The Golden Age" collectively reimagine past horrors and give rise to new historical narratives.

Michael Berry takes an innovative look at the representation of six specific historical traumas in modern Chinese history: the Musha Incident (1930); the Rape of Nanjing (1937-38); the February 28 Incident (1947); the Cultural Revolution (1966-76); Tiananmen Square (1989); and the Handover of Hong Kong (1997). He identifies two primary modes of restaging historical violence: "centripetal trauma," or violence inflicted from the outside that inspires a reexamination of the Chinese nation, and "centrifugal trauma," which, originating from within, inspires traumatic narratives that are projected out onto a transnational vision of global dreams and, sometimes, nightmares.

These modes allow Berry to connect portrayals of mass violence to ideas of modernity and the nation. He also illuminates the relationship between historical atrocity on a national scale and the pain experienced by the individual; the function of film and literature as historical testimony; the intersection between politics and art, history and memory; and the particular advantages of modern media, which have found new means of narrating the burden of historical violence.

As Chinese artists began to probe previously taboo aspects of their nation's historyin the final decades of the twentieth century, they created texts that prefigured, echoed, or subverted social, political, and cultural trends. "A History of Pain" acknowledges the far-reaching influence of this art and addresses its profound role in shaping the public imagination and conception-as well as misconception-of modern Chinese history.

China, poised to become the world's largest film market, is home to an expansive state-supported movie and television industry. On an unparalleled scale, entire towns have been built around making movies. Given film censorship codes in China, period films provide a safe and familiar format to tell stories based around "official" narratives. The movie sets, rivaling real-world cities and monuments in their scale, have themselves become destinations for domestic and international tourists. Despite the fiction, they bear witness to a dynamic and changing China. Photographer Mark Parascandola, has spent five years photographing movie production sites and outdoor sets across China.

On October 27, 1930, members of six Taiwanese indigenous groups ambushed the Japanese attendees of an athletic competition at the Musha Elementary School, killing 134. The uprising came as a shock to Japanese colonial authorities, whose response was swift and brutal. Heavy artillery and battalions of troops assaulted the region, spraying a wide area with banned poison gas. The Seediq from Mhebu, who led the uprising, were brought to the brink of genocide. Over the ensuing decades, the Musha Incident became seen as a central moment in Taiwan's colonial history, and different political regimes and movements have seized on it for various purposes. Under the Japanese, it was used to attest to the "barbarity" of Taiwan's indigenous tribes; the Nationalist regime cited the uprising as proof of the Taiwanese peoples' heroism and solidarity with the Chinese in resisting the Japanese; and pro-independence groups in Taiwan have portrayed the Seediq people and their history as exemplars of Taiwan's "authentic" cultural traditions, which stand apart from that of mainland China. This book brings together leading scholars to provide new perspectives on one of the most traumatic episodes in Taiwan's modern history and its fraught legacies. Contributors from a variety of disciplines revisit the Musha Incident and its afterlife in history, literature, film, art, and popular culture. They unravel the complexities surrounding it by confronting a history of exploitation, contradictions, and misunderstandings. The book also features conversations with influential cultural figures in Taiwan who have attempted to tell the story of the uprising.