Podcast appearances and mentions of wang xiaoshuai

In this episode of the Granta Podcast, we speak to the film director Wang Xiaoshuai, known for the films Beijing Bicycle (2001) and So Long, My Son (2019). We discuss Wang Xiaoshuai's thoughts on the porosity between literature and cinema, and the challenges facing independent filmmakers today. Follow these links to subscribe to the podcast on Spotify and Apple Podcasts.Leo Robson is a cultural journalist whose work has appeared in the London Review of Books, the New Yorker, and the New Left Review. Josie Mitchell is senior editor at Granta. 

Imagine to be trapped in an Hotel because Covid is spreading everywhere.Wang Xiaoshuai – The Hotel #RoFF17 was first posted on October 25, 2022 at 4:40 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm

Imagine to be trapped in an Hotel because Covid is spreading everywhere. The post Wang Xiaoshuai – The Hotel #RoFF17 appeared first on Fred Film Radio.

Imagine to be trapped in an Hotel because Covid is spreading everywhere. The post Wang Xiaoshuai – The Hotel #RoFF17 appeared first on Fred Film Radio.

Imagine to be trapped in an Hotel because Covid is spreading everywhere. The post Wang Xiaoshuai – The Hotel #RoFF17 appeared first on Fred Film Radio.

Imagine to be trapped in an Hotel because Covid is spreading everywhere. The post Wang Xiaoshuai – The Hotel #RoFF17 appeared first on Fred Film Radio.

Imagine to be trapped in an Hotel because Covid is spreading everywhere. The post Wang Xiaoshuai – The Hotel #RoFF17 appeared first on Fred Film Radio.

The Toronto International Film Festival celebrated its return to fully in-person festivities, and Carolyn had a great time screening interesting and thought-provoking films such as The Hotel, by Chinese filmmaker Wang Xiaoshuai, starring Ning Yuanyuan, Ye Du, Qu Ying and Huang Xiaolei.In this episode, Carolyn spoke to Wang about the way his film uses minimal aesthetics to create an atmosphere of loneliness and isolation for his characters, that any viewer would relate to, as the film portrays how being in lockdown is a universal phenomenon any viewer can relate to in this day and age.Lead by Ning Yuanyuan in her debut lead role as Sova, a 19-year-old struggling to come to terms with a rapidly changing world, The Hotel is from her perspective as she prepares to become 2O, the hotel is intriguing with an ending that'll make you gasp.Follow Carolyn on Twitter and Instagram @CarrieCnh12 Hosted on Acast. See acast.com/privacy for more information.

Xuesong Shao discusses her article "Restoring and Reimagining Socialist-Built Cities: Wang Xiaoshuai's 'Third Front Trilogy,'" from Telos 197 (Winter 2021).

A critical text by Giuseppe Di Salvatore on Wang Xiaoshuai's film «So Long, My Son», read by Amy Lombardi and edited by Jorge Cadena. [...] The epic tonality of the tale does not find its accomplishment in glory or victory, but in piety. In its exclamative climax we feel the breath of humanism.

En un nuevo episodio de Página 13, Iván Valenzuela junto a Ascanio Cavallo y Antonio Martínez, analizan la película "Hasta siempre, hijo mío" dirigida por Wang Xiaoshuai, que cuenta la historia de dos matrimonios se adaptan a los grandes cambios sociales y económicos que tienen lugar en China desde la década de 1970 hasta hoy. También revisan el film "Bacurau" del reconocido director brasileño Kleber Mendonça Filho, coodirigida con Juliano Dornelles. Esta película que retrata una pequeña ciudad brasileña en el oeste de Pernambuco, ganó el Premio del Jurado en el Festival de Cannes de 2019, haciéndose la segunda película brasileña de la historia en ser laureada en el certamen general. Además, comentan la cinta "Tom en la granja", del director Xavier Dolan, la película mexicana "El testamento de la abuela".

En un nuevo episodio de Página 13, Iván Valenzuela junto a Ascanio Cavallo y Antonio Martínez, analizan la película "Hasta siempre, hijo mío" dirigida por Wang Xiaoshuai, que cuenta la historia de dos matrimonios se adaptan a los grandes cambios sociales y económicos que tienen lugar en China desde la década de 1970 hasta hoy. También revisan el film "Bacurau" del reconocido director brasileño Kleber Mendonça Filho, coodirigida con Juliano Dornelles. Esta película que retrata una pequeña ciudad brasileña en el oeste de Pernambuco, ganó el Premio del Jurado en el Festival de Cannes de 2019, haciéndose la segunda película brasileña de la historia en ser laureada en el certamen general. Además, comentan la cinta "Tom en la granja", del director Xavier Dolan, la película mexicana "El testamento de la abuela".

[A Última Marca do Pantera] O último episódio do ano antes do Varanda Awards 2020 destaca três filmes lançados em streaming essa semana. A Voz Suprema do Blues é uma adaptação de uma peça de teatro de August Wilson, dirigida pelo dramaturgo George C. Wolfe, com poderosas interpretações de Viola Davis e Chadwick Boseman. As chances de Oscar para a dupla são grandes, mas o filme vai além disso com seu texto denso e atual sobre os bastidores de uma gravação de uma banda de blues na Chicago dos anos 20. A animação Wolfwalkers (28:00) é a terceira parte de uma trilogia de histórias folclóricas irlandeses do diretor Tomm Moore (que nesse filme divide a direção de Ross Stewart). Um caçador de lobos é enviado pela coroa britânica para a Irlanda para exterminar a última grande alcateia. A filha sonha em ser caçadora, se aventura sozinha pela floresta, e acaba salva por uma Wolfwalkers, uma garota que se transforma em lobo. Vencedor dos dois premiações de interpretação no Festival de Berlim 2019, o melodrama chinês Até Logo, Meu Filho (40:05) é mais um trabalho do cineasta Wang Xiaoshuai narrando as mudanças políticas e econômicas de seu país e refletindo sobre o quanto isso influencia a vidas da população. No Momento Belas Artes à La Carte recomendamos o grande clássico natalino de Frank Capra. No Puxadinho da Varanda os destaques são Mulher Maravilha 1984 e o documentário Até o Fim: a Luta pela Democracia. E, no Cantinho do Ouvinte, os comentários dos varandeiros sobre o episódio anterior. Bom Podcast!

In this episode we have the pleasure of introducing a very interesting academic voice, Alicia Hennig, Associate Professor of Business Ethics.  Her research focuses on Chinese philosophy and its application in organisations in the context of values, ethics and innovation. Working with Chinese as well as foreign companies in China, she continues to promote a better understanding of Chinese culture and thinking. This conversation with Alicia was very crucial to explore the embracing of  “embeddedness” (or entanglement). It’s about the critical need for organizations to see themselves as connected to the world they exist within. It turns out that Chinese philosophies, especially Daoism, are very much based on this concept of embeddedness. Daoism can provide Chinese management thinking with mindsets that seem to be rare in most of Western cultural traditions, and that may be more apt for a time of systemic shift.We also talk about the paradox between globalisation, technological progress and contextual, indigenous approaches to management - in relation with embeddedness. Will China’s next generation of managers resist the universalising power of technology, considering how the country has leap-frogged in recent decades? By not striving for coherence like most Western philosophies, perhaps Chinese thinking really is more resilient to such forces and can more easily provide a platform for evolution in management, as stories like that of Haier seem to demonstrate. Alicia also talks passionately about the role of education everywhere in the world to showcase the richness of philosophies, wishing that more universities and business schools would diversify their curriculum to include Chinese, but also Indian, African and other philosophical traditions. It’s indeed a shared passion that we want to continue to explore with her in the coming months. Remember that you can find the show notes and transcripts from all our episodes on our  Medium publication: https://medium.com/@Boundaryless_/62cbb75fce0f?source=friends_link&sk=ed34750fd83cea1009ad319b41c8fd2d  To find out more about Alicia’s work:> Website: www.newvirtues.com> LinkedIn: https://www.linkedin.com/in/alicia-hennig/ Other references and mentions:> Alicia Henning, Daoism in Management, 2017: https://link.springer.com/article/10.1007/s40926-015-0024-4> Laozi, Tao Te Ching: https://www.amazon.com/Lao-Tzu-Ching-about-Power/dp/1611807247 (here in Ursula K. Le Guin’s edition)> Zhuangzi, Zhuangzi: https://www.amazon.co.uk/Zhuangzi-Essential-Translations-Traditional-Commentaries/dp/0872209113/   > Explore novels by Yu Hua, Mo Yan, Yan Lianke, Liao Yiwu and Zhang Lijia. > Jia Zhangke’s “Ash is Purest White”: https://www.youtube.com/watch?v=aLab19dyAVA  > Wang Xiaoshuai’s “So Long, My Son”: https://www.youtube.com/watch?v=O4I88xcwME8 > Zhang Yimou’s  “Hero”: https://www.youtube.com/watch?v=uh-gwDRjKXA  > Michael Schuman, Superpower Interrupted, 2020: https://www.amazon.com/Superpower-Interrupted-Chinese-History-World/dp/1541788346   Find out more about the show and the research at Boundaryless at: www.platformdesigntoolkit.com/podcast Thanks for the ad-hoc music to Liosound / Walter Mobilio. Find his portfolio here: www.platformdesigntoolkit.com/music Recorded on 18 September 2020.

Michael Leader is back in the T&M host’s seat this week as critics Hannah Woodhead and Pamela Hutchinson offer their thoughts on two new releases. Honey Boy sees Shia LaBeouf play his own father in a semi-autobiographical study of child stardom, while Wang Xiaoshuai surveys China’s recent social and political past in So Long, My Son. And in Film Club, Jacques Demy’s classic musical The Umbrellas of Cherbourg gets a welcome theatrical re-run courtesy of the BFI. See acast.com/privacy for privacy and opt-out information.

El director se refiere a cómo la política china del hijo único ha influido en su película. The post Wang Xiaoshuai – Hasta siempre, hijo mío #67SSIF appeared first on Fred Film Radio.

El director se refiere a cómo la política china del hijo único ha influido en su película. The post Wang Xiaoshuai – Hasta siempre, hijo mío #67SSIF appeared first on Fred Spanish Channel » FRED Spanish Podcast. Wang Xiaoshuai – Hasta siempre, hijo mío #67SSIF was first posted on September 28, 2019 at 12:05 pm.©2015 "Fred Spanish Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm

Cinémaradio a vu le film SO LONG, MY SON  de Wang Xiaoshuai et avec Wang Jing-chun, Yong Mei, Qi Xi. Bobo Léon nous parle de ce drame chinois dans le podcast cinéma.  Retrouvez toutes nos critiques cinéma ainsi que les plus belles bandes originales de films sur Cinémaradio.  

#PODCAST |  Cinémaradio a vu le film SO LONG, MY SON  de Wang Xiaoshuai avec Wang Jing-chun, Yong Mei, Qi Xi. Bobo Léon nous parle de ce drame chinois dans le podcast cinéma.  Retrouvez toutes nos critiques cinéma ainsi que les plus belles bandes originales de films sur https://www.cinemaradio.net.  

To cap off this trilogy of festival dispatches, Judge Ben landed in Berlin to give you the low-down on Berlinale 2019! And how low can he go? Inbetween new movies from Joanna Hogg, Agnes Varda, and Wang Xiaoshuai, he's chatted with Rhys Handley (@RhysHandley2113) and Carmen Paddock (@CarmenChloie) to get some of their opinions on the festival's offerings. But which British film has taken a new approach to Brexit cinema? How well have the many Chinese entries fared? And will we ever actually see any of these movies in UK cinemas? All this and more, on another blistering Judge Movie. Follow us @judgemoviepod on twitter/instagram For full show notes and links visit judgemoviepod.wordpress.com

Chinese film director Wang Xiaoshuai spoke with us about the capturing three decades of his country's history through a personal tale of loss in his film. The post Wang Xiaoshuai – So Long, My Son #Berlinale2019 appeared first on Fred Film Radio.

Chinese film director Wang Xiaoshuai spoke with us about the capturing three decades of his country's history through a personal tale of loss in his film. The post Wang Xiaoshuai – So Long, My Son #Berlinale2019 appeared first on Fred Film Radio.

Chinese film director Wang Xiaoshuai spoke with us about the capturing three decades of his country's history through a personal tale of loss in his film. The post Wang Xiaoshuai – So Long, My Son #Berlinale2019 appeared first on Fred Film Radio.

Chinese film director Wang Xiaoshuai spoke with us about the capturing three decades of his country's history through a personal tale of loss in his film. The post Wang Xiaoshuai – So Long, My Son #Berlinale2019 appeared first on Fred Film Radio.

Chinese film director Wang Xiaoshuai spoke with us about the capturing three decades of his country's history through a personal tale of loss in his film. The post Wang Xiaoshuai – So Long, My Son #Berlinale2019 appeared first on Fred Film Radio.

Chinese film director Wang Xiaoshuai spoke with us about the capturing three decades of his country's history through a personal tale of loss in his film. The post Wang Xiaoshuai – So Long, My Son #Berlinale2019 appeared first on Fred Film Radio.

Wang Xiaoshuai entwirft in So Long, My Son einen Reigen aus Trennung und Wiedersehen, Joanna Hogg blickt in The Souvenir auf ihre Jugend im Thatcher-England zurück - und Stephan Geene verwandelt in SHAYNE das Leben eines Schlagerstars in ein buntes Mobile.

完整文稿请关注周日微信，或登录以下网址： http://english.cri.cn/7146/2014/09/12/2582s843947.htm This is NEWS Plus Special English. I'm Yun Feng in Beijing. Here is the news. A village in East China's Fujian Province has boosted rice production by playing soothing Buddhist music in their fields. Residents of Liangshan village claimed that output has grown by 15 percent since they began playing mantras and other chants on 500 lotus flower-shaped loudspeakers installed in the rice paddies. Local agriculture authorities said the almost 30 hectare area with music played also yielded overall larger grains, while paddies without music suffered from pests. While net users suggested the move was a public stunt, the village may not only have Buddha's blessing, but also have science on their side. Experts from China Agricultural University pointed out that certain sound waves, such as those found in the rhythmic chanting of mantras, can stimulate the pores on a plant's leaves to help better absorb sunlight. However, a local agricultural official said that only "positive music" helps growth, while rock music would probably harm it. This is NEWS Plus Special English. International film makers say that China deserves better international film festivals given its film industry's huge development in recent years in terms of technology and market. Director of the 71st Venice International Film Festival Alberto Barbera says that as far as technology is concerned, Chinese film industry is "the same quality as the American ones as there are many joint ventures between Hollywood studios and Chinese film production companies; and they share the same technology and studios". The director says the only thing that needs to be improved for the Chinese cinema is the fact that they now mostly producing films that are devoted to local market. He hopes China will make films for the international audience and contribute more in uplifting its international influence. He suggests that China will always focus on the quality of films on the first hand, since that is crucial for holding good film festivals, while noting that the concern on market is also a must. About the prospect of the Venice International Film Festival, the director says the festival will keep its own style, giving priority to the quality of films instead of market. The 71st Venice International Film Festival has been held from August 27th to September 6th this year. You are listening to NEWS Plus Special English. I'm Yun Feng in Beijing. A Chinese director says that for Chinese filmmakers, it remains a big challenge to make successful art-house films in a market saturated with commercial works. And that is why Chinese art-house films are often appreciated internationally only. Chinese filmmaker Wang Xiaoshuai came to Toronto International Film Festival for his film "Red Amnesia". Wang says "the thing in China is when you make a film, you'd better not say it's an art-house film; and if you do, it will die". Wang says another disadvantage is that there are only limited screen days for art-house films in China as commercial works always dominate theaters. Despite the obstacles, Wang says he will continue to do what satisfies him artistically, and make more Chinese audience in favor of these types of films. The success of his art-house film brings him hope. His noir thriller opened in China on March 19th with unexpected box office success, earning almost 13 million U.S. dollars in its first two weeks of screening. Wang says this has proved that there are people who want to see art-house films, but it needs time and space to link the audience, directors and producers together. This is NEWS Plus Special English. U.S researchers found that consumption of two or more servings of fish per week may reduce the risk of hearing loss in women. Acquired hearing loss is a highly prevalent and often disabling chronic health condition. Although a decline in hearing is often considered an inevitable aspect of aging, the identification of several potentially modifiable risk factors has provided new insight into possibilities for prevention or delay of acquired hearing loss. The study examined the associations between consumption of total and specific types of fish and self-reported hearing loss in women. The study followed 65,000 women for ten years and found 12,000 cases of incident hearing loss reported. When compared with women who rarely ate fish, women who had two or more servings of fish per week had a 20 percent lower risk of hearing loss. The study also shows that consumption of any type of fish, such as tuna, dark fish, light fish, or shellfish, tended to be associated with lower risk.

Wang Xiaoshuai, director, Red Amnesia Wang Xiaoshuai talks about the haunting thriller Red Amnesia, where an elderly Chinese lady is harassed in her daily life by someone who’s representing something from her past. Festival Section: International Competition Reporter: Bénédicte Prot The post Wang Xiaoshuai, Red Amnesia #venezia71 appeared first on Fred Film Radio.

Wang Xiaoshuai, director, Red Amnesia Wang Xiaoshuai talks about the haunting thriller Red Amnesia, where an elderly Chinese lady is harassed in her daily life by someone who’s representing something from her past. Festival Section: International Competition Reporter: Bénédicte Prot The post Wang Xiaoshuai, Red Amnesia #venezia71 appeared first on Fred Film Radio.

Wang Xiaoshuai, director, Red Amnesia Wang Xiaoshuai talks about the haunting thriller Red Amnesia, where an elderly Chinese lady is harassed in her daily life by someone who’s representing something from her past. Festival Section: International Competition Reporter: Bénédicte Prot The post Wang Xiaoshuai, Red Amnesia #venezia71 appeared first on Fred Film Radio.

Wang Xiaoshuai, director, Red Amnesia Wang Xiaoshuai talks about the haunting thriller Red Amnesia, where an elderly Chinese lady is harassed in her daily life by someone who’s representing something from her past. Festival Section: International Competition Reporter: Bénédicte Prot The post Wang Xiaoshuai, Red Amnesia #venezia71 appeared first on Fred Film Radio.

Wang Xiaoshuai, director, Red Amnesia Wang Xiaoshuai talks about the haunting thriller Red Amnesia, where an elderly Chinese lady is harassed in her daily life by someone who’s representing something from her past. Festival Section: International Competition Reporter: Bénédicte Prot The post Wang Xiaoshuai, Red Amnesia #venezia71 appeared first on Fred Film Radio.

Wang Xiaoshuai, director, Red Amnesia Wang Xiaoshuai talks about the haunting thriller Red Amnesia, where an elderly Chinese lady is harassed in her daily life by someone who’s representing something from her past. Festival Section: International Competition Reporter: Bénédicte Prot The post Wang Xiaoshuai, Red Amnesia #venezia71 appeared first on Fred Film Radio.

In his semi-autobiographical movie "11 Flowers," Wang Xiaoshuai has been extremely personal in presenting the spiritual and sexual awakening of a teenager. Moviegoers may identify with the film's sentiment, but still ask for more. The film is set in a rural town in southwest China in 1975, a year before the end of the Cultural Revolution. The 11-year-old boy Wang Han is receiving painting lessons from his father. His new artistic perspective encourages him to more closely observe the world around him, thus leading him to learn of a murder that the adults are gossiping about. Later, an in-person encounter with the murderer makes him contemplate the apparently peaceful – but actually tumultuous – lives of the adults' life at that time. At the same time he is also entering puberty. Known as one of the "sixth generation of Chinese cinema," Wang Xiaoshuai studied painting in middle school before he majored in directing at the Beijing Film Academy. The cinematography of "11 Flowers" is most impressive, and moviegoers can enjoy almost every shot like a classical painting. Certainly the picturesque shots help viewers absorb the nuanced feelings Wang is trying to convey, but an audience needs more than just beautiful, moving pictures. Wang is perhaps best known for his sensitive portrayal of young people, and this time the hook is his personal awakening, but he falls short of the mark. For one thing, the boy Wang Han is too mature for an 11-year-old. Portrayed as quiet and somewhat isolated from his fellow playmates, the boy is often shown in close-ups staring at something in the distance and lost in thought. The director may have wished to present the character as he once was, but in doing so he has totally missed the point of awakening. The father character is overly artsy. His longing for freedom may seem logical against the historical background, but seems odd for an obscure and ordinary man in a remote town. Moreover, his lessons on painting and Monet sound more bookish than fatherly. Perhaps the director is occupied too much with his personal feelings. In the length of 110 minutes he takes his time showing almost every detail he could manage about the lives in a rural town in 1975. His effort could very well appeal to the nostalgia of people who shared his experience, but for those who live outside the director's own personal experiences, the bulk of his message is lost in the distance between the viewer and the screen. Wang has spoiled himself with "11 Flowers." The richness of personal feelings gives the movie a humanistic touch, but the lack of depth in the characters and storyline may well leave viewers wishing for more. On my scale from one to ten, "11 Flowers" gets a five.

Between the summer and winter of 1942, nearly two million lives perished on the battlefield of Stalingrad. One of the bloodiest battles in the history of warfare, the battle of Stalingrad has been immortalized in movies by Germans, Russians, British and American filmmakers. The latest of such efforts is the work of Russian director Fedor Bondarchuk. The story by Ilya Tilkin revolves around two Russian girls with starkly different fates. Young Katya is protected by a group of Russian soldiers who defended a house on the bank of the Volga River. Meanwhile, Masha is protected by a German officer who led the attack on the house. During the stalemate between the two sides, the relation between the girls and their protectors transformed through different stages. The opening and closing scenes are excellent showcases of what IMAX 3D cinema can offer. The shot of Russian soldiers charging into battle while on fire is particularly touching and jolting. These aren't the only two stand-out eye-catchers in the film; photographer Maksim Osadchiy also made the best of IMAX, presenting each frame like a painting. Similar exhibition of such filming skills is only found in the works of Dong Jinsong, who shot "11 Flowers" with director Wang Xiaoshuai. The tone in the pictures strengthens the emotions in the story, and these emotions are typical in Russian literature. The character of Katya represents innocence and is immediately identified as a symbol of Russia. But a less conspicuous symbol is found in Masha, who is, in fact, a far better symbol of the Russian spirit. Living in a German-occupied part of the city, Masha is coerced by the German officer. But with her beauty and endurance, she was able to charm her persecutor and remind him of the peaceful days back home. In this way, the conquered became the conqueror, which is exactly what happened on the Eastern Front, where the German invaders were "embraced" and gradually smothered by the vast territory and harsh environment of Russia. Director Fedor Bondarchuk is less deliberate on his anti-war agenda, but more determined to present an intimate and humanistic perspective. His attempt to revisit the historical battle via human relations is quite innovative and effective, especially the one between the German occupier and his captive. However, on the other side of the front, the director has had some difficulty sorting out the relations between Katya and the five Russian soldiers; that's the only and biggest setback in this otherwise spectacular piece. On a scale from one to ten, Fedor Bondarchuk's "Stalingrad" deserves a seven.

belle Glachant est une figure incontournable du cinéma franco-chinois ou sino-français. Son travail constitue l’une des passerelles les plus fécondes entre la France et le monde chinois. Après avoir couvert le cinéma chinois comme journaliste pour CANAL+, Isabelle Glachant devient la première attachée audiovisuelle en poste à l’ambassade de France à Pékin de 1998 à 2003. Puis, elle se lance dans la production et participe aux films de nombreux cinéastes de renom comme Wang Xiaoshuai ou Lou Ye. Aujourd’hui, elle est la représentante d’Unifrance en Chine où elle a pour mission de promouvoir le cinéma français pour la Grande Chine. Une expérience professionnelle unique qui couvre plusieurs pays, plusieurs terrains (privé, institutionnel) et un amour de cinéma toujours renouvelé.

Isabelle Glachant est une figure incontournable du cinéma franco-chinois ou sino-français. Son travail constitue l’une des passerelles les plus fécondes entre la France et le monde chinois. Après avoir couvert le cinéma chinois comme journaliste pour CANAL+, Isabelle Glachant devient la première attachée audiovisuelle en poste à l’ambassade de France à Pékin de 1998 à 2003. Puis, elle se lance dans la production et participe aux films de nombreux cinéastes de renom comme Wang Xiaoshuai ou Lou Ye. Aujourd’hui, elle est la représentante d’Unifrance en Chine où elle a pour mission de promouvoir le cinéma français pour la Grande Chine. Une expérience professionnelle unique qui couvre plusieurs pays, plusieurs terrains (privé, institutionnel) et un amour de cinéma toujours renouvelé.