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However, it was Platoon that led him to a busy directing career. The semi-autobiography film was the first film of Stone's trilogy of the Vietnam War, based on his combat experience during that period.
But the documentary is limited by semi-clandestine filming, the protective gear, and, I suspect, choices made not to show the worst of the suffering. Though the medical personnel are clearly meant to be a focus, no stories accrue to them. Only two can be distinguished, by occasionally-captioned names, and that has little to do with the overall story.
"The cut scenes really affect the movie," said Peng, a Chinese LGBT rights activist. "The film talks about how (Mercury) became himself, and his sexuality is an important part of becoming who he was."
"This kind of deletion weakens his gay identity. It's a bit disrespectful to his real experience and makes the character superficial," Hua said. "There is no growth and innermost being of him." Hua said he also watched both versions of the movie, in the semi-autonomous region of Hong Kong, which enjoys greater freedoms from censorship than mainland China, and the Chinese city of Guangzhou.
One of video's greatest contributions is the way it puts film history at every viewer's fingertips. New releases reminding us of this include the Criterion Collection's boxed set of movies by the late Cassavetes, a founder of modern indie cinema, and the National Film Preservation Foundation's new package of items from film archives.
Along with that 1976 production are four other films that Cassavetes financed with his actor's paycheck (he starred in such movies as "Rosemary's Baby" and "The Dirty Dozen") and directed with total creative control. These are the definitive video editions of the seminal "Faces," the sublime "A Woman Under the Influence," the harrowing "Opening Night," and the semi-improvised "Shadows," which started his filmmaking career in 1959.
Language Arts teachers- this is a must see film. "Mummy 3" is a perfect movie to teach the concept of historical fiction. Jet Li plays a powerful, Emperor Ch'in Shihuangdi, who becomes the Dragon King. Great Chinese icons and symbols are perfect to teach setting. It is full of action and drama, at times it was a tear jerker, put the humor remained throughout. "Mummy 3" has powerful scenes of the Great Wall and the Terra Cotta Warriors.I am going to use this movie in my class to reinforce the idea of historical fiction.
Two outstanding films that can be used during a unit on World War 2 would be Clint Eastwood's "Flags of Our Fathers" and "Letters from Iwo Jima". Both of them are excellent and should be watched as a pair. Nevertheless, "Letters from Iwo Jima" stands out because the film is from the Japanese point of view - and the film does an amazing job of painting characters that real, diverse, and very close to home.The central character of "Letters" is Saigo (which in Japanese means "last"), a baker from a small town who is forced by the government to fight for the Japanese army. From the beginning we see aspects of his personality that illustrate how much of a "regular" guy he is - from his banter with his partners, to his grumblings as he takes out the feces of his platoon. The film has several flashbacks that show us the former lives of some of the soldiers, and how not all Japanese soldiers were committed to fighting the war. Secondly, you can use this film to tie in a geography lesson on how the geography of the islands played into the battle of Iwo Jima.A very good movie that is tragic and very sad. The negative thing would be the language - the film is all in Japanese, so unless you have a large screen for a projector, some students might not be able to follow the words.
I met a Chinese American film maker who complied approximately200 to 350 film clips about Asian characters in American films.His documentary profiles popular Asian characters such as the Asian characters in the "Susie Wong" series. In it he interviews Asian actors and actressesabout the stereotypical roles that they played in these Hollywood films.The film debued in the spring of 2008 for a limited release.Fortunately, the buzz for the movie was good.I saw a preview of it at a mini film festival in LA.
Zhang Yimou's Hero turned out to be a very interesting film. After seeing the clips from Prof. Ye's lecture, I had no idea what a tangled web this movie would turn out being. It had so many different paths...that at times I found myself wondering what the real story was. As an art teacher, I could really use this movie to talk about Calligraphy, especially with the relationship between calligraphy and swordmanship (that would really appeal to middle school students). The different shots were like paintings themselves, incredible harmony, and wonderful composition. I liked the movie quite a bit.
These two books, one Chinese (Waiting, 1999) and one Japanese (Snow Country, 1956) deal with the same theme in two entirely different ways. Both books are about married men caught up in extramarital affairs and the women they are involved with.Waiting by Ha Jin: I've had this book in my personal library for several years now and never got around to reading it. After attending the 2009 Summer Seminar, I gave it a read and really enjoyed it. The book takes place during China's Cultural Revolution and is the story of a man, his wife, and his mistress. Lin Kong works in Muji City as a doctor and only returns home to "Goose Village" once a year to see his wife, Shuyu. Shuyu represents the traditional Chinese wife; she has bound feet which mark her as backward, and a loveless, arranged marriage. Every year Lin Kong goes to the courthouse to try and unsuccessfully petition for divorce. His mistriss, Manna, also works in Muji City. The couple must hide their affair (unconsumated) from the authorities and others in the city. According to state law, after 18 years a divorce can be granted even if one party refuses. The book's narrative follows Lin's life from the time of his marriage to Shuyu, until the main characters are in their late middle ages.The book does a great job of illustrating some of the more human problems of the Cultural Revolution, while allowing the reader to experience both the rural and urban, traditional and modern China. I was totally captivated by the story and will be recommending it to some of my more mature high school students. I think girls especially would find the story touching as it deals with unrequited love and unfufilled desires. The text is very accessible to grade-level readers. The narrative is straight-forward and easy to follow. There is some semi-graphic sexual content and a touch of foul language. The book has many episodes which reinforce classroom study of China's Cultural Revolution.The author, Ha Jin, was born in China and served for a time in the People's Liberation Army. He came to the U.S. in 1985, earned a Ph.D. at Brandeis University, and now teaches at Emory. I will definitely be reading some of Jin's other novels and short story collections.Snow Country by Yasunari Kawabata: Like Waiting, Snow Country is also about forbidden love, this time between a city gentleman and a geisha. The book is beautifully written, like Haiku in book form. Unfortunately, I think that this would be difficult reading for my high school students unless they were in honors. The book does offer glimpses into Japanese traditions but in a more abstract, surreal form. I enjoyed the book immensely, and I even enjoyed the emptiness I felt at the books end. The author, Yasunari Kawabata, won the Nobel Prize for Literature in 1968. He committed suicide in 1972.[Edit by="cowen on Oct 14, 3:27:51 PM"][/Edit]
As for movies, I love Eat, Drink, Man, Woman and Crouching Tiger, Hidden Dragon, both directed by Ang Lee. What an incredible director! Chow Yun-Fat, Michelle Yeoh, Zhang Ziyi and Chang Chen are all amazing in CTHD. I also liked the later film, similar in style, though not quite as good--House of Flying Daggers. [Edit by="zskalkottas on Jan 31, 6:38:59 PM"][/Edit]
Another film from Asia about rural life, but one that attempted to go beyond the surface appearances and probe some of the underlying problems confronting its protagonists, was the Vietnamese production Buffalo Boy, by director Minh Nguyen-vo. Adapted from a collection of short stories by Son Nam, Nguyen-vo's film, his first feature, is set during French colonial rule and just prior to the Japanese invasion of Vietnam. It tells the story of Kim (Le Thu Lu), a 15-year-old peasant boy, growing up in the southern province of Ca Mau. The teenager and his ageing parents grow a small amount of rice but depend almost entirely on two buffaloes to maintain their precarious existence. Heavy flooding rains require that the animals be moved to pastures in another region or they will starve to death. The price demanded by a group of semi-criminal buffalo herders for taking the buffaloes there, however, is prohibitive. Kim's father, a former buffalo herder, eventually realises that the family has no option and decides to send his teenage son and the two animals after the herders in the hope that they will accept an offer of 10 bags of rice as well as Kim's assistance. The leader agrees, and the teenager is accepted into the group and introduced to alcohol, drugs and various semi-criminal activities, including violent battles with rival buffalo herders. After numerous adventures and the death of one of the family's buffaloes, Kim returns home after the rain season and, much to the horror of his ailing father, declares that he plans to establish his own herding business. Buffalo Boy is a poetic work with skilled cinematography by Yves Cape. Though set in the early 1940s, its themes-the difficult struggle for existence of a poor peasant family-obviously apply to countless numbers of people in Southeast Asia today. Director Minh Nguyen-vo approaches his subject with a maturity and sensitivity sadly missing from most of the Asian films presented at the Sydney Film Festival. 2b1af7f3a8