In 1986 was er voor het eerst sprake van een nieuwe Chinese filmstijl ‘Urban Cinema’,oftewel stedelijke cinema. De camera van stedelijke cinema richt zich op een stad in transformatie en op de...Show moreIn 1986 was er voor het eerst sprake van een nieuwe Chinese filmstijl ‘Urban Cinema’,oftewel stedelijke cinema. De camera van stedelijke cinema richt zich op een stad in transformatie en op de sociale groepen die aan de rand daarvan leven. In deze films wordt Beijing vaak als canvas gebruikt, zoals in de tweetal films Beijing Bicycle (2001) van Wang Xiaoshuai en Lost In Beijing (2007) van Li Yu. Beide films spelen zich af in Beijing en hebben belangrijke onderliggende kenmerken, zoals armoede, sociale ongelijkheid van migrantarbeiders en het aanpassen aan het leven in een grote stad.Show less
During the ‘20s and ‘30s a new art form rapidly gained popularity in Shanghai, A group of Chinese artists aimed to establish cartooning as a recognized art form in China in a period quickly...Show moreDuring the ‘20s and ‘30s a new art form rapidly gained popularity in Shanghai, A group of Chinese artists aimed to establish cartooning as a recognized art form in China in a period quickly overshadowed by war. Manhua defies simple definition, styles and content of works carrying the name ‘manhua’ can differ substantially. The city Shanghai played an important role in the story of the development of the Chinese art of cartooning. By the 1920’s Shanghai, then the largest metropolis of China, was experiencing a publishing boom.Especially in the beginning a lot of effort was put in by artists to get recognition for their work, by adopting the term ‘manhua’ to group together similar works, they hoped to turn cartoons into an established art form. The start of the second Sino-Japanese war in 1937 marked a turning point for the art of cartooning. Up to this point mostly an urban art form, often lacking in political message, now cartoonists employed their craft to try and influence the Chinese masses. During the war a lot of the diversity in form that could be found before was lost, the clear goal of manhua would now decide on the shape of the images.Show less
This thesis investigates the prosodic properties of the Mandarin Chinese sentence final particle ne. Frequency (F0) and duration of the particle in questions and declaratives are analyzed, as well...Show moreThis thesis investigates the prosodic properties of the Mandarin Chinese sentence final particle ne. Frequency (F0) and duration of the particle in questions and declaratives are analyzed, as well as the influence of the particle on prosodic properties of preceding syllables. It was found that the particle ne has different realizations with respect to interrogative and declarative sentences, and that it influences the prosody of preceding syllables to a certain extent.Show less
