标题: 我就要看看，《雪花密扇》究竟能折腾出个什么名堂 [打印本页]
作者: 瑶族小妹 时间: 2010-5-16 16:37 标题: 我就要看看，《雪花密扇》究竟能折腾出个什么名堂
从“泼墨门”到被“赵小姐爆料与某上海富商有染”，章子怡的新年似乎过得并不太平。近日又有消息称“章子怡与邓文迪首次合作的影片《雪花密扇》主角大换血”。昨天，章子怡经纪人通过官网承认章子怡辞演该片。另一边，记者获悉，顶替章子怡的李冰冰也于昨日神秘现身上海。对于换角风波，投资方之一的上影集团和李冰冰均含糊其辞回应：“一切都还未确定”。 《雪花密扇》是根据美国华裔女作家邝丽莎畅销同名小说改编，该片已在广电总局的拍摄立项中有所公示。这部由熊晓鸽担任编剧的影片，讲述的是丽丽与好友索菲的前男友产生感情，两个好友关系出现裂痕。丽丽的姨妈拿出一把扇子，给两人讲述了丽丽曾外祖母百合的故事。在19世纪中国的南方小城，破落大户人家的女儿小雪与穷人家的女儿百合，两人结为好友。两人互相照顾，用女书交流，结下了深厚的情谊。以此鼓励丽丽、索菲的友情坚持下去。
去年岁末，上影集团60周年的庆典上，总裁任仲伦曾重点介绍过这部影片。除了章子怡、全智贤的主演，该片最大的噱头还在于这是章子怡、邓文迪以及米高梅电影公司主席的妻子弗劳伦斯·斯洛恩三人组成的新公司所投拍的首部电影。为此，三人还请到了《喜福会》的导演、久未拍摄华语片的王颖担任《雪花密扇》的导演。而就在一切准备就绪，只欠章子怡这部分筹备资金的“东风”时，却传出了章小姐的“泼墨门”以及带出的一系列传言。由此，章子怡的这笔资金是否还能顺利进入该公司？章子怡是否还是该片的女主角？种种猜测纷纷而起。
昨天，章子怡的经纪人纪灵灵通过官网正式表态：章子怡的确已辞演该角色，同时不再担任该片的监制工作。对于是否因为“泼墨门”而导致这场换角风波，经纪人斥责“是谣言”。声称，其真正的原因是“双方起初以为时间可以排得开，但现在《一代宗师》的拍摄很紧张，实在无法两全，子怡只能全力以赴拍好一个。王颖导演也觉得很可惜，不过子怡和他还有另外一个项目将来可以一起合作。”
同时，记者从一位圈内人士获悉：《雪花密扇》的前期筹备团队已经抵达上海，展开拍摄准备。对于有报道称“李冰冰将顶替章子怡，成为《雪花密扇》的女主角”的消息，该人士也透露，昨天，李冰冰就已抵沪。对此，李冰冰的经纪人承认：“片方的确与我们接触了。”但对于是否出演、饰演哪个角色？李冰冰经纪人表示，还是有待片方的统一发布。随即，记者致电该片的出品方之一、上影集团总裁任仲伦。对于“顶替”一说，任总只是含糊地表示：“我们还在商量，一切都没定。”但据了解，该片的其他角色人选都已确定，并开始陆续进组。如无意外，影片将在2月初开拍，年内公映。
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作者: 瑶族小妹 时间: 2010-5-16 16:38
新浪娱乐讯 北京时间5月14日消息，据国外媒体报道，福克斯探照灯影业公司(Fox Searchlight Pictures)总裁南希-阿特雷(Nancy Utley)和史蒂夫-吉鲁纳(Steve Gilula)日前宣布，该公司已从IDG集团华亿传媒(集团)有限公司(Media China)手中购买了基于邝丽莎(Lisa See)小说《雪花与密扇》改编的同名电影的北美发行权。 《雪花与密扇》电影由著名华裔导演王颖执导，罗纳德-巴斯(Ronald Bass)、迈克尔-雷(Michael Ray)和安吉拉-沃克曼(Angela Workman)担当编剧。演员阵容异常强大，包括休-杰克曼(Hugh Jackman)、李冰冰、全智贤、姜武、邬君梅等众多中外知名影星。
“对于拍摄美丽感人的电影，王颖有着不可思议的独到见地。人们对他拍摄的女性题材的作品有着很高的认同感，”阿特雷和吉鲁纳表示，“我们很高兴能发行这样一部讲述朋友间信赖和亲密关系的影片。”王颖在接受采访时说到：“我很喜欢这本小说。甚至我更喜欢最后剧本中发生在现代上海的那段故事。”制作人邓文迪和斯隆表示：“有着王颖细腻的感情和强大的国际化演员阵容，我们相信这个关于爱和奉献的故事在福克斯探照灯公司的手中能释放出更夺目的光芒。”
由畅销书改编的这部电影描绘了女性友谊的永恒。在18世纪的中国，7岁大的雪花和百合结为“老同”，寓意永远在一起。在因家庭而彼此分开后，两人用一种在扇面上书写、被称为“女书”的神秘文字交流。在现代的上海，“老同”的后人尼娜和索非亚在事业困境、复杂的爱情生活以及上海人情不断淡漠等问题面前，也努力维护着两人从童年时便建立的深厚友谊。在了解了过去这段故事后，两位现代女性必须从祖先隐藏在古老绢扇中的故事中找到解决的方案，或者永远地失去对方。
《雪花与密扇》预计在今年底上映。(LEI)
作者: 瑶族小妹 时间: 2010-5-16 16:39
本报讯（记者施晨露）昨天，正在上海热拍的《雪花密扇》剧组首次召开发布会，导演王颖与出品方代表共同出席，澄清此前笼罩在影片之上的种种传闻。 澄清一：邓文迪没有投资
《雪花密扇》最早进入观众视野，出自章子怡与新闻集团总裁默多克之妻邓文迪、米高梅电影公司总裁HarryE.Sloan之妻FlorenceSloan等两位亚裔“权贵”的“三个女人一台戏”。三人原本计划合开电影公司拍摄改编自华裔女作家邝丽莎的畅销英文小说《雪花与秘扇》的同名电影，并确定导演为曾执导《喜福会》的华裔导演王颖。但在章子怡爆出“泼墨门”后，李冰冰最终取代章子怡入主《雪花密扇》，影片的投资背景也变得疑云重重。
发布会上揭晓，风险投资人熊晓鸽的嘉利盛世影视文化发展有限公司成为上影集团的合作伙伴，共同出品该片。熊晓鸽解释，《雪花与密扇》由邓文迪买下电影改编权，并做了很多前期工作，包括邀请导演王颖，但目前影片投资资金均来自国内。
澄清二：并非女同性恋题材
早在《雪花密扇》拍摄计划流传之初，关于影片“讲述同性恋，裸露尺度非常大胆”的各种报道随之而来。女主角之一全智贤将“全裸出演”更成为炒作焦点。对此，导演王颖澄清，影片并不牵涉同性恋情节，原著小说也没有表现这种情感。片中确实有一段夫妻床戏发生在全智贤与饰演其丈夫的姜武身上，但“全裸出演”亦属子虚乌有。
据悉，《雪花密扇》将由发生在1800年代清朝湖南地区和现代上海的两段故事串联而成。目前，古代部分戏份已完成，正在进行上海部分的拍摄。世上独一无二的女性文字符号体系――女书，将首次在电影中得到展现。
澄清三：休・杰克曼不是主演
除了李冰冰、全智贤两位女主演外，“金刚狼”休・杰克曼将担纲该片男主角也成为媒体关注焦点。关于休・杰克曼的戏份，王颖解释，休・杰克曼春节期间来上海拍了几场戏，包括唱了一首中文歌《给我一个吻》，戏份已全部结束，属于友情出演，并非影片主角，“这是一部女性电影，男演员的戏份都不重要”。
至于李冰冰取代“国际章”成为第一女主角是否会影响影片的海外发行，王颖认为没有影响，角色戏份也没有修改。熊晓鸽也表示，导演的代表作《喜福会》甚至没有大明星出演。《雪花密扇》将在4月底完成拍摄，今年末、明年初全球上映，由上影集团国内发行，海外发行则由20世纪福克斯公司承担。
(本文来源：解放日报)
作者: 瑶族小妹 时间: 2010-5-16 16:43
Snow Flower and the Secret Fan is a 2005 novel by Lisa See set in nineteenth century China. In her introduction to the novel, See writes that Lily, the narrator, was born in 1823 -- "the third year of Emperor Daoguangs reign".[1] The novel begins in 1903, when Lily is 80 years old. During her lifetime, Lily lives through the reigns of four emperors: Emperor Daoguang (1820–1850); Emperor Xianfeng (1850–1861); Emperor Tongzhi (1861–1875); and Emperor Guangxu (1875–1908).
作者: 瑶族小妹 时间: 2010-5-16 16:44
In rural Hunan Province, Lily and her friend Snow Flower are a laotong pair,[2] related more closely than husband and wife. Lily's Aunt describes a laotong match this way: "'A laotong relationship is made by choice for the purpose of emotional companionship and eternal fidelity. A marriage is not made by choice and has only one purpose -- to have sons.'"[3]
The two girls are also bound together by experiencing the painful process of foot binding at the same time,[4] and by letters to one another written on fans with Nü Shu, a secret phonetic form of 'women's writing.'[5][6] In addition to the language itself, the young women learn Nü Shu songs and stories.
Although both friends are born under the sign of the horse, they are quite different. Lily is practical, her feet firmly set on the ground, while Snow Flower is a flying horse that attempts to fly over the constrictions of women's lives in the 19th century in order to be free. Their lives differ as well. Although Lily comes from a family of relatively low station, her beautiful feet play a role in her marriage into the most powerful family in the region. Lily is later known as Lady Lu, the region's most influential woman and a mother to five healthy children (four sons and one daughter). Although Snow Flower comes from a once prosperous family, she is not so fortunate. She marries a butcher, culturally considered the lowest of professions, and has a miserable life filled with children dying and beatings at the hand of her husband.
The novel depicts human suffering in many ways: the physical and psychological pain of foot binding; the suffering of women of the time, who were treated as property; the terrible trek up the mountains to escape from the horrors of the Taiping Revolution; the painful return back down the mountain trail with dead bodies everywhere. Some estimate that the number of people killed during the Revolution was approximately 20 million.
The detailed treatment of the suffering which Lily and Snow Flower experience in their laotong relationship is a major aspect of the book. Lily’s need for love and her inability to forgive what she considers to be acts of betrayal cause her to inflict harm on many people, Snow Flower most of all. Believing that Snow Flower has not been true to her, Lily betrays her by sharing all her private secrets to a group of women, virtually destroying Snow Flower's reputation. When Snow Flower is dying, Lily is called to her bedside and tends to her until the end.
As the book returns to the present (1903), Lily is an 80 year old woman who has lived 40 years after her friend's death. Her own husband and children have since died, and she quietly watches the next generation in her home. Lily’s final words indicate that her love for Snow Flower remains: “But if the dead continue to have the needs and desires of the living, then I’m reaching out to Snow Flower and the others who witnessed it all. Please hear my words. Please forgive me.”[7]
[edit] Film
The film version of Snow Flower and the Secret Fan is being directed by Wayne Wang and produced by Florence Sloan, Wendi Murdoch and Zhang Ziyi. Angela Workman has adapted the original script, which has been revised by Wayne Wang and Michael Ray.[8]
Zhang Ziyi has dropped out of the film, which now stars Bingbing Li, Gianna Jun and Hugh Jackman. Filming in China began in February 2010.
作者: 瑶族小妹 时间: 2010-5-16 16:44
一本介绍清代湖南偏远山区女子独特文字的书，文字原来写在扇子里。
作者介绍：馮麗莎Lisa See
出生於巴黎，卻在洛杉磯的華人街裡長大。著作包括《花網》（Flower Net）、《本質》（The Interior）、《龍骨》（Dragon Bone）以及備受讚譽的傳記《在金山》（On Gold Mountain），主要描述她的曾祖父馮習（Fong See）自中國到美國奮鬥，篳路藍縷的艱辛過程，最後成為洛杉磯華人街教父的故事。《花網》一書並獲推理文學愛倫坡獎（Edgard Award）提名。華裔美國婦女聯盟推舉她為2001年度全國傑出女性。於2005年榮獲南加州書商協會最佳小說獎。目前定居洛杉磯。
作者的最新作品有peony in love.
Lily is the daughter of a humble farmer, and to her family she is just another expensive mouth to feed. Then, the local matchmaker delivers startling news: if Lily's feet are bound properly, they will be flawless. In nineteenth-century China, where a woman's eligibility is judged by the shape and size of her feet, this is extraordinary good luck. Lily, now, has the power to make a good marriage and change the fortunes of her family. To prepare for her new life, she must undergo the agonies of footbinding, learn nu shu, the famed secret women's writing, and make a very special friend, Snow Flower. But, a bitter reversal of fortune is about to change everything.
作者: 瑶族小妹 时间: 2010-5-16 16:45
Review
'Lisa See has written her best book yet achingly beautiful, a marvel of imagination of a real and secret world that has only recently disappeared' Amy Tan, author of The Joy Luck Club 'Only the best novelists can do what Lisa See has done, to bring to life not only a character but an entire culture, and a sensibility so strikingly different from our own engrossing and completely convincing' Arthur Golden, author of Memoirs of a Geisha 'The wonder of this book is that it takes readers to a place at once foreign and familiar Snow Flower and the Secret Fan is a triumph on every level, a beautiful, heartbreaking story' Washington Post 'You can relish See's extraordinary novel as a meticulously researched account of women's lives in nineteenth-century China. But you can also savour See's marvellous narrative as a timeless portrait of a contentious, full-blooded female friendship, one that includes, over several decades, envy, betrayal, erotic love, and deep-seated loyalty' Entertainment Weekly
The Times
'Ladies, buy two copies of this wonderful book, and give one to your dearest friend.' --This text refers to the Paperback edition.
Cosmopolitan Magazine
'A startlingly vivid novel ... so gorgeous it hurts.' --This text refers to the Paperback edition.
Sunday Express
'This novel is an epic journey, as exciting and believable as it is thrillingly original.' --This text refers to the Paperback edition.
作者: 瑶族小妹 时间: 2010-5-16 16:47
是个才女
作者: 瑶族小妹 时间: 2010-5-16 16:48
她的主页。。。。。。。。
http://www.lisasee.com/
作者: 瑶族小妹 时间: 2010-5-16 16:49
Lisa See, author of the critically-acclaimed international bestseller, Snow Flower and the Secret Fan (2005), has always been intrigued by stories that have been lost, forgotten, or deliberately covered up, whether in the past or happening right now in the world today. Ms. See’s new novel, Shanghai Girls, once again delves into forgotten history. This time she’s stayed much closer to home: Los Angeles Chinatown. Shanghai Girls is about two sisters, Pearl and May, who leave Shanghai in 1937 and go to Los Angeles in arranged marriages. It is a story of immigration, identity, war, and love, but at its heart, Shanghai Girls is a story of sisters. Pearl and May are inseparable best friends, who share hopes, dreams, and a deep connection. But like sisters everywhere, they also harbor petty jealousies and rivalries. Publishers Weekly calls Shanghai Girls “excellent…an accomplished and absorbing novel,” while Booklist has written that it’s a “buoyant and lustrous paean to the bonds of sisterhood.”
Ms See is probably best known for Snow Flower and the Secret Fan, for which she traveled to a remote area of China—where she was told she was only the second foreigner ever to visit—to research the secret writing invented, used, and kept a secret by women for over a thousand years. Amy Tan called the novel “achingly beautiful, a marvel of imagination.” Others agreed, and foreign-language rights for Snow Flower were sold to 38 countries. The novel also became a New York Times bestseller, a Booksense Number One Pick, and won numerous awards domestically and internationally. MGM Studios acquired the film rights.
Peony in Love (2007), which was an instant New York Times best seller, takes place in 17th-century China in the Yangzi River delta. It’s based on the true story of three “lovesick maidens,” who were married to the same man and who together wrote the first book of its kind to have been written and published anywhere in the world by women. Ultimately, Peony in Love is about the bonds of female friendship, the power of words, the desire that all women have to be heard, and finally those emotions that are so strong that they transcend time, place, and perhaps even death. Foreign rights were sold to 27 countries, Twentieth-century Fox and Scott Free Productions acquired the film rights, and the SCBA gave the book its award for Best Novel of 2007.
Ms. See was born in Paris but grew up in Los Angeles. She lived with her mother, but spent a lot of time with her father’s family in Chinatown. Her first book, On Gold Mountain: The One Hundred Year Odyssey of My Chinese-American Family (1995), was a national bestseller and a New York Times Notable Book. The book traces the journey of Lisa’s great-grandfather, Fong See, who overcame obstacles at every step to become the 100-year-old godfather of Los Angeles’s Chinatown and the patriarch of a sprawling family.
While collecting the details for On Gold Mountain, she developed the idea for her first novel, Flower Net (1997), which was a national bestseller, a New York Times Notable Book, and on the Los Angeles Times Best Books List for 1997. Flower Net was also nominated for an Edgar award for best first novel. This was followed by two more mystery-thrillers, The Interior (2000) and Dragon Bones (2003), which once again featured the characters of Liu Hulan and David Stark. This series inspired critics to compare Ms. See to Upton Sinclair, Dashiell Hammett, and Sir Arthur Conan Doyle.
In addition to writing books, Ms. See wrote the libretto for Los Angeles Opera based on On Gold Mountain, which premiered in June 2000 at the Japan American Theatre followed by the Irvine Barclay Theatre. She also served as guest curator for an exhibit on the Chinese-American experience for the Autry Museum of Western Heritage, which then traveled to the Smithsonian Institution in Washington, D.C., in 2001. Ms. See then helped develop and curate the Family Discovery Gallery at the Autry Museum, an interactive space for children and their families that focuses on Lisa’s bi-racial, bi-cultural family as seen through the eyes of her father as a seven-year-old boy living in 1930s Los Angeles.
In addition, she designed a walking tour of Los Angeles Chinatown and wrote the companion guidebook for Angels Walk L.A. to celebrate the opening of the MTA’s Chinatown metro station. She also curated the inaugural exhibition—a retrospective of artist Tyrus Wong—for the grand opening of the Chinese American Museum in Los Angeles.
Ms. See serves as a Los Angeles City Commissioner on the El Pueblo de Los Angeles Monument Authority. She was honored as National Woman of the Year by the Organization of Chinese American Women in 2001 and was the recipient of the Chinese American Museum’s History Makers Award in Fall 2003.
Ms. See lives in Los Angeles. To learn more, please visit her web site at www.LisaSee.com.
作者: 瑶族小妹 时间: 2010-5-16 16:51
A language kept a secret for a thousand years forms the backdrop for an unforgettable novel of two Chinese women whose friendship and love sustains them through their lives.
This absorbing novel – with a storyline unlike anything Lisa See has written before – takes place in 19th century China when girls had their feet bound, then spent the rest of their lives in seclusion with only a single window from which to see. Illiterate and isolated, they were not expected to think, be creative, or have emotions. But in one remote county, women developed their own secret code, nu shu – "women's writing" – the only gender-based written language to have been found in the world. Some girls were paired as "old-sames" in emotional matches that lasted throughout their lives. They painted letters on fans, embroidered messages on handkerchiefs, and composed stories, thereby reaching out of their windows to share their hopes, dreams, and accomplishments.
An old woman tells of her relationship with her "old-same," their arranged marriages, and the joys and tragedies of motherhood—until a terrible misunderstanding written on their secret fan threatens to tear them apart. With the detail and emotional resonance of Memoirs of a Geisha , Snow Flower and the Secret Fan delves into one of the most mysterious and treasured relationships of all time—female friendship.
Praise for SNOW FLOWER AND THE SECRET FAN
“A subtly stirring novel.”—Vogue
“It’s hard to imagine that someone could write a better novel. The prose is elegant, the voice sure, the story unforgettable—at times punishing in its authenticity.
With Snow Flower, See has written a novel that ranks with the best fiction of Amy Tan and Maxine Hong Kingston, the modern luminaries of Chinese storytelling.”
— Philadelphia Inquirer
“This is a fascinating portrait of a time and place alive with beauty and brutality.”
— USA Today
“The wonder of this book is that it takes readers to a place at once foreign and familiar— foreign because of its time and setting, yet familiar because this landscape
of love and sorrow is inhabited by us all. SnowFlower and the Secret Fan is a triumph on every level, a beautiful, heartbreaking story.”— Washington Post
“A beautifully composed work.” — Boston Globe
“See's translucent prose style gleams with the beauty of 19th century Chinese culture but also makes us burn with indignation at its sexist ugliness and injustice. By bringing the secret world of these Chinese women into vivid relief, See has conjured up an alien world that is the better for being lost.”— Los Angeles Times
“A stunning setup for describing a culture inside a story, and Lisa See takes full advantage of it. On every page, she provides fascinating details of the lives of women in China.”
— San Diego Union Tribune
“In her fourth book, See has triumphed, writing an achingly beautiful, understated and absorbing story of love. . . . Snow Flower and the Secret Fan is so rich in psychology, feminine high stakes and marital intrigue that it evokes the work of Jane Austen. The warring matchmakers are marvelous characters, and the story made me recall the girl closest to my own laotong. See’s novel contains all the elements —joy, knowledge, betrayal, erotica — that give female friends a power over each other that husbands cannot match.”
—Cleveland Plain Dealer
“Exquisitely poetic and thought-provoking.”— New Orleans Times-Picayune
“You can relish See's extraordinary fourth novel as a meticulously researched account of women's lives in 19th-century China, where it is ‘better to have a dog than a daughter.’ (And where the girls' feet are bound in a stomach-turning ritual that See describes with admirable precision and coolness.) But you can also savor See's marvelous narrative as a timeless portrait of a contentious full-blooded female friendship, one that includes, over several decades, envy, betrayal, erotic love, and deep-seated loyalty.” —Entertainment Weekly (Continued)
“Fascinating.”— Detroit Free Press
“See uses a telephoto lens to give us an intimate view of festivals and famine, of customs and superstitions, all through the details of the ‘inner realm’ of women. The cultural insights are fascinating, but in the end this is a love story, with all the passion, betrayal, and regret that comes with the territory.”—Body and Soul magazine
“See's fluid language, her re-creation of Lily and Snow Flower's world, is engaging. . . . Seeably illuminates the roots of Lily and Snow Flower's heartbreaking passivity, allowing us to identify with them enough to recognize the meaning of their lives despite the cultural restrictions of their time.”―San Francisco Chronicle
“A provocative and affecting portrait of women in 19th Century China.”
— Chicago Tribune
“See’s writing is intricate and graceful, and her attention to detail never wavers, making for a lush, involving reading experience. This beautiful tale should have wide appeal.”―Booklist
“Taut and vibrant, the story offers a delicately painted view of a sequestered world and provides a richly textured account of how women might understand their own lives.”
—Kirkus Reviews
“See’s engrossing novel set in remote 19th-century China details the deeply affecting story of lifelong, intimate friends (laotong, or “old sames”) Lily and Snow Flower, their imprisonment by rigid codes of conduct for women and their betrayal by pride and love. . .. As both a suspenseful and poignant story and an absorbing historical chronicle, this novel has bestseller potential and should become a reading group favorite as well.”
—Publishers Weekly, starred review
“I was entranced by this wondrous book―the story of a secret civilization of women who actually lived in China not long ago. . . . Magical, haunting fiction. Beautiful.”
—Maxine Hong Kingston
“Achingly beautiful, a marvel of imagination of a real and secret world that has only recently disappeared. It is a story so mesmerizing that the pages float away and the story remains clearly before us from beginning to end.”―Amy Tan
作者: 瑶族小妹 时间: 2010-5-16 16:52
我相信，原小说一定非常棒
可是，电影开拍以来，真的太多流言蜚语和绯闻，真的很不舒服
不可否认这也是宣传的一部分
不知道邝女士知道实情不，要是知道了，估计要吐血
作者: 瑶族小妹 时间: 2010-5-16 16:53 标题: 她的别的书。。。。。。。。。龙骨
National Public Radio named Dragon Bones as one of the top ten books of the summer for 2003, just after books by Theodore Dreiser, Ernest Hemingway, and Walter Mosely.
Dragon Bones was also on the Los Angeles Times bestseller list.
When ancient myths clash with modern technology, the results can be murder.
In Lisa See’s first novel, Flower Net, she introduced one of her most popular and fascinating characters, Liu Hulan. Flower Net was a national bestseller, a New York Times Notable Book of 1997, a Los Angeles Times bestseller, an Edgar Award nominated novel and Amazon’s #1 thriller of the year.
Now, in her latest novel DRAGON BONES (Random House 2003), Liu Hulan, an agent for China’s Ministry of Public Security, and her American husband, attorney David Stark, return to investigate murder and archaeological theft at the Three Gorges Dam, one of the most beautiful and unique places on earth. And also one of the most controversial. When completed, the Three Gorges Dam will be the most powerful dam ever built and the biggest project China has undertaken since the building of the Great Wall. Yet, the reservoir formed by the dam will inundate over 2,000 archaeological sites and displace over 2 million people.
The story of DRAGON BONES unfurls like an ancient Chinese landscape scroll. When the body of an American archaeologist is found floating in the Yangtze River, Hulan and Stark are sent to Site 518 for two very different reasons: Hulan to investigate the death, David to uncover who is stealing artifacts from the site. As Hulan searches for the murderer, a parallel search begins for a missing artifact that can prove to the world that the Chinese civilization dates back 5,000 years. Everyone -- from the Chinese government, to a religious cult, to an unscrupulous American art collector -- wants this relic and will kill to get it. At stake are who will have control of China and maintained stability between China and the United States.
Combining ancient myth and contemporary fears of religious fanaticism and terrorism, DRAGON BONES is a story of love, betrayal, greed, and murder.
"DRAGON BONES is most memorable for its exploration of Chinese history at the distant point where it fades into myth. [What] begins as a mystery ends up with a short course in China, its vastness both in space and in time. [These] switchbacks into the stuff of myth mean that DRAGON BONES stays with you long after the conventional thriller is forgotten."
- Washington Post Book World
"Mixing history, myths, and current events, DRAGON BONES is an extraordinarily rich novel. It reveals the emotional and economical entanglement of China with the West, and tells a story of violence, lust, greed, fear and desperation. DRAGON BONES is not only a page turner but timely."
- Ha Jin, author of Waiting
"[A] complex, atmospheric thriller….See succeeds in widening the reader’s knowledge about the politics and culture of contemporary China while racing along with an absorbing story."
– Publishers Weekly
[ 本帖最后由 瑶族小妹 于 2010-5-16 16:55 编辑 ]
作者: 瑶族小妹 时间: 2010-5-16 16:54
When she was a girl, Lisa See spent summers in the cool, dark recesses of her family's antiques store in Los Angeles Chinatown. There, her grandmother and great-aunt told her intriguing, colorful stories about their family's past- stories of missionaries, concubines, tong wars, glamorous nightclubs, and the determined struggle to triumph over racist laws and discrimination. They spoke of how Lisa's great-great-grandfather emigrated from his Chinese village to the United States to work on the building of the transcontinental railroad as an herbalist; how his son followed him, married a Caucasian woman, and despite great odds, went on to become one of the most prominent Chinese on "Gold Mountain" (the Chinese name for the United States).
As an adult, See spent five years collecting the details of her family's remarkable history. She interviewed nearly one hundred relatives- both Chinese and Caucasian, rich and poor- and pored over documents at the National Archives and several historical societies, and searched in countless attics, basements, and closets for the intimate nuances of her ancestors' lives.
The result is a vivid, sweeping family portrait in the tradition of Alex Haley's Roots that is at once particular and universal, telling the story not only of one family, but of the Chinese people in America itself, a country that both welcomes and reviles immigrants like no other culture in the world.
On Gold Mountain was a national bestseller and a New York Times Notable Book. It is the inspiration foran exhibition at the Autry Museum of Western Heritage, which will run from August 2000 to January 2001. Lisa See is also writing a libretto based on the book for the Los Angeles Opera, which will premiere as a community opera in May 2000.
Praise for On Gold Mountain
"[See] proves to be a clever, conscientious, fair-minded biographer… [She] has done a gallant job of fashioning anecdote, fable and fact into an engaging read. Terrific stuff… The See family's adventures would be incredible if On Gold Mountain were fiction."
New York Times Book Review
"On Gold Mountain weaves together fascinating family anecdotes, imaginative storytelling, and historical details of immigrant life over the last one-hundred years. Lisa See looks at what's in her bones and re-creates an enviably entertaining family history."
Amy Tan -- The Joy Luck Club and The Kitchen God's Wife
"Astonishing…as engagingly readable as any novel…comprehensive and exhaustively researched."
Los Angeles Times Book Review
"Lovingly rendered…See paints a vivid tableau of a family and an era."
People
"A matchless portrait not only of a remarkable family but of a century's changing attitudes…. The ambitions, fears, loves, and sorrows of See's huge cast are set forth with the storytelling skills of a novelist. Immediate and gripping."
Publishers Weekly (starred review)
"A copiously researched history and a page-turning read."
Kirkus Reviews
"Both serious social history and one family's version of realizing the California dream…Fascinating."
Seattle Times
"Extraordinary! Every sentence pulsates with humor, muscle, meaning, and cool snappy music…Wonderful.
Belle Yang- The Lost World of Baba
作者: 瑶族小妹 时间: 2010-5-16 16:54
In Flower Net, Lisa See rips the veil away from modern China- its venerable culture, its teeming economy, its institutional cruelty- and highlights the inextricable link between China's fortunes and America's. This is a Gorky Park for our time, a complex, suspenseful, beautifully written novel in which a Chinese cop and an American attorney pair up to uncover the deadly conspiracy of Chinese gangs, government, and big business that lies behind a series of high-profile murders.
In the depths of a Beijing winter, during the waning days of Deng Xiaoping's reign, the U.S. ambassador's son is found dead- his body entombed in a frozen lake. Almost simultaneously, American officials find a ship adrift in the storm-churned waters off Southern California. No one is surprised to find the fetid hold crammed with hundreds of undocumented Chinese immigrants- the latest cargo in the Chinese mafia's burgeoning smuggling trade. What does surprise Assistant U.S. Attorney David Stark is his discovery that among the hapless refugees lies the corpse of a Red Prince, a scion of China's political elite.
The Chinese and American governments suspect that the deaths are connected, and in an unprecedented move they join forces to solve this cross-cultural crime. Stark heads for Beijing to team up with police detective Liu Hulan, whose unorthodox methods are tolerated only because of her spectacular investigative abilities. Their investigation carries them (and the reader) into virtually every corner of today's China- from its glitzy karaoke bars, where the nation's new elite cuts deals, to the labyrinthine hutongs, where ordinary Beijingers have lived and died for centuries.
Stark and Liu's search leads them from the Chinese capital to Los Angeles' thriving Asian community and turns up a bloodthirsty murderer at the very apex of China's power structure. Their work together also ignites their passion for each other- a passion forbidden by their respective governments and one that plays right into the hands of a serial killer.
Flower Net was a national bestseller, a New York Times Notable Book, and a nominee for the Edgar Award for best first fiction.
Praise for Flower Net
"If you have…an appreciation for atmospheric, tightly plotted suspense stories, Flower Net is a treat. Lisa See begins to do for Beijing what Sir Arthur Conan Doyle did for turn-of-the-century London or Dashiell Hammett did for 1920s San Francisco: She discerns the hidden city lurking beneath the public façade."
Washington Post Book World
"A graceful rendering of two different and complex cultures, within a highly intricate plot…The starkly beautiful landscapes of Beijing and its surrounding countryside are depicted with a lyrical precision that…[comes] from a deeply abiding connection to the land and its peoples. Also vivid, exact, without any cloying traces of exoticism, are See's descriptions of the strangely lit neon shops and streets of L.A.'s Chinatown."
Los Angeles Times Book Review
"Colorful…She has done her homework…Hulan is a provocative mix of vulnerability, bitterness and hardheaded practicality."
New York Times Book Review
"A thriller with… chase scenes, multiplying bodies, layered conspiracies, and revealed villains. Finish Flower Net and you want to book a flight overseas…A wonderful lesson about changes going on in China as it emerges as a global economic power."
USA Today
"High voltage sexual sparks…Murder and intrigue splash across the canvas of modern Chinese life…A vivid portrait of a vast Communist nation in the painful throes of a sea change…"
People
"This debut thriller is a standout…Complex and exciting…See adds an understanding of subtle and complex Sino-American political and social differences, typifies these qualities in a range of well-crafted characters and tops it all with a suspenseful plot. Cleverly confounds reader's expectations."
Publishers Weekly (starred review)
"Compelling…Proclaims See's considerable talents as a novelist, skillfully blending suspenseful storytelling, romantic intrigue, and stirring plot twists."
Booklist
"An impressive and welcome debut…It has been sixteen years since Gorky Park raised the ante in the game of international thriller novels. Now, Lisa see comes to the table to raise the stakes even higher."
Mostly Murder
"An unusual and highly successful thriller…In this, her first novel, Lisa See brings a cool, knowing eye to Chinese-American relations while crafting a nifty story of suspense."
Chicago Tribune
"An ambitious and engaging mystery…expertly plotted and enriched with rare social, political and historical complication…See has crafted an exceptional narrative, one that tweaks the reader into long hours under the lamp."
Portland Oregonian
作者: 瑶族小妹 时间: 2010-5-16 16:55
The Interior, Lisa See's gripping follow-up to her best-selling novel Flower Net, follows Liu Hulan and David Stark into China's remote countryside on a heart-pounding journey that begins as a favor to an old friend- and ends with a shocking revelation of murder, betrayal, and greed. After a hit and run accident that leaves a close friend dead, David accepts the job opportunity of a lifetime when he's asked to open a law office for Phillips, MacKenzie & Stout in Hulan's home city of Beijing. Meanwhile, Hulan has received an urgent message from an old friend imploring her to investigate the suspicious death of her daughter. The scent of trouble wafts up almost immediately as David and Hulan realize their separate cases have a surprising element in common: the dead girl worked for Knight International, the toy company about to be sold to David's new biggest client, Tartan Enterprises.
In spite of David's protests, Hulan goes undercover, transforming herself from Red Princess to peasant girl, to gain entry into the Knight factory compound. Once inside, rather than finding answers to the girl's death, Hulan unearths more questions, all of which point to possible crimes committed by David's client- ranging from corruption to child labor to unsafe manufacturing practices to far worse. Suddenly Hulan and David find themselves on opposite corners: One of them is trying to expose a company and unearth a killer, while the other is ethically bound to protect his client. Their independent activities collide when a female worker, who gets seriously wounded on the factory floor where Hulan is working, later winds up dead- her body discovered close to where David is finalizing the details of the merger with Knight and Tartan executives.
As the body count rises, the "accidents" and "suicides" begin to look more and more like cold-blooded murders, with the possible suspects ranging from an old peasant farmer to a popular government official to the genius inventor behind Knight International's wildly popular action figure toys. Hulan's trip into the countryside to help piece together clues about her friend's daughter's life brings her back to the past she's long been running from- and forces her to face some ugly truths about herself. At the same time, David sees that his deep desire to overlook the truth- about Hulan's feelings concerning his move to Beijing, about his colleague's death, about his new client's activities- could possibly cost him everything, both professionally and personally.
Deftly weaving her plot from the affluent streets of Los Angeles to the teeming city of Beijing to the primitive culture of China's country villages, Lisa See reveals the striking contrast between Eastern tradition and Western beliefs, the privilege and betrayal of the ruling class, the poverty and desperation of peasant life, and the pull of professional duty and the power of "true heart love." An enthralling story that keeps you guessing until the end, The Interior takes readers deep into the heart of China to reveal universal truths about good and evil, right and wrong- and the sometimes subtle lines that distinguish them.
Praise for The Interior
"Lisa See is one of the classier practitioners of that ready-for-Hollywood genre, the international thrillerÖ She draws her characters (especially her Chinese heroine, Liu Hulan) with convincing depth, and offers up documentary social detail that reeks of freshly raked muckÖ Seeís China is as vivid as Upton Sinclairís Chicago."
The New York Times
"[Seeís] true ambition is not simply to entertain (which she does) but to illuminate the exotic society that is contemporary China, and to explore the consequences ‚ present and future ‚ of its growing partnership with the United StatesÖ See paints a fascinating portrait of a complex and enigmatic society, in which nothing is ever quite as it appears, and of the people, peasant and aristocrat alike, who are bound by its subtle strictures."
The San Diego Union Tribune
"SophisticatedÖ.Seeís writing is more graceful than is common in the genre, and she still has China passionately observed."
The Los Angeles Times
"The Interior is packed with well-researched and nuanced reporting on todayís ChinaÖHulan is an insightful guide to both Chinese corruption and those who resist it."
Washington Post
"Immediate, haunting and exquisitely rendered, a fine line drawing of the sights and smells of the road overseas."
San Francisco Chronicle
"[An] unflinching portrait [of] modern-day China."
Booklist
"The novel eschews any cheap exoticism to plunge the reader into the puzzle that is China today as seen through the eyes of outsiders. A unique read, whose credible protagonists make this a thriller with a heart."
The Saturday Review
"A cracking good story."
The Good Book Guide
"The strength of Seeís work here is her detailed and intimate knowledge of contemporary China, its mores, its peculiar mixture of the traditional and the contemporary, and its often bedeviled relationships with the U.S."
Publishers Weekly
"A must-read for those looking for foreign intrigue."
Rocky Mountain News
"A well-written book with a complex plotÖShines a harsh and revealing light on the modern-day Chinese interior and on Beijing, the real China beneath the postcard imagesÖShe explores themes of Old China and new China, and how the more things change the more they remain the same. She illuminates tradition and change, Western and Eastern cultural differences, and the real politics behind the system. All this in the middle of her thriller which is also about greed, corruption, abuse of the disadvantaged, the desperation of those on the bottom of the food chain, and love."
Nashville Tennessean
"A unique readÖa thriller with a heart."
The Guardian
作者: 瑶族小妹 时间: 2010-5-16 16:57
As we look towards the 21st century, biracialism and biculturalism are becoming increasingly common. Skin color and place of birth are no longer reliable signifiers of one's identity or origin. Simple questions like "What are you?' and "Where are you from?" aren't answered- they are discussed.
Half & Half is a collection of personal essays by eighteen writers on the experience of being biracial and bicultural in America today. The essays are joined by a shared sense of duality and address the difficulties of not fitting in and the benefits of fitting into two worlds. In her essay, Lisa See uses her grandmother's funeral to discuss her memories of growing up in a Chinese-American family and what it means to feel Chinese when you have red hair and freckles. Other contributors include James McBride, Garrett Hongo, Indira Ganesan, Meri Nana-Ama Danquah and Julia Alvarez.
Praise for Half & Half
"These writers… are, by and large, trying to forge an identity that reconciles the basic human desire to fit in and yet remain separate, distinct, special."
New York Times Magazine
"The future is here in these fascinating looks at complicated identities. Insightful, hilarious, and often heartbreaking."
Cristina Garcia - The Aguero Sisters
"A wonderful and thought-provoking collection."
Caryl Phillips - The Nature of Blood
"Half & Half is more than the sum of its parts- it is at once somber and hilarious, irreverent and moving. These writers show us, in the alchemy of their art, how their experiences in identifying who they are make not only for cultural news but for riveting reading."
Chang-Rae Lee - Native Speaker
"Half & Half is brilliant… In the face of snowballing intolerance and social and family obstacles, the writers in Half & Half safeguard each feverish distinction in unforgettable voices."
Maria Flook - My Sister Life
作者: 瑶族小妹 时间: 2010-5-16 16:59 标题: 最后说的是铜钱吧。怎么翻译成cash
What is your educational background?
I went to Loyola Marymount University in Los Angeles. I started out as an art history major, but I graduated with a B.A. in the Humanities. I ended up creating my own major, which was Modern Greek Studies. On the surface it would seem like that wouldn’t have helped me much as a writer, but actually it did. I learned the pleasures and surprises of research, which are at the heart of all of my books.
Where do you live? Do you have a family?
I live in Brentwood, California. (Yep, that’s right, of O.J. Simpson fame.) I’m married. My husband is an attorney. I have two sons. Alexander is working in Boston. Christopher is a student at Stanford. These three men are the greatest joys of my life.
Did you have a favorite teacher?
I had two. The first was Mrs. Bruinslot, my fifth grade teacher at Topanga Canyon Elementary School. She was a wild and fiery old dame. She loved history and she made it come alive by talking about the quirkiness of each individual person instead of the usual recitation of dates, wars, presidents, and kings. She taught me that history is something that happens to individual people. I used that idea with On Gold Mountain, the mysteries, and now Snow Flower and the Secret Fan.
The other great teacher in my life is my mom, Carolyn See, who’s a wonderful and much beloved writer. She is the most incredible person, truly! She taught me to write a thousand words a day, stay focused, not get dragged down by the negativity in the publishing business, and to have fun. If you can’t have fun writing, then what’s the point?
How and when did you decide to become a writer?
I knew three things about myself when I was growing up. I never wanted to get married, I didn’t want to have children, and I always wanted to live out of a suitcase. I took two years off from college to travel in Europe. The whole time I was wondering how I was going to make my life work the way I envisioned it and how I would be able to afford it. One morning, when I was living in Greece, I woke up and it was like a cartoon light bulb had gone off in my head. I thought, Oh, I could be a writer! But clearly I didn’t know myself very well, because I got married and had children. I still spend an awful lot of time living out of a suitcase though!
Why do you write about China?
I’m part Chinese. My great-great-grandfather came here to work on the building of the transcontinental railroad. My great-grandfather was the godfather/patriarch of Los Angeles Chinatown. I don’t look at all Chinese, but I grew up in a very large Chinese-American family. I have hundreds of relatives in Los Angeles, of which there are only about a dozen that look like me.
All writers are told to write what they know. My family is what I know. And what I don’t know – nu shu, for example – I love to find out whatever I can and then bring my sensibility to the subject. I guess what I’m trying to say is that in many ways I straddle two cultures. I try to bring what I know from both cultures into my work. The American side of me tries to open a window into China and things Chinese for non-Chinese, while the Chinese side of me makes sure that what I’m writing is true to the Chinese culture without making it seem too “exotic” or “foreign.” What I want people to get from my books is that all people on the planet share common life experiences – falling in love, getting married, having children, dying – and share common emotions – love, hate, greed, jealousy. These are the universals; the differences are in the particulars of customs and culture.
What’s your writing process?
I get up early and work on my e-mail for an hour or two. Then I write 1,000 words a day. That’s only four pages. Some days I write more, but I try never to write less. I usually have an outline and I write from beginning to end without stopping to edit. Some writers won’t move forward until they get one page absolutely perfect, but I think you can spend a lot of time questioning yourself and making things perfect before going on. Also, if you write straight through, you allow magic to happen.
A good example of that was when I was working on The Interior. (If you’re about to read that book, don’t read the rest of this paragraph.) It’s a mystery, so a body was discovered up around page three and the identity of the killer and the conspiracy were going to be revealed around page 400. I was working one day—typing and minding my own business—when all of a sudden it turned out the killer was someone completely different than who I’d planned. But I loved the scene. I knew I’d have to go back and add some clues and bits and pieces so that readers wouldn’t be upset that the killer had just popped out of nowhere. So I went back to the beginning and there he was in the first scene! In fact, he’d done everything he’d needed to do. That, to me, is the magic of writing and it was something I never could have planned.
What advice would you give aspiring writers?
Write 1,000 words each day before you do anything else. That’s only four pages, but at the end of a week you’ll have twenty pages. If you do it first thing in the morning, then you won’t get distracted by all the things that tempt you not to write.
So much of writing happens, I think, in the editing process. I tell aspiring writers that they should listen to criticism – whether it’s from a teacher or an editor – and then look at it three ways. About a third of all editing suggestions are right, a third are absolutely wrong, and a third are things you have to look at, consider, and play around with.
What’s your favorite all-time book?
Ameliaranne and the Magic Ring, by Eleanor Farjeon. My grandmother picked up this children’s book at a thrift store many, many years ago, so it was old and very used when she gave it to me. It’s about a little girl who longs to own a special doll from the local toy store but can’t possibly afford it. Ameliaranne wins a toy ruby ring from a grab bag run by gypsies. Then she finds out that the old woman who runs the toyshop mistakenly gave her life savings to the gypsies, who also deal in rags. Ameliaranne finds the daughter of the gypsy grab bag/rag dealer and trades her ruby ring for the lost sock with the money. In the end, the old woman gives Ameliaranne the doll as a reward. I loved this story! Then my little sister lost the book. Spring forward about thirty-five years. My sister did an international search, found a copy on the Internet, and gave it to me for my birthday in 2005. It turns out that while there is an entire series of Ameliaranne books, only 2,000 copies were printed of Ameliaranne and the Magic Ring. It’s amazing how clearly I had remembered the story and even whole sections of text, but what really struck me was that in many ways I had modeled my life on Ameliaranne. Not only that, the title of Snow Flower and the Secret Fan bears a striking resemblance to Ameliaranne and the Magic Ring. The subconscious works in mysterious ways. What types of music do you like? Is there any particular kind you like to listen to when you’re writing? I listen to all types of music—hip hop, Indian tabla, South African township, soundtracks, Mexican jarocho, norteno, and mariachi, everything really. I love the Beach Boys, Jimi Hendrix, Joni Mitchell, Bonnie Raitt, and the Stones—lots of stuff from the sixties; on the other side of the spectrum, I think 50 Cent, OutKast, and Eminem really know how to tell stories and they’re funny too. I also love opera. I’ve learned a lot about storytelling, specifically how to tell a story through the pure emotion of music, through opera. The language is gorgeous too. And I can’t help it, but I love Dylan. I realize his voice isn’t as melodious as it could be, but I still think the guy’s a genius. He can tell an entire story in just a few minutes. He uses beautiful and interesting words, and I love the cadence and rhythm of his writing.
Words are distracting when I’m writing, so my favorite CDs to work to are “Puccini without Words,” which has—obviously—Puccini’s opera scores minus the words, the soundtrack to “Monsoon Wedding,” and Midori playing Mozart’s sonatas.
Do you have any special writing rituals? For example, what do you have on your desk when you’re writing?
I don’t have any special rituals other than starting early so I don’t get distracted by the day and drinking lots and lots of decaffeinated tea. On my desk I have photos of my sons, Chinese wind-up toys, a pencil holder my youngest son made for me, a photo of a dim sum lunch I made that was really gorgeous (if I do say so myself), a dictionary of Chinese street language, and the research notebooks I’ve used for each book so I can refer back to them.What are you working on now? When I first heard about nu shu, I thought, how could this exist and I didn’t know about it? Then I thought, how could this exist and we all didn’t know about it? So often we hear that in the past there were no women writers, no women artists, no women historians. There were women, but supposedly they didn’t do anything. But of course they did things. It’s just so often what they did was lost, forgotten, or deliberately covered up. In all of my books, I’ve tried to find and bring back lost stories. More and more, I find I’m increasingly drawn to the lost stories of women.My new book is like a mirror image of Snow Flower and the Secret Fan, which was about 19 th-century uneducated women who found solace and friendship through their secret writing. In the 17 th-century, in the Hangzhou area of China, the women were extremely well educated, came from wealthy families, but still had bound feet. There were more women writers in this area who were being published than altogether in the rest of the world at that time. My new novel focuses on a sub-category of these women called the lovesick maidens.
This story is based on fact and focuses on three young women. The first was a sixteen-year-old girl, Chen Tong, who was engaged to be married. She loved an opera called The Peony Pavilion, which is about a girl who catches a case of lovesickness, dies, comes back to earth as a ghost, and is eventually resurrected through true love. Chen Tong used to stay up late at night to read the opera, and then write her thoughts about the characters and the nature of love in the margins of the story. Unfortunately, like the main character in the opera, she became lovesick, wasted away, and died. The poet she was engaged to married another sixteen-year-old girl, who also loved The Peony Pavilion. She added her thoughts to the same volume as her predecessor. She lent the volume to a friend, who showed it around Hangzhou. Everyone kept asking, “Who could have written such wonderful thoughts about love?” To which the second wife responded, “My husband.” He became quite famous for this, but she caught a case of lovesickness, wasted away, and died. The poet married a third time to yet another sixteen-year-old girl. She added her thoughts in the margins, but she was made of different stuff than her two predecessors. She pawned her wedding jewelry, and used the money to have the volume published. “The Three Wives Commentary” became the first book of literary criticism written by women to be published in the world. I’m writing the novel as a ghost story within a ghost story. It’s about love, how women find their purpose in life, and those emotions which are so strong that they transcend time, place, and perhaps even death.
Is there a specific talent you would most like to have?
I’d love to have ESP, an awesome serve for tennis, to be able to TIVO in real life, and to know where the commas go at all times.
If you weren't a writer what would you be?
A landscape architect.
How do you spend your time when you’re not writing?
I go for walks and play tennis. I love movies and see about 100 a year. But frankly, I don’t have much free time. I’m a L.A. City Commissioner. I also curate the occasional museum exhibition and do tons of speaking events each year. I’m also a freak when it comes to letter writing. I write lots of letters, and I think I’m pretty good at answering my e-mail in a timely way. (So write to me!) My days are extraordinarily full with all sorts of things and I have to say no more than I’d like so I can write.
In Snow Flower, you often refer to cash. What is that?
Cash was a type of money used in China. It was round and usually had a square cutout in the middle.
作者: 瑶族小妹 时间: 2010-5-16 17:39
这个论坛的人气实在是
作者: 沙野 时间: 2010-5-16 22:25 标题: ？
太长。看了半个小时。。。
作者: 瑶族小妹 时间: 2010-5-17 10:49
引用:
原帖由 沙野 于 2010-5-16 22:25 发表 
太长。看了半个小时。。。
作者: 代启福 时间: 2010-5-17 19:34
我喜欢苏菲玛索
作者: 瑶族小妹 时间: 2010-5-17 20:12
引用:
原帖由 代启福 于 2010-5-17 19:34 发表
我喜欢苏菲玛索
作者: amyyangamy 时间: 2010-5-22 16:39
江永女书，老师说像女性做刺绣一样的文字...一定很美
作者: 沙野 时间: 2010-5-26 17:23
引用:
原帖由 amyyangamy 于 2010-5-22 16:39 发表 
江永女书，老师说像女性做刺绣一样的文字...一定很美
作者: 乌尔沁 时间: 2011-9-17 18:07
看见电影觉得还是不要相信外国人编排创造的。一个法国女人能够了解公元1800年中期的湖南小镇吗。女主人公惺惺相惜。尼娜为了索菲娅甚至放弃考入清华的机会？相信她乱编都不会编。湖南小镇上面的良家梳女是画面女演员那个搞活样子吗。画面片中一面的所谓女书出现，则被定位成民俗艺术。也因了此，这一部胡编的影片也被定位成了什么“民俗史实大片”。用来恐吓我们人民观众。片中的所谓“老同”“女书”种类的文化元素一闪，只是能让西国观众天书一般了解误读所谓中国文化。
作者: 放牛班的课堂 时间: 2011-9-23 00:57 标题: 东方民俗能让合拍片“里外通吃”吗
中国评论新闻网 2011-07-06 11:39:22
中评社香港7月6日电／《解放日报》报道，“十九世纪的中国，女人必须裹足，生活与外界几乎完全隔绝。在湖南省一个偏远地区的妇女，发展出她们独特的沟通密码：女书。有些少女结为‘老同’，如同精神上的婚配，情谊可延续一生……”电影《雪花秘扇》开宗明义，“女书”和“老同”这两个神秘且暧昧的民俗文化符号即是影片“题眼”。因传媒大亨默多克的华裔妻子邓文迪首次筹划电影项目，《雪花密扇》从开拍起就备受关注。公映后，《雪花密扇》票房尚可，但争议更大，制片方冀图以东方民俗的展示让影片“里外通吃”，但观众并不买账。
花谁的钱？
“拍《雪花密扇》没有用我丈夫或是我自己的钱”，让邓文迪骄傲的是，虽然是第一次拍电影，但在《雪花密扇》这一电影项目上，她扮演的并非“金主”角色，而是成功进行了一次资本运作。
资本最擅长资源优化配置，考察《雪花秘扇》的每一项资源配置看得出都经过精打细算——要为西方观众展示东方奇趣观感，以《喜福会》大受好评的华裔导演王颖是最佳选择；亚洲市场主打韩国演员全智贤以及李冰冰的明星号召力，欧美市场则有“金刚狼”休.杰克曼出演的噱头（虽然他的戏份只能以“打酱油”形容）；剧本脱胎于华裔女作家邝丽莎的欧美畅销小说（虽然写的是中国故事，却是英文小说）；题材亘古及今，“女书”和“老同”这两项民俗的延展还有难以言说的禁断和暧昧感……无论从保存、传播民俗的文化意义，抑或从商业角度来看，《雪花密扇》都算得上一个好项目。
拍给谁看？
好项目未必等于好电影。让中国观众很快“出戏”的是电影开头李冰冰饰演的尼娜接到医院电话，被告知全智贤饰演的索菲亚遭遇车祸入院。虽然电话那头说的是“上海徐汇某某医院”，但电话两头的对白却都是先说英文，再说普通话。此后，英文、中文乃至韩语在影片中交替出现，不少观众表示“听得头晕”。从语言使用管窥全豹，有观众评价，影片上下透着一种别扭感——你很难说清这是外国导演还是中国导演拍的中国故事，但有一点感觉很明显，它是拍给外国人看而不是给中国观众看的。
中国观众“出戏”，国际观众是否“入戏”尚未可知，但有一点可以明确，瞄准国际观众窥探东方秘闻的心态，也许能让一部电影卖座，但离艺术成功还很远。国际化不是一件容易的事情，拍给外国人看的“中国故事”，回到中国观众面前冀图漂亮地来个 “里外通吃”，更不容易。
如何表现？
事实上，民俗题材电影算得上“第五代”导演的成名利器。无论是《大红灯笼高高挂》《红高粱》还是《黄土地》，“挂红灯笼”、“裹脚”、“颠轿”等等“民俗”，在电影中是美学符号，是仪式感，亦是东方奇观。经过数十年嬗变，以《雪花密扇》为代表的新“民俗电影”，背负了更多的商业目标。“民俗”在电影中更多地意味着话题性和商业元素。
应该说，以电影这一流行文化的方式让古老民俗得到更好的被保留和传播的机会，值得称许。如《雪花秘扇》中的“女书”是世界上唯一供女性阅读和学习的文字，1982年被发现，2004年最后一位自然传人谢世，2006年被收录进第一批国家级非物质文化遗产名录，具有很高的文字学价值和社会学价值。但如何让民俗避开猎奇角度，真正展示魅力，则是电影语言需要思量的问题。有文化作底蕴、有观念作支撑、有明星当头面，民俗电影可为空间很大，“里外通吃”并非奢望，而电影人在资本的资源配置外，更需要动情感的脑筋。
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