Kulturkampf : Chinas Hanfu versus Japans Dragon Ball und Mangas und US- Kung-Fu- Panda

Kulturkampf : Chinas Hanfu versus Japans Dragon Ball und Mangas und US- Kung-Fu- Panda

Breaking News für Manga- und /oder Marvel Universe Fans:Wenn konservative alte japanische Professoren in der Asashi Shimbum fragen, was an Japan noch japanisch sei, so doch vor allem die Mangakultur, die ein weltweiter Exportschlager geworden ist:

„Legenärer Manga-Zeichner

„Dragon Ball“-Erfinder Akira Toriyama überraschend gestorben

„Dragon Ball“-Erfinder Akira Toriyama mit 68 Jahren gestorben

Getty Images/Collage„Dragon Ball“-Erfinder Akira Toriyama mit 68 Jahren gestorben

Gestern, 08.03.2024 | 13:38Der Japaner Akira Toriyama schuf mit „Dragon Ball“ einen der erfolgreichsten Mangas aller Zeiten. Nun ist der Zeichner und Autor gestorben.

Akira Toriyama ist tot. Der japanische Manga-Autor und „Dragon Ball“-Schöpfer starb bereits am 1. März 2024 an einem Subduralhämatom, einer Einblutung zwischen zwei Hirnhäuten. Dies gab das „Dragon Ball“-Team auf seiner Homepage und via X (vormals Twitter) bekannt. Toriyama wurde 68 Jahre alt. Er hinterlässt eine Frau und zwei erwachsene Kinder.

„Dragon Ball“-Team überrascht von Akira Toriyamas Tod

„Mit großem Bedauern“ teilte das Statement mit, dass sich Akira Toriyama „mit großem Enthusiasmus“ mitten im Arbeitsprozess an mehreren Werken befand. Zudem habe man damit gerechnet, dass er in der Zukunft weiter große Dinge erreichen würde. „Wir hoffen, dass Akira Toriyamas einzigartige Welt noch eine lange Zeit von allen geliebt wird“, heißt es in dem Text. Die Beerdigung habe bereits in kleinem Kreis stattgefunden.

Akira Toriyama wurde am 5. April 1955 auf der größten japanischen Insel Honshu geboren. Inspiriert von Disney-Filmen, versuchte er sich schon früh als Zeichner. Ende der 1970er-Jahre debütierte er als Zeichner im erfolgreichen Manga-Magazin „Weekly Shonen Jump“.

„Dragon Ball“ gilt als zweiterfolgreichster Manga aller Zeiten

Sein großer Durchbruch kam 1984 mit „Dragon Ball“. Bis 1995 erschien der Manga, der lose auf dem chinesischen Roman „Die Reise nach Westen“ basiert im „Weekly Shonen Jump“. Allein in Japan wurden von den Abenteuern von Son-Goku 152 Millionen Exemplare verkauft. Nach „One Piece“ ist „Dragon Ball“ somit der zweiterfolgreichste Manga aller Zeiten.

In der Gestalt von Anime-Serien wurde die „Dragon Ball“-Saga auch im Westen bekannt. Sie gilt als die wichtigste Initialzündung für die heutige Begeisterung für japanische Popkultur bei westlichen Jugendlichen. Das „Dragon Ball“-Universum besteht mittlerweile aus 18 Kinofilmen, vier Fernsehserien und drei Fernsehfilmen sowie drei direkt fürs Heimkino produzierte Filme. Dazu kommen etliche Videospiele.

Von (smi/spot)

„Dragon Ball“-Erfinder Akira Toriyama überraschend gestorben – FOCUS online

Wer der erfolgreichste Manga war erfahren wir leider nicht. Aber interessant, dass Dragon Ball auf dem chinesischen Roman“ Reise nach Westen“ basiert. Das ist mir nie so aufgefallen. Jedenfalls war Dragonball auch im China der 90er und danach wie viele japanischen Mangas ein Hit und man konnte ihn in jedem Kiosk und Buchhandlung bekommen.

Auch andere Manga- Veteranen, die dazu noch leben, schaffen es bis Hollywood und auch zum Oscar:

„Hayao Miyazaki earns historic Oscar for ‘The Boy and the Heron’

THE ASSOCIATED PRESS

March 11, 2024 at 08:45 JS

Photo/IllutrationIn this Nov. 8, 2014, file photo, Hayao Miyazaki arrives at the 6th annual Governors Awards in Los Angeles. Miyazaki’s “The Boy and Heron,” is nominated for best animated feature. (AP photo)

LOS ANGELES–Hayao Miyazaki, the legendary Japanese filmmaker whose anime classics have enchanted fans around the world for decades, has won his second career Oscar.

At 83, Miyazaki won for helming the best animated film, “The Boy and the Heron,” the long-awaited fantasy from the director of “Spirited Away,” “My Neighbor Totoro” and “Kiki’s Delivery Service.”

He is the oldest director ever nominated for the category and the oldest winner by more than two decades — adding to a big year in Hollywood for older filmmakers. He was not present at the awards.

Hailed as one of the best films of 2023, “The Boy and The Heron” beat its top rival in “Spider-Man: Across the Spider-Verse,” as well as “Elemental,”“Nimona,” and “Robot Dreams.”

Sunday’s win for Miyazaki and producer Toshio Suzuki caps off a solid awards season run for the film, which won the top honor for an animated feature at the Golden Globes and the BAFTA Film Awards.

It was Miyazaki’s fourth Oscar nomination for best animated feature — tying with Pixar’s Pete Docter for the most nods in that category. Miyazaki won his first Oscar in 2003 for “Spirited Away.“

Miyazaki began work on “The Boy and the Heron” not long after announcing in 2013 that he intended to retire from film — again.

In journal excerpts from around that time released in the film’s press notes, Miyazaki writes: “There’s nothing more pathetic than telling the world you’ll retire because of your age, then making yet another comeback.

“Doesn’t an elderly person deluding themself that they’re still capable, despite their geriatric forgetfulness, prove that they’re past their best?” he adds. “You bet it does.”

Miyazaki worked through those concerns, and the resulting film earned him not only his second Oscar win on Sunday night, but his first No. 1 feature at the North American box office.

“The Boy and the Heron” follows a boy named Mahito Maki who moves to the countryside after his mother’s death. There, he is lured by a mysterious heron into a secluded tower, a portal that transports him to a fantastical realm amid his grief.

The film was a decade in the making. In the age of CGI and artificial intelligence, Miyazaki has stuck to the lengthy process of hand-drawing his animations.

When he received an honorary Oscar in 2014 celebrating his artistry and storytelling, he expressed gratitude for the art of drawing.

“My wife tells me that I’m a very lucky man,” Miyazaki said in his acceptance speech through a translator. “And I think I’ve been lucky because I’ve been able to participate in the last era when we can make films with paper, pencil and film.”

Hayao Miyazaki earns historic Oscar for ‘The Boy and the Heron’ | The Asahi Shimbun: Breaking News, Japan News and Analysis

Und die Manga, anders als die chinesische Hanfu-Welle und dies kitschig- einflusslosen chinesisch- patriotischen Filmproduktionen der KP China , deren schon inländsichen  Box Office- Hits im statistischen Zweifel stehen und so beliebt sind wie die staatlich aufokroyierte FDJ-Kultur bei der DDR- Jugend , finden Mangas weltweit Verbreitung, Nun scheinbar auch in Afrika:

Future is Africa: Japanese anime, manga find fresh opportunities

By SUSUMU IMAIZUMI/ Correspondent

February 20, 2024 at 07:00

Photo/IllutrationPeople cosplay as characters of the anime „Naruto“ at Comic Con Africa, one of Africa’s largest subculture events, in Johannesburg on Sept. 23. (Susumu Imaizumi)

CAPE TOWN—Africa’s film industry is undergoing an exciting sea change, thanks to Western investment.

Innovations in the African film industry are increasingly attracting the attention of creators of Japanese anime and manga.

After the COVID-19 pandemic, the popularity of and demand for Japanese subcultures have been growing in the continent.

South Africa is a major center of such change.

‚MAGICAL‘ SETTING

Under a deep blue sky in the Southern Hemisphere, a huge wooden ship with a large white sheep’s face sitting on the bow stands on the grounds of Cape Town Film Studios in Cape Town, the legislative capital of South Africa.

The iconic vessel is part of the set used in the live-action adaptation of the globally popular manga “One Piece” by Netflix, a major U.S. video distribution service.

Most of the footage of the movie, in which the main character, the pirate Luffy, and the swordsman Zoro, played by actor Mackenyu Arata, were shot on this set.

“Not many studios in the world can build this ship,” said Makkie Slamong, CEO of Cape Town Film Studios. “It was one of the main reasons why they choose our studio.”

Cape Town Film Studios is considered the largest of its kind in sub-Saharan Africa.

Covering an area of 600,000 square meters, or about 13 times the size of Tokyo Dome, it comprises five soundproof studios the size of a gymnasium, three swimming pools and various town sets.

Founded in 2010, the studio is one of the “newcomers” in the industry. Boasting a staff of about 20 people, more than 100 films, both domestic and international, have been shot there.

Steven John Ward, the South African actor who played the role of the swordsman Mihawk in the live-action “One Piece,” said, “Cape Town has everything from calm beaches to stormy seas. We have mountains and forests. You can literally move a few hundred meters and have a whole new location. It’s magical.”

‚BLACK-OWNED, BLACK-MANAGED‘

In recent years, the film industry, including Hollywood, has been emphasizing not only the content of movies, but also racial and gender diversity and a low environmental impact from the production stage. Investors and audiences are becoming increasingly critical.

Against the backdrop of these trends, the world is paying attention to Cape Town Film Studios, which takes advantage of a lush, green environment where precious birds and animals live.

“Cape Town Film Studios is black-owned and black-managed,“ Slamong said. „And there’s a big discussion in Hollywood about diversity.”

According to a Netflix report, the company invested a total of $175 million (about 25.9 billion yen) in South Africa, Kenya and Nigeria from 2016 to 2022, creating 12,000 jobs.

In March 2023, while “One Piece” was being filmed, South African President Cyril Ramaphosa visited the studio. According to local news reports, the president said the creative industry is the best field for job creation.

Slamong said with high hopes, “In South Africa or Africa, we are more competitive, and film companies have got better incentives. Cape Town Film Studios is Africans’ home for film. That’s what’s important to us.”

PANDEMIC CREATED OPPORTUNITY

Africa is expected to become not only a place to create entertainment content, but also a market to consume it.

Comic Con Africa, one of Africa’s largest subculture events, was held in late September in Johannesburg, South Africa’s largest city.

Stuffed animals and goods of the wildly popular Pikachu anime and Mario video game characters were lined up, and the venue was crowded with people dressed in costumes of various manga characters.

Dimona Wa Mukenyi, 17, an employee of Tamashii Nations, a company that sells Japanese figurines, said that the excitement about Japanese subcultures was accelerated by the COVID-19 pandemic.

People in South Africa faced a large-scale lockdown during the pandemic, increasing opportunities for many citizens to experience Japanese anime at home.

Three works that are particularly popular are „Damon Slayer: Kimetsu no Yaiba,” “Jujutsu Kaisen” and “One Piece,” Mukenyi said.

Exhibitors at the Comic Con included stores selling Nintendo and “Gundam” plastic models.

In the “fanzine” section, a science fiction hero manga modeled on South Africa’s first black president, Nelson Mandela, as well as manga magazines created by Zimbabwean artists based on the Weekly Shonen Jump magazine, were on display.

Comic Con Africa was first held in 2018.

At the 2023 event, 335 organizations participated as exhibitors over the four days and more than 70,000 people visited. Both were record numbers.

1.4 BILLION PEOPLE AND DIASPORA MARKET

The Japan External Trade Organization (JETRO) also participated in Comic Con Africa for the first time, setting up a booth.

The organization held about 50 business meetings with 12 local companies and offered lectures on drawing Japanese manga.

“It seems that it is mainly white people who spend money on subculture,“ said Mizuho Nakanishi, who works at the local JETRO office. „But there are also black people and Indian people at the venue, and the base seems to be expanding.”

Currently, there are many issues such as illegal downloading and pirated copies that ignore copyrights. This is because there are few distributors who cooperate with Japanese manufacturers and a supply network of legitimate products has not been established.

But beyond that point, there is a growing market for Japanese content creators looking to expand. 

The African continent is home to 1.4 billion people and is projected to account for nearly 40 percent of the world’s population by 2100.

Furthermore, the African diaspora, including immigrants, refugees and their descendants, are scattered throughout the world.

“Japanese produced-content already has a huge presence. But I think it will grow even bigger,” Ward said. “To be honest, I am trembling at the thought of its popularity.”

Future is Africa: Japanese anime, manga find fresh opportunities | The Asahi Shimbun: Breaking News, Japan News and Analysis

Cape Town Film Industries ,scheinbar so das neue Hollywood von Afrika .Man dachte immer Nigeria sei da führend in Afrika als das Bollywood. Africa Comic Con-scheinbar so das wichtigste Comicfestival in Afrika. Scheinbar jetzt auch mit Mangawelle in Afrika?

Was hat China da zu bieten? Eigentlich nichts. In der Global Times wird jetzt berichtet, dass die Chinesen und die chinesische Jugend auf Xis verordnete Global Xivilization Initiative , China chic als Reaktion auf westliche Jeans und US- Kulturimperialismus abfahren würden, obgleich von der Konsumkommunistischen KP China die doch eigentlich US- kulturimperialistische  Mc Donaldketten-Expansion in China befeuert wird und die dann  fettleibigeren Chinesen eben in keine Jeans, auch chinesische Jeans mehr passen (ja, „body shaming“ hat die Global Times neuerdings auch entdeckt) aber die US- Levy Jeans dann dafür verantwortlich gemacht werden und ein Kulturkampf der KP China abzelebriert wird,  wie die Gallier in Asterix und Obelix angesichts römischen Empire-Kulturimperialismus so reagieren würden wie in der Trabantenstadt oder „Weißen Iris“ und zudem nun auch Mailand, Taiwan und der Welt auf die Hanfu- Welle aufspringe würden, die nun auch überchinesisch auf die taiwanesisch-chinesischen Compatriots ausstrahlen würden, vor allem Taiwans chinesischer  Jugend:

ARTS / CULTURE & LEISURE

Love for ‘hanfu’ unites young people across the Straits

Symbol of bridge

By GT staff reportersPublished: Mar 07, 2024 11:20 PM

Models showcase hanfu at the Cross-Straits <em>Hanfu</em> Culture Festival in Fuzhou, East China’s Fujian Province. Photo: VCG“ src=“https://www.globaltimes.cn/Portals/0/attachment/2024/2024-03-06/15ba2c84-b0d6-4661-8306-450f7a53d510.jpeg“></p>



<p>Models showcase hanfu at the Cross-Straits <em>Hanfu</em> Culture Festival in Fuzhou, East China’s Fujian Province. Photo: VCG</p>



<p>As the 12-day cultural performances at the 2024 Taoyuan Lantern Festival drew visitors from across the Taiwan Straits, the highlight, however, was on hundreds of hanfu lovers. Dressed in exquisite traditional costumes, they strolled through the crowded streets to showcase this essential part of the Chinese culture. <br><br>For many business insiders, though it is yet to have an adequate hanfu industrial chain as it has in the Chinese mainland, the allure of this traditional clothes however has sparked a craze among the island’s youths in the last few years.<br><br><strong>Debut show</strong><br><br>On February 21, hundreds of hanfu enthusiasts from both sides of the Taiwan Straits gathered in Taoyuan to take part in the lantern festival. Adorned in ancient-style costumes, they participated in various cultural activities such as hanfu parades, wedding exhibitions, and lantern night tours, sharing this cultural feast with the local residents.<br><br>Their appearance at this Spring Festival event was attributed to the <em>Hanfu</em> Cultural Week, which was initiated as early as 2013 by famous lyricist Vincent Fang in East China’s Zhejiang Province.<br><br>This cultural week later evolved into a festival celebrated by traditional Chinese costume lovers nationwide, attracting millions of traditional culture enthusiasts every year. This year’s Taoyuan Lantern Festival performances marked their debut trip to Taiwan, where they engaged in exchanges with local hanfu enthusiasts.<br><br>During the festival, the exchanging hanfu team from the mainland hosted a series of activities in ­Taoyuan such as the ancient etiquette stage plays, ceremonial music showcases and even the traditional Cantonese Opera.<br><br>On the lantern festival which dwelt on February 25, the ancient-style market was filled with a myriad of products, from pearl hairpins and bamboo lanterns to specialty teas, exuding an atmosphere of antiquity. The local Taiwan vendors donned hanfu attire, joining visitors from the mainland to experience this unique cultural exchange.<br><br>Mao Zhaoxi, a post-1990s hanfu enthusiast from Southwest China’s Yunnan Province, stole the show. Clad in a traditional hanfu adorned with auspicious cloud patterns in a light purple hue, she captivated the attention of visitors when showcasing the charm of hanfu culture alongside dozens of other young enthusiasts.<br><br>„I’ve had a passion for historical dramas since childhood, which led me to become a hanfu model,“ Mao shared with the Global Times during her trip to Taiwan. Being a traditional costume enthusiast, she has been traveling a lot to perform and promote the culture of hanfu, as well as on social media.<br><br>„This is a slow and meticulous thing to do, we need to specifically tell the history and culture behind to the listeners to win their hearts,“ according to Mao.<br><br>„The inheritance and development of hanfu culture represent a perfect blend of modern aesthetics and traditional aesthetics,“ Mao said. „Those traditional clothes are a significant manifestation of ­Chinese culture, embody the spiritual pursuits and connotations of the Chinese people from generation to generation.“<br><br>During the festival, more than 100 hanfu enthusiasts from both sides of the Straits lined up dressed in ancient clothes from different dynasties, attracting visitors from all over Taiwan, who interacted and took pictures with the performers.<br><br>According to media reports, visitors could try on hanfu and pose for wedding photos, experiencing the charm of Tang and Ming dynasty-style weddings.<br><br>„The integration of hanfu elements into the lantern festival is very interesting, making it feel like traveling back in time to ancient markets,“ said Xiao Yuting, a Gen Z hanfu lover from Tainan.<br></p>



<figure class=<em>Hanfu</em> lovers from both sides of the Taiwan Straits try on hanfu in Taoyuan, the island of Taiwan.  Photo: VCG

Hanfu lovers from both sides of the Taiwan Straits try on hanfu in Taoyuan, the island of Taiwan. Photo: VCG


‚A cultural identity‘

From its beginnings of just more than 10 activities in its first season, the Hanfu Cultural Week has grown to approximately 30 activities in recent years, expanding both in scale and influence. For hanfu enthusiasts from both the Chinese mainland and the island of Taiwan, the cultural week has become an event to express their affection for this culture.

Hanfu designer Tang Houxiang, who served as a cultural consultant for this event, observed the varying degrees of hanfu cultural development across the Straits.

„While the Chinese mainland boasts numerous traditional culture enthusiast groups and a ­well-developed industry, Taiwan favorites such as the horse-face skirt and fish-tail robes are also gaining popularity among young people, partly thanks to the ancient costume dramas from the mainland.“

Years ago, ancient costume TV dramas such as Story of Yanxi Palace and The Legend of Mi Yue produced by the Chinese mainland had started to win a growing number of audiences in Taiwan.

According to media reports, the 2011 TV drama Empresses in the Palace even hit a record 4.7 million views during the 2023 Spring Festival.

This also increased people’s love for hanfu culture. In November of 2020, an International Hanfu Day was hosted in Ximending district, a bustling area of Taipei. As it was renamed the Taiwan Hanfu Festival in 2022, about 1,000 people participated in the event every year.

According to media reports, many interviewees said the love of hanfu among the youths is „an expression of a form of identification with Chinese culture.“

A university student named Ziruo said that she was drawn into hanfu culture after watching the mainland fantasy drama Eternal Love.

Hanfu is not cosplay, and those who wear that are not traditional women,“ Ziruo said.

Love for ‘hanfu’ unites young people across the Straits – Global Times

Bezeichnend auch solche krampfhaften Propagandaartikel der Global Times, Chinas internationales kulturelle Expansion irgendwie herbeizuschreiben.

Report reveals Chinese films’ overseas influence; ‘common value of mankind’ buzzword

By GT staff reportersPublished: Mar 13, 2024 09:51 PMPromotional material for Chinese animated films <em>New Gods: Yang Jian</em> (center) and Ne Zha (bottom left) Photos: Courtesy of Maoyan“ src=“https://www.globaltimes.cn/Portals/0/attachment/2022/2022-12-27/a71d5324-8d95-4b7c-98a1-0246254df65c.jpeg“></p>



<p>Promotional material for Chinese animated films <em>New Gods: Yang Jian</em>  Photos: Courtesy of Maoyan<br>Surveying overseas moviegoers in countries like the US, a research report has recently revealed the global influence of Chinese films. Terms such as „honor,“ „the best“ and „common value of mankind“ were found to be some of the buzzwords that overseas media uses to describe Chinese film productions. </p>



<p>The report has detailed the overall performance of Chinese films overseas from 2020 to 2022. Yet, it was only recently launched by the Academy for International Communication of Chinese Culture, a research center belonging to Beijing Normal University.</p>



<p>Among different film genres, drama, comedy and animated films were three major categories that were most popular among overseas audiences. In the drama film category, the 2022 production <em>Lighting up the Stars</em> has earned a great reputation and sparked wide discussion among overseas moviegoers. The film depicts a touching story between a funeral director who is also a former prisoner and a young orphan girl. The two seemingly much unrelated characters later develop a father-daughter bond and become a source of hope for the other. </p>



<p>Lu Jingci, a film marketing expert, told the Global Times that <em>Lighting up the Stars</em> earned moviegoers‘ attention as its characters were „nontraditional and unexpected“ for a family-themed movie. Also, the film’s theme relating to „funerals“ and „a prisoner“ were also like „taboos that intrigue audiences.“</p>



<p>„It is a good production that reveals the kindness in human nature, and this quality is very much praised by Western films as well,“ Lu said. The expert also emphasized that Chinese films like this can earn international applause as they convey the common values of mankind. </p>



<p>Another Chinese film Ballon was also highly rated by overseas audiences. Shot by Chinese director Pema Tseden, the film depicts an ordinary family’s story through the cultural lens of Southwest China’s Xizang Autonomous Region. </p>



<p>Chinese animated films have also been thriving in recent years. According to the survey, productions like <em>New Gods: Yang Jian</em> have intrigued Western moviegoers. Unlike animated works produced by Western powerhouses like Pixar, Chinese productions are unique due to „their narratives being predominantly rooted in traditional Chinese literature,“ Li Xun, an animator and a scriptwriter, told the Global Times. </p>



<p>Yang Jian, the hero of <em>New Gods: Yang Jian</em>, was inspired by the Ming Dynasty (1368-1644) novel Fengshen Yanyi, or The Investiture of the Gods. Li told the Global Times that these Chinese characters were much more „profound“ than cartoon characters often seen in Western productions. </p>



<p>Directed by filmmaker Jia Ling, the 2021 comedy Hi, Mom set multiple new records in Chinese film history. The comedy was praised in overseas markets. According to the survey, it was the Chinese comedy most frequently mentioned by overseas media. Variety’s review described it as a „top-notch tearjerker.“ </p>



<p>The successful Chinese production intrigued not only fans, but also overseas studios. Sony Picture has now bought the rights to a remake. </p>



<p>Also enclosed in the international survey, according to a semantic analysis of Google News media reports, Western media was found to have spoken generally positive about Chinese films debuting in the past few years. <em>Lighting up the Stars</em> again sparked many discussions on the social media platform X. </p>



<p>Hu Zhifeng, a Beijing Normal University professor and the vice president of the China Television Artists Association, said that Chinese films are an extremely important window for Westerners to understand diverse Chinese culture. </p>



<p>„Two types of films need to be more frequently presented to overseas audiences. The first one are films that reflect China’srealities, and another type are films that demonstrate the aesthetics and spirit of Chinese culture,“ Hu emphasized.  </p>



<p>The international survey has been carried out since 2011. Including the current report, a total of 12 surveys have been conducted. The reports are dedicated to providing the Chinese film industry with useful insights for engaging with the overseas market. </p>



<p><a href=Report reveals Chinese films’ overseas influence; ‘common value of mankind’ buzzword – Global Times

Einige wenige Filme,von denen man noch nie gehört hat als angeblicher Beweis,dass im Wrsten chibesische Filme massenhaft gesehen und gelobt würden.Auch keine Statistiken und Zahlen, box Office Hits, Zuschauern, etc.Nicht einmal ein Filmmagazin als zitierte Quelle.Nur,dass Sony die Rechte für einen Remake eines,Films gekauft haben soll. Kling eher ziemlich mager. Dann wieder auch ein Bericht über Hanfu in Paris:

Guzheng virtuoso inspires global audience

Bridging cultures through music

By Li HangPublished: Mar 13, 2024 11:00 PMPeng Jingxuan plays the traditional Chinese instrument <em>guzheng</em> in Paris, France. Photo: Courtesy of Peng Jingxuan“ src=“https://www.globaltimes.cn/Portals/0/attachment/2024/2024-03-12/8d25d3e3-3170-4e76-93d8-db2f04d0ebf3.jpeg“></p>



<p>Peng Jingxuan plays the traditional Chinese instrument <em>guzheng</em> in Paris, France. Photo: Courtesy of Peng JingxuanUnder the Eiffel Tower, beside the Arc de Triomphe, along the bustling streets of Bordeaux, and in the streets of Cannes and Barcelona, it can be caught sight of a young Chinese woman dressed in traditional hanfu attire, plucking the strings of a <em>guzheng</em> (a classical Chinese zither), attracting audiences from around the globe with her melodies.</p>



<p>Peng Jingxuan, the performer, is a 27-year-old student studying the harp at the ENM de Villeurbanne in France. Her performances combining classical elegance and contemporary innovation blend the sounds of the <em>guzheng</em> with genres ranging from rock and opera to rap and jazz. Her repertoire includes international pieces like the „Croatian Rhapsody“ and „See You Again,“ and Chinese classics such as „The Bund.“</p>



<p>Peng’s street performances often draw local street artists to join her impromptu sessions, with French children eagerly attempting to play <em>guzheng</em> alongside her. Spectators sway to the music, some capturing the moment on their cell phones while others simply take in the auditory feast.</p>



<p>Since uploading her performance videos to online platforms in 2018, Peng gradually gained more fans from the internet. Currently, she has about around 950,000 followers on YouTube and more than 10 million followers on Douyin, the Chinese version of TikTok.</p>



<p>„For me, music knows no boundaries,“ Peng told the Global Times. „I take pride in spreading Chinese traditional culture through music, and it’s a responsibility I gladly embrace.“<strong></strong></p>



<p><strong>Peng Jingxuan shows foreigners how to play the traditional Chinese instrument <em>guzheng</em> in Paris, France. Photo: Courtesy of Peng Jingxuan</strong><strong>Out of love</strong></p>



<p>Peng’s <em>guzheng</em> journey began at the age of 7. Now, nearly two decades later, her passion for the traditional instrument remains as strong as ever. </p>



<p>Peng said that initially, her street performances were merely a way to bolster her confidence and share the allure of Chinese musical instruments.</p>



<p>„In places where French street artists often perform, I share my music, share what I’ve learned, and showcase the charm of <em>guzheng</em>,“ she said. „This not only helps me improve myself but has also created an unforgettable experience during my studies abroad.“</p>



<p>According to Peng, after listening, many foreign fans asked her about how to purchase and play <em>guzheng</em>.</p>



<p>During her performances, Peng would carefully select Chinese-style songs, often using the pentatonic scale of Chinese classical music, which she believes creates a picturesque and unique ambiance distinct from other musical genres. Peng also utilizes traditional Chinese instruments such as pipa, erhu, and bamboo flute as accompaniments.</p>



<p>Peng told the Global Times that she noted that audiences tend to prefer songs with stronger Chinese characteristics, such as „Horse Racing“ and Jay Chou’s „Blue and White Porcelain.“ A French woman told Peng that one of her pieces reminded her of a serene Chinese scene with flowing streams and narrow alleyways.</p>



<p>Some fast-paced songs have also prompted audience members to spontaneously break out in dance, as three tango dancers emerged from the audience to perform alongside her.</p>



<p>„It was amazing to see them so enraptured by the music and joining in,“ Peng said. „Using music to convey and encounter beauty is truly wonderful.“<strong></strong></p>



<p><strong>Peng Jingxuan plays the traditional Chinese instrument <em>guzheng</em> in Annecy, France. Photo: Courtesy of Peng Jingxuan</strong><strong>Growing interest</strong></p>



<p>Speaking of the motivation of her street performances, Peng said that while studying abroad, she has noticed the growing interest among foreign youths in Chinese culture. In France, there is a community dedicated to traditional Chinese clothing, in which many French youths participate in activities while dressed in traditional Chinese attire, and stroll through the streets of Paris. However, she has never come across any Chinese musical instrument being played.</p>



<p>Determined to share the beauty of China’s cultural heritage and allow others to experience the allure of Chinese music, Peng started her street performances in France and decided to organize her first <em>guzheng</em> performance at the Bordeaux Grand Theater Square in 2018 and uploaded videos online.</p>



<p>„The video was beautiful. But you know what’s even better? Seeing people from everywhere in the world in the comments appreciating this. The first 10 comments I saw were all in different languages. It’s amazing how music brings people together,“ read a comment under her videos.</p>



<p>She said that she was particularly „touched“ when reading this comment. „Music knows no borders. I am proud of making efforts to spread traditional Chinese culture through music. This comment also gave me a greater sense of responsibility in spreading Chinese music culture,“ Peng told the Global Times. </p>



<p>In 2019, Peng served as the image ambassador for Chinese students in France. In 2021, she was invited to perform on International Mother Language Day at the United Nations. The piece she performed was Sheng Sheng Man, adapted from traditional Chinese lyrics, blending <em>guzheng</em> with her vocals.</p>



<p>Peng told reporters that in the future, she wants to collaborate with local musicians and artists worldwide to create compositions integrating <em>guzheng</em> with local musical elements. Besides, she hopes to organize more solo concerts featuring her original compositions and blend <em>guzheng</em> with electronic music, collaborating with renowned French electronic music masters, thereby bridging ancient Chinese traditional instruments with contemporary electronic music.</p>



<p>„If given the opportunity, I also hope to promote <em>guzheng</em> music education initiatives, allowing more people to learn and understand the charm of the instrument,“ she said.</p>



<p>Like Peng, cultural confidence empowers many Chinese individuals to showcase their pride in traditional music. We can see bloggers in France playing Chinese melodies on violins in the streets, or performing popular Western songs on <em>guzheng</em> in the US. Through traditional instruments, they blend Western classical and pop culture, promoting Chinese culture to a global audience.</p>



<p><a href=Guzheng virtuoso inspires global audience – Global Times

Hanfu jetzt auch ganz geschickt als Strassenmusikantin mit Musikakademiehintergrund zentral plaziert am Eifelturm. Ob wir das auch mal am Münchner Marienplatz erleben dürfen.Andere Strassenmusiker improvisieren dann a geblich zu den Guzhengtönen, mit denen traditionelle chinesische Kultur verbreitet werden soll.Seltsam,das die KP China noch nicht so eine Wandertouren Kulturpropagandashow wie die Falungong mit ihrem Shenyun hat Das kommt aber sicherlich noch.Beachtlich nur, dass die KO CHina trotz Global Xivilization Initiative, Konfuzius Instituten, mangenlnder Resonanz auf chineische Produktionen, Chinesischem Staatszirkus und Shaolinmönchen noch nicht solch ein systematisches Tourenprogramm wie die Falungong gekommen ist. Dazu noch:

SHEN YUN-KULTURKAMPF ZWISCHEN DER FALUNGONG UND KP CHINA

 13. Dezember 2019  Ralf Ostner

Shen Yun-Kulturkampf zwischen der Falungong und KP China – Global Review (global-review.info)

Wo China aber durchaus interessante neue Ideen hat, ist die SCi- Fi -Welt, vor allem seit Wandering Earth: Die Global Time gibt da einen sehr interesssanten Überblick über ie westlichen Sci- Flme, ihre INhalte und nun den anderen Ansatz möglicher neuer chinesischer Produktionen:

How sci-fi films reflect global landscape

By Chen YaoPublished: Mar 13, 2024 10:45 PMIllustration: Liu Xiangya/Global Times

Illustration: Liu Xiangya/Global TimesSince early March, the new sci-fi film Dune 2 has hit screens worldwide garnering high ratings and word-of-mouth praise. Serving as a sequel to the 2021 release Dune, the film, known for its minimalist aesthetic called Big Dumb Object, is an adaptation of Frank Herbert’s 1965 1965 novel of the same name.

Back in the 1970s, the rise of television became a threat to the art of film, leading some major US studios to launch the Star Wars series in a bid to win audiences‘ hearts. Now once again, cinemas find themselves squeezed under the pressures of social media and video streaming services. The launch of the new series of Dune movies has been seen as a reminder of the vital role of theaters in people’s everyday life.

The Dune series has the potential to become another Star Wars series of the current century despite the age of the source material: The book’s 1965 creation may appear somewhat dated in its storyline and character development for today’s younger viewers.

But the movie’s PG-13 rating indicates a desire of the producers to cater to a broader audience. The selection of a star-studded cast is a common tactic to attract audiences. The inclusion of Hollywood’s rising stars like Timothee Chalamet, Zendaya and Florence Pugh enhances the influence of this sci-fi epic from the 1960s on younger audiences. 

Particularly noteworthy in Dune 2 is the reinterpretation of the female leading character Chani. Unlike the character in the novel, a stronger female character is depicted in the film when it comes to the romantic relationship between the female and male leads.

In the novel, Chani accompanies the leading character Paul on his path to vengeance and rulership, willing to bear children for him. In the film, Chani becomes the sole resistor to Paul’s power. 

According to China’s movie magazine World Screen, the fact that Chani, as Paul’s designated partner and closest lover in both the film and the novel, never succumbs to blind fervor of faith emerges as „the true hero in the eyes of the director Denis Villeneuve.“ 

Villeneuve emphasized in the interview his desire to restore Frank Herbert’s vision, often misunderstood by generations of readers, showcasing the dangers of Paul as a leader merging from religion and politics.

Unlike other film genres, sci-fi films are both contemporary and futuristic. By comparing the narratives of Eastern and Western sci-fi films, we can glimpse at the evolution of the global landscape.

Represented by both the Star Wars and Dune franchises, Western sci-fi films focus on colonialism, power, and resource struggles between interstellar factions, a theme not unrelated to the backdrop of the Cold War.

As the Cold War came to an end, the world moved toward integration, with advancements in quantum physics, artificial intelligence and algorithms. 

Films like those by Villeneuve, such as Arrival and Blade Runner 2049, reflect on ethical issues of human-machine integration, religious control, and the importance of women in the future of humanity. They no longer glorify individual heroism but instead question concepts of destiny, reflecting the broader sense of disillusionment and anxiety in the Western world in the last several years.

Since the release of The Wandering Earth, the year of 2019 has been dubbed the „Year of Chinese Science Fiction“ by the media. 

The film, adapted from Chinese sci-fi writer Liu Cixin’s short story of the same name, depicts humanity’s struggle against the imminent explosion of the sun. The Wandering Earth 2, released in 2023, serves as a prequel, showcasing how leading teams represented by China, fulfill their mission of protecting the Earth. The entire film embodies China’s grandeur and offers a profound interpretation of the values of a shared human community.

What was once emblematic of „ancient and mysterious Eastern culture“ now shoulders the responsibility for humanity’s future. Perhaps this is closely linked to China’s traditional sense of rootedness and its growing international influence. In future Chinese sci-fi films, there may be further exploration and imagination of extraterrestrial civilizations, but in the end, we must confront the spiritual longing for what it means to call Earth our „home.“

The author is a former film media planner and writer, now working in the film and television industry. life@globaltimes.com.cn

How sci-fi films reflect global landscape – Global Times

Chinas angeblich epochemachender Sci- Fi- Wandering Earth hat auch einen anderen Ansatz mit seinem Mega- Futurismus wie es auch eine Neue S3idenstraße auf Erden möglich macht samt mögliches Geoenginerring gleich denkbar macht. De Erde wird nicht von einem bösen Außerirdischen oder bösen Irdische angegriffen, sondern die Umlaufbahn der Erde um Die Sonne verkürzt sich und bevor sie verbrennt organisiert China Riesenraketenbooster, die die ganze Erde und Menschheit in ein anderes sicheres Sonnensystem in Sicherheit bring und so das Überleben der Gattung garantiert. Da sind doch US- amerikanische Filme wie Armgeddon, als ein Asteroid die Erde bedroht und man ein Team hochschicjt um diesen mittels Sprengsatz zu zerstören, doch weniger ambitionierter, primitiver, minimalistischer in ihrem Anspruch. Außerirdisches Leben will man vielleicht auch noch thematisieren, aber im Wesentlichen Technologie im Weltraum zur Lösung der Probleme des Heimatplaneten Erde ins Zentrum stellen. Aber seit Wandering Earth ist es schon eine Zeit her, ien Paradigmenwechsel und Bekanntheit in der westlichen Welt hat er auch noch nicht geschafft, wenngleich er doch vieles über das Selbstverständnis der KP China, ihrer Art Futurismus und Glauben in Technologie offenbart.

KURZNOTIZEN: ERSTER SCIENCE-FICTION-BLOCKBUSTER CHINAS: WANDERING EARTH

 10. Februar 2019  Ralf Ostner

Kurznotizen: Erster Science-Fiction-Blockbuster Chinas: Wandering Earth – Global Review (global-review.info)

Wenn mal etwas Chinaähnliches läuft, dann stammt das aber von Disney- oder US- Hollywood, sei es nun Mulan oder Kungfu- Panda, der aber dann einsame Erfolge feiert. Wenn gleich er zu Anfang noch nicht Kritik wegen kultureller Aneignung oder zu geringer asiatischer Repräsentanz ausgesetzt war:

„Kung Fu Panda 4“ im Kino: Po will so bleiben, wie er ist

Der wohl beliebteste Kampfbär soll erwachsen werden. Im Animationsfilm „Kung Fu Panda 4“ weiß er sich auch diesmal erfolgreich zu wehren.

Zhen wird von Po der Bär freundlich, aber mit Abstand beäugt

Am Anfang sind sie noch auf Abstand: Po der Bär und seine Sparringspartnerin ZhenFoto: DreamWorks Animation

Im lauter werdenden Klagelied über das Kino-Einerlei der ewigen Sequels, Prequels, Reboots und Spin-offs geht eines oft unter: die Schadenfreude, die man darüber empfinden kann, dass auch die besten Ideen von einst irgendwann altern.

So ganz taufrisch wirkte „Kung Fu Panda“ zwar noch nicht einmal in seinem Ursprungsjahr 2008. Jedoch galt der Mix von Themen und Konstellationen, die aus „Star Wars“, Martial-Arts-Genrefilmen und den üblichen Tier-Vermenschlichungsmomenten ausgeliehen wurden, als originell genug zusammengestellt. Man mochte den Slapstick der animierten Kampfszenen und das erfindungsreiche „Worldbuilding“ eines fernen Fantasie-Chinas.

Die Vorstellung eines dicklichen, Klöße liebenden Pandabärchens, das hinter der Theke des Nudelsuppenladens seines Gänserich-Adoptivvaters vom großen Auftritt als Kung-Fu-Fighter träumt, rief seinerzeit auch noch keine Diskussionen über kulturelle Aneignung oder zu geringe asiatische Repräsentation unter den Synchronstimmen hervor. Ach, süßer Vogel Jugend! Der Film war sogar in China ein Meilensteinerfolg – mit einem Kassenergebnis von über 100 Millionen Yuan das erste Animationswerk, das diese Marge erreichte.

In der Tat funktionierte der drollige Martial-Arts-Bär so gut, dass in „Kung Fu Panda 2“ (2011) und „Kung Fu Panda 3“ (2016) das Rezept nur variiert wurde. Po der Bär – den Verantwortlichen für die deutsche Synchronisation sei Respekt dafür gezollt, dass sie den hierzulande viel Kinderkichern induzierenden Namen beibehielten – muss sich immer wieder als unwahrscheinlicher Held bewähren, indem er die niedrigen Erwartungen, die andere an ihn haben, übertrifft und die eigenen Unsicherheiten überwindet. Und jetzt kommt die große Überraschung: Auch „Kung Fu Panda 4“ weicht davon nicht weit ab!

DER FILM

„Kung Fu Panda 4“. Regie: Mike Mitchell. USA/China 2024, 94 Min. Ab 14. 3. im Kino

Das muss an sich auch nichts Schlechtes sein. Zumal das junge Publikum, das „Kung Fu Panda“ im Auge hat, in den Jahren zwischen den Sequels aus dem Stoff so weit herauswächst, dass direkte Anschlüsse überflüssig scheinen, weil es wichtiger ist, neue Kinder zu begeistern. Der Stoff und seine Hauptfigur dürfen „unreif“ bleiben, was im Grunde genauso angenehm erscheint wie die Tatsache, dass keinerlei Detailwissen über „Kung Fu Panda 1-3“ vonnöten ist, um in „4“ mitzukommen.

Den Status als „Drachenkrieger“ genießen

Die Vorgeschichte erschließt sich aus der Ausgangssituation: Po, in der deutschen Fassung ganz wunderbar von Hape Kerkeling eingesprochen, genießt seinen Status als „Drachenkrieger“ im heimatlichen „Tal des Friedens“. Für keinen Stunt ist er sich zu schade. Gerne lässt er sich feiern und bewundern für all die geschickten moves, die er so draufhat.

Verständlicherweise passt es ihm gar nicht, dass sein alter, ewig nörgelnder Mentor Meister Shifu plötzlich damit ankommt, er solle die Rolle wechseln, selbst zum geistigen Anführer heranwachsen und das Drachenkrieger-Dasein einem jüngeren Exemplar überlassen. Seinen Nachfolger beziehungsweise seine Nachfolgerin soll er sogar selbst aussuchen. Po fühlt sich erstens ungerecht behandelt und zweitens überfordert. Wie alle unsere inneren Kinder in der vergleichbaren Situation!

In diesem Auftakt ist der Film ganz bei sich: Po, das dickliche Außenseiterkind, dem die Wandlung zum populären Idol gelungen ist, will am Erreichten festhalten. Mit seinen trotzig-hintertriebenen Manövern, um den guten Rat von Meister Shifu zu unterlaufen, erscheint er als die perfekte Inkarnation bestens nachvollziehbarer widersprüchlicher Gefühle. Dann aber tritt mit der ominösen Gestalt des „Chamäleons“ die übliche Außengefahr in Erscheinung, die dem Plot auf die Action-Sprünge helfen soll, und mit der Füchsin Zhen ein herausfordernder Sparringpartner, um Po als Figur ein bisschen weiter zu entwickeln.

Ein weiblich gelesener Bösewicht

Wie man den Laden der Buddy-Movies kennt, mögen sich Po und Zhen erst nicht besonders, wachsen aber über ihren Trip in die Großstadt zusammen, wo das Chamäleon, zur Abwechslung ein weiblich gelesener zentraler Bösewicht, konfrontiert werden muss. Schön, dass ihre Beziehung mehrere Wendungen nimmt, auch wenn keine davon originell erscheint.

Die zahlreichen Kampfszenen, in denen alles Mögliche passiert, nur nichts von großer Konsequenz, wollen offensichtlich kompensieren, woran es dem Film fehlt: an witzigen und bewegenden Momenten zwischen seinen doch eigentlich recht einfallsreichen Figuren.

Aber solche Einwände sind Kritikergenörgel. Weder zu lang noch zu pompös, macht „Kung Fu Panda 4“ erneut so weit alles richtig, dass dem Kassenerfolg nichts im Wege steht, zumal in einem Kinomarkt, der dem Kinderpublikum derzeit nur wenig Filme zu bieten hat. „Skaduhsch!“ – lautet das Zauberwort, mit dem Po seinen besten Karate-Tricks das Tüpfelchen auf dem i verleiht. Davon sollte es aber unbedingt mehr geben bei den bereits angekündigten weiteren zwei Fortsetzungen.

„Kung Fu Panda 4“ im Kino: Po will so bleiben, wie er ist – taz.de

Dazu noch als Lesetip:

GLOBAL XIVILIZATION INITIATIVE-CHINESISCHER KULTURKAMPF: US LEVIS BLUE JEANS VERSUS CHINA CHIC- UND HANFU-FAST FASHION

 4. Februar 2024  Ralf Ostner

Global Xivilization Initiative-Chinesischer Kulturkampf: US Levis Blue Jeans versus China chic- und Hanfu-Fast Fashion – Global Review (global-review.info)

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