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Arriving in mainland China by chance just a day after the 1989 Tiananmen Square crackdown, young Chinese-American photographer Mark Leong was compelled to stay and explore with his camera's lens the fascinating contradictions of a rapidly changing but still intensely traditional Chinese society. Living in Beijing and traveling across China for the past fifteen years, he has captured images that astonish with their power and with his unprecedented access to both official and underground Chinese culture. This is a China rarely seen, where schoolchildren learn the tenets of Mao and an addict sifts heroin on a bill bearing the Chairman's benevolent likeness; where nervous stockbrokers carry handguns and teenage rollerbladers hope for fame and financial sponsorship. In more than 150 photographs, with a foreword by noted Chinese poet Yang Lian and an afterword by author Peter Hessler, China Obscura is an intimate and exquisitely detailed portrait of a society accelerating toward an uncertain future, precariously straddled between old and new.
A 108-meter high Eiffel Tower rises above Champs Elysées Square in Hangzhou. A Chengdu residential complex for 200,000 recreates Dorchester, England. An ersatz Queen’s Guard patrols Shanghai’s Thames Town, where pubs and statues of Winston Churchill abound. Gleaming replicas of the White House dot Chinese cities from Fuyang to Shenzhen. These examples are but a sampling of China’s most popular and startling architectural movement: the construction of monumental themed communities that replicate towns and cities in the West. Original Copies presents the first definitive chronicle of this remarkable phenomenon in which entire townships appear to have been airlifted from their historic and geographic foundations in Europe and the Americas, and spot-welded to Chinese cities. These copycat constructions are not theme parks but thriving communities where Chinese families raise children, cook dinners, and simulate the experiences of a pseudo-Orange County or Oxford. In recounting the untold and evolving story of China’s predilection for replicating the greatest architectural hits of the West, Bianca Bosker explores what this unprecedented experiment in “duplitecture” implies for the social, political, architectural, and commercial landscape of contemporary China. With her lively, authoritative narrative, the author shows us how, in subtle but important ways, these homes and public spaces shape the behavior of their residents, as they reflect the achievements, dreams, and anxieties of those who inhabit them, as well as those of their developers and designers. From Chinese philosophical perspectives on copying to twenty-first century market forces, Bosker details the factors giving rise to China’s new breed of building. Her analysis draws on insights from the world’s leading architects, critics and city planners, and on interviews with the residents of these developments.
This lively and engaging text offers a panorama of modern Chinese history through compelling biographies of the famous and obscure. Spanning five hundred years, they include a Ming dynasty medical pioneer, a Qing dynasty courtesan, a nineteenth-century Hong Kong business leader, a Manchu princess, an arsenal manager, a woman soldier, and a young maid in contemporary Beijing. Through the lives of these diverse people, readers will gain an understanding of the complex questions of modern Chinese history: What did it mean to be Chinese, and how did that change over time? How was learning encouraged and directed in imperial and post-imperial China? Was it possible to challenge entrenched gender roles? What effects did European imperialism have on Chinese lives? How did ordinary Chinese experience the warfare and political upheaval of twentieth-century China? What is the nature of the gap between urban and rural China in the post-Mao years? These richly researched biographies are written in an accessible and appealing style that will engage all readers interested in modern China. Contributions by: Daria Berg, John M. Carroll, Kenneth J. Hammond, Joshua H. Howard, Fabio Lanza, Oliver Moore, Pan Yihong, Hugh Shapiro, Kristin Stapleton, and Shuo Wang
Emphasizing the medium’s reception among several Chinese constituencies, this book explores photography’s impact within new discourses on science, as well as its effects in social life, visual modernity and the media during China’s transition from imperial to republican government. General knowledge and academic teaching of early modern Chinese visual culture stops short of fitting photography into the larger context of visual practices and theories. This study redraws the boundaries by making photography the central concern within changing priorities of visual representation and its functions during a period of major cultural and political change. No other study draws on such intimate familiarity with the early glamour of photography as science, commerce and communication in the various local conditions of China’s cities and towns. Joining a body of critical writing that examines photography’s histories outside the familiar confines of the West, this book looks beyond the tourist and imperialist gazes of photographer-adventurers from the Western powers and Japan. It defines instead the Chinese priorities of photographic vision that are abundantly evident in surviving photographs as well as in records as various as technical manuals and personal inscriptions. Local practices and local knowledge are the keys to explain the highly successful indigenization of a medium as globalizing as photography with reference to Chinese society’s own terms and practices. This book will be of particular interest to scholars in art and visual culture, the history of photography and Asian art.
Since 1984, Chinese cinema has been the most dramatic entry onto the international film scene. China into Film is the first book to look at contemporary Chinese cinema as a visual art and to illustrate the ways in which it has been shaped by centuries of Chinese tradition. Jerome Silbergeld looks at the significance of gender roles, the strategies of film-makers in coping with state censorship, the translation of novels into films, the continuing attachment of film-makers to melodrama, and cinematic critiques of Maoism and post-Maoist culture. Abundantly illustrated with Chinese paintings as well as scenes from such internationally acclaimed films as Yellow Earth, Red Sorghum, Raise the Red Lantern and Farewell My Concubine, China into Film reveals a cinematic form at once excitingly new and deeply imbedded in traditional Chinese visual culture.
Accompanies an exhibition held at the J. Paul Getty Museum, 8 February-1 May 2011.
In China on Screen, Chris Berry and Mary Farquhar, leaders in the field of Chinese film studies, explore more than one hundred years of Chinese cinema and nation. Providing new perspectives on key movements, themes, and filmmakers, Berry and Farquhar analyze the films of a variety of directors and actors, including Chen Kaige, Zhang Yimou, Hou Hsiao Hsien, Bruce Lee, Jackie Chan, Maggie Cheung, Gong Li, Wong Kar-wai, and Ang Lee. They argue for the abandonment of "national cinema" as an analytic tool and propose "cinema and the national" as a more productive framework. With this approach, they show how movies from China, Hong Kong, Taiwan, and the Chinese diaspora construct and contest different ideas of Chinese nation--as empire, republic, or ethnicity, and complicated by gender, class, style, transnationalism, and more. Among the issues and themes covered are the tension between operatic and realist modes, male and female star images, transnational production and circulation of Chinese films, the image of the good foreigner--all related to different ways of imagining nation. Comprehensive and provocative, China on Screen is a crucial work of film analysis.
This is the third in a series of catalogs and bibliographies of the Cicadoidea covering 1981-2010. The work summarizes the cicada literature, providing a means for easy access to information previously published on a particular species or to allow researchers the ability to locate similar work that has been published on other species. A total of 2,591 references are included in the bibliography. The book is a source of biological and systematic information that could be used by zoologists, entomologists, individuals interested in crop protection, and students studying entomology as well as anyone interested in cicadas or who require specific information on the insects. Each genus/species is identified with the reference, the page number, any figures (if applicable), the topics covered by the reference, any synonymies, and any biogeographic information mentioned for the species in the individual reference. An added benefit to the catalog is that it is the first complete species list for the Cicadoidea, including all synonymies and new combinations through 2012. - Provides nearly four times the number of references of the previous catalog, demonstrating the explosion of data since that time - Contains all references found that mention a genus or species name in the work - Includes more than 300 additional references that were not in the two previous works on this subject - Features the first complete species list for the Cicadoidea, including all synonymies
Since 1784, when the American ship Empress of China arrived in Guangzhou, Chinese-American relations have experienced advances and setbacks. As the Chinese economy rapidly expands, China assumes a more dominant position in world politics, and continued fruitful relations with the United States are a primary concern for both nations in the twenty-first century. This encyclopedia contains more than 400 descriptive entries of important events, issues, personalities, controversies, treaties, agreements, organizations and alliances in the history of Sino-American relations, from Chinese and American perspectives. Also included are maps, a chronology, a list of acronyms, and three appendices (American chiefs on missions to China, Chinese chiefs on missions to the United States, and the correspondence of Wade-Giles to Pinyin).