“The Young Person’s Guide To The Orchestra, Op. 34: Themes A-F”
Leonard Bernstein
Moonrise Kingdom soundtrack
hello tumblr friends! in order to finance our short film, “Above the Sea” has just gone live on IndieGoGo. we’ve made arrangements to film it on a backlot in Shanghai, but we’ll only be able to get there with your help. so if you think this sounds like an awesome project and would like to be a part of it, please donate. if you can’t, but would still like to help out, please help us spread the word. thanks so muuuuuuuuuuuch!
best,
Lily | Producer
we’ve gone live on IndieGoGo! check us out!
WHAT WE’RE DOING
Basically, we’re raising money to make this film happen! One of the most interesting aspects of this project is that we’re using a distinctly American convention of storytelling (the film noir) to tell a story set in 1920s China. We like to think of “Above the Sea” as a “proto-noir,” an origins story about the femme fatale and how trying to survive in the gritty underworld of 1920s Shanghai creates this film noir archetype.
“Above the Sea” is a short film by Columbia University graduate film students that plans to begin principal photography on a studio backlot in Shanghai this September. But in order to make this happen, we need your donations to help us reach our $25,000 goal. We appreciate any support you can give us and please help us spread the word about this project!
hello tumblr friends. please check out and like our fb page. thank you!
The Great Gatsby trailer. at this point, i don’t even care if this is a good movie or if Lurhmann pulls another Australia…i just wanna watch it. now.
Motion pictures came to China on 11 August 1896, when a show was presented by an unnamed Spaniard at the Hsu Gardens, Shanghai. American James Ricalton presented a programme of Edison films at the Tien Hua Tea Garden, Shanghai, in July 1897, and took several films of local scenes in Hong Kong, Shanghai and Canton. For several years the only films seen in China were imported and the only films on China were taken by foreigners.The first Chinese film was made in 1905, Ding Jun Shan (Conquering Jun Mountain), an scene from the Peking Opera, filmed by Beijing photographer Ren Qingtai. Other such excerpts from operas continued to be made on an infrequent basis to 1909, when a next stage of development came with the Asia Film and Theater Company, founded by the Russian-American Benjamin Brodsky in Shanghai. Asia Film made shorts such as Buxing Er (Unfortunate Child) (1909) and Tou Shao Ya (Stealing a Roast Duck) (1909), the first film made in Hong Kong [this film is now thought to date from 1914]. Brodksy returned to America during the turbulent period that led to the formation of the Republic of China in 1912, returning in 1913 for Nanfu, Nanqi (A Couple in Difficulty), the first Chinese feature film.
Chinese film production at this time was small-scale and localized. Knockabout comedies was the predominant style. Film theatres were starting to spread, at least in the cities, but showed almost exclusively foreign films. Production had effectively ceased during much of the First World War period because film stock (which had to be imported) became unavailable.Change began in the early 1920s with new film companies: Commercial Press, Shanghai Film Company, Mingxing, Changcheng, Baihe and Da Zhonghua among them. By the middle of the decade Chinese production was highly active if volatile (many companies came and went quickly) and feature films were the norm.
The golden age of Chinese filmmaking came in the 1930s. Just at the point where Western countries were abandoning silent film, the Chinese cinema (partly owing to problems in obtaining adequate sound equipment) glorified in its opportunities, and although a few sound films were made from 1931 onwards, essentially the period 1930-37 was a silent cinema period, dominated by film production from Shanghai. The leading studios were Mingxing, Tianyi and Lianhua. Production was often dominated by Leftist concerns (particularly those from Lianhua), concentrating on the struggles of ordinary people and contemporary, patriotic concerns. Examples include Xiao Wanyi (Little Toys) (1933) directed by Sun Yu and Bugao Cheng’s Chun Can (Spring Silkworms) (1933). Nevertheless the films were chiefly consumed by a middle-class which valued glossy production values that showed the strong influence of American cinema. Classic melodramas, often with suffering central female figure, include The Goddess (Shen nu) (1934) and Tianming (Daybreak) (1933). These differences in production reflected the political tension of the period, with the growing differences between Chiang Kai-shek’s nationalist Kuomintang and the Communists. Anti-Japanese rhetoric also characterised a number of the films.
The Shanghai studios had their film stars. Renowned names include Hu Die, Li Lili, Ruan Lingyu, Zhou Xuan, Zhao Dan and Jin Yan. Li Lili is the spirited central figure of Sun Yu’s upbeat tales of workers’ strength and nationalist struggle, though she could also play tragic roles. Perhaps most notable actress, however, was Ruan Lingyu, whose suffering on-screen persona was reflected in her private life, commited suicide in 1935, aged just 24, after having played a film actress hounded by right-wing critics in Cai Chusheng’s Xin Nu Xing (New Woman) (1934).The golden period ended with the Japanese invasion of China in 1937. Most production companies closed down, and in any case the era of Chinese silent cinema was over. The survival rate for Chinese silents is not great – of the estimated 1,100 titles produced between 1905 and 1937 only 5% are known to exist.
The Goddess (神女) | starring Ruan Lingyu | dir. Wu Yonggang | 1934
rewatched Zodiac and remembered that Tony Stark and Bruce Banner tried to solve a murder mystery once upon a time.












