January 10, 1996 |
Keeping an international perspective in selecting movies makes sense to UC Irvine Film Society coordinator Alice Parsons. "Given our cultural mix [on campus], it just seems natural that we would appeal to a broad cultural background," said Parsons, who oversees programs organized each semester by a handful of movie-loving students. "We've been devoted [to a world view] for a long time. We feel we should be educational as well as appealing."
November 21, 2002 |
Since the 1950s, filmmaking in China has been clamped in the vise of communist censorship, and predictably sanitized and politically correct fare has been the order of the day. Recently there has been not just a trickle but a surge of feature films from that country that would not have been possible 10 years ago, as the "New Chinese Cinema" series from the UCLA Film and Television Archive demonstrates.
May 28, 2004 |
A film about the geometry of desire, "Springtime in a Small Town" opens with a vision of ruin. In a bombed-out Chinese village in 1946, in the wake of Japan's retreat, a husband and wife pass the days in a somnolent haze. Cast away in a crumbling house, attended to by an elderly servant and with only the husband's young sister for company, the pair live like refugees of the world and each other.
February 6, 1995
"Looking Back," a series of films, both rare and familiar and all dealing with the past, commences Thursday at USC's Taper Hall of Humanities, Room 202, with the screening of "American Graffiti." Others are Tian Zhuangzhuang's "The Blue Kite" (Feb.
May 19, 1996 |
Tian Zhuangzhuang's (1986) film takes us into Tibet in the '20s--it might as well be antiquity--and presents us with a young clansman, Norbu (Tseshang Rigzin, who brings to mind the Toshiro Mifune of "Rashomon"), so poor he stealshorses from transients to support his wife and 5-year-old son, yet so pious he gives most of his profits to the temple.