Close-up of 'Four Generations Living Together' Remake

The first episode of 'Four Generations Living Together' aired on CCTV Tuesday night, giving a first glimpse into the highly anticipated 36-episode remake of the late, great Chinese writer Lao She's classic novel.

Poster of the new version of 'Four Generations Living Together'

Invading Japanese troops entering China's ancient capital of Peking (now Beijing). Laid-back citizens, confined in their courtyards and hanging the sun flag of Japan while dreaming of peace's return...

The first episode of 'Four Generations Living Together' aired on CCTV Tuesday night, giving a first glimpse into the highly anticipated 36-episode remake of the late, great Chinese writer Lao She's classic novel.

The story portrays life in Peking during the Japanese occupation through the stories of people from across the social spectrum. At the heart of the story is the Qi family, with four generations living together in a traditional Beijing courtyard home.

It may be too early to judge the cast's performance based on only the very beginning of the story and character development, but comments and critiques from the audiences had already surfaced by the next day.

Sina.com's latest online survey scoring the performances of the leading actors shows Zeng Jing, playing Elder Qi, and Zhao Baogang, portraying Guan Xiaohe, taking the lead in the ranking; followed by Huang Lei as Rui Xuan, the eldest son of the Qi family, Yuen Qiu as Da Chi Bao, and Jiang Qinqin as Yun Mei.

Huang Lei lost weight to better portray old-time intellectual Rui Xuan, a vulnerable but deeply ambitious character. Survey respondents approved his performance as very close to the original.

Jiang Qinqin's portrayal of Rui Xuan's wife Yun Mei, a traditional Chinese woman who takes good care of her big family, didn't measure up to expectations, some netizens said. However, the character of Yun Mei is conservative at the beginning, and viewers may yet get a better performance as the story develops.

Zhao Baogang is definitely a highlight. Reprising the drama 25 years later, actor-director Zhao does his best to infuse life into the character. His scenes in the first episode vividly convey the image of hypocritical and cheeky villain 'Guan Xiaohe.'

Hong Kong actress Yuen Qiu also gave a striking performance in the signature role of Guan's wife, Da Chi Bao, a tough and shrewd woman. Yuen Qiu made the most of this rich role by exaggerating her acting at times.

The remake's theme song also made an impact with its strong opera style. 'Chong Zhen He Shan Dai Hou Sheng,' literally, "counting on the younger generation to revitalize the nation," is chanted by Class-A Peking opera actor Yu Kuizhi. It's quite different from the rhythm in the previous Jingyun Dagu version by late female artist Luo Yusheng, which featured storytelling in the Beijing dialect accompanied by drum beats and two or three three-stringed instruments.

"The words are sung with complicated emotions aroused by family hatred as well as its call for vengeance against Japanese invasion in the play," Yu Kuizhi said. He added that he hoped the song, which is low-toned and moving, expressing plaintive sorrow and profound resentment, would touch the audience.

Nanking Massacre Movie Calls for Film Rating System

--by Julian Nie

The movie "City of Life and Death" tells me nothing but the necessity for a film rating system which the film industry watchdog, the State Administration of Radio, Film and Television, has shied away from.

The historical movie tells stories which took place in the Nanking Massacre, in which an estimated 300 thousand of Chinese civilians were slaughtered and tens of thousands of women were raped by Japanese soldiers during the second World War.

I anticipated lots of violent scenes before I even got to the theatre. However, even as a male adult, I can't bear the avalanche of forcible killings and rapes in the film. It made me want to vomit for the rest of the night. One of my colleagues said she and several friends had suffered from nightmares for a week after they went to see the movie.

I am not sure about the artistic merits of the movie, but I am definitely sure it's harmful and inappropriate for some vulnerable groups like youths under 18, young girls and some elders.

I wonder how the censors gave the permission for its public airing. And ironically, it was even recommended to pupils as a patriotic film by a national educational center. Have they seen the movie with their own eyes? I doubt it.

Under the current system, a movie allowed to be played publicly also means it's suitable for anyone. That's why I saw several parents and their children sitting before the screen on that night.

Audience got no warnings about the violent scenes in the movie which could possibly bring potential psychological harms. For a better box office, the producers and cast of the movie manipulated the media with favorable propaganda and critic voices were hardly heard.

Obviously the film industry watchdog can do better. In approving the release of the movie, the State Administration of Radio, Film and Television should have considered the possible harm it could do to vulnerable groups including minors.

The movie rating system was applied in western countries for the protection of children in the early 1960s. But in China the system has been stalled. The government fears adopting a rating system could open the door to more unhealthy film products.

Apparently, people can get any TV or film programs they want from the Internet. The original premise of rejecting the movie rating system is no longer valid. On the contrary, resisting the rating system could do more harm than good just as we have seen from this movie.

Love in a Fallen City premieres

Love in a Fallen City, changed from famous writer Eileen Chang’s novel, is to premiere at CCTV8 tonight, which tells a story about a profound love story happens in 1930’s Shanghai and Hong Kong. Popular and skilled actor Huang Jue and actress Chen Shu are in the leading roles, Chen Shu will challenge the classic character of Eileen Chang, Bai Liusu.

Love in a Fallen City is not the favorite of Eileen Chang but the favorite of Chen Shu. After reading the novel in 2002, Chen liked it so much. Chen Shu knows that there are a lot of Eileen Chang’s fans in China, she’s willing to listen the opinions on her performance from them.

LOFT

LOFT英文原意是指“在屋顶之下、存放东西的阁楼”。但现在所谓LOFT所指称的是那些“由旧工厂或旧仓库改造而成的，少有内墙隔断的高挑开敞空间”，这个含义诞生于纽约SOHO区。

当时，艺术家与设计师们利用废弃的工业厂房，从中分隔出居住、工作、社交、娱乐、 收藏等各种空间，在空旷的厂房里，他们构造各种生活方式，创作行为艺术，或者办作品展。他们把一层临街的房间改造成商店，出售自己的作品。因为没有多余的 钱去装修如此巨大的房间，于是这种工业建筑本身的特征被充分地裸露在外面，与橱窗和商品之间产生了巨大的视觉反差，这种视觉矛盾产生了令人好奇的效果。

因为个性、前卫，这些厂房广受年轻人青睐。在上世纪90年代以后，LOFT在很多国家都开始成为一种艺术时尚。

在我国，北京的798艺术区，昆明的创库，上海的田子坊、M50，杭州的LOFT49等都是有名的LOFT艺术区。 (肖导)

Screen adoptions of novels

urce: CCTV.com

04-20-2009 09:12

Screen adaptations of novels often have mixed fortunes...with many turning out to be a huge success, or a dismal failure. One successful example is the latest Oscar winning film, "Slumdog Millionare". In today's "Spotlight", we take a look at some screen adaptations, both at home and abroad.

In China, the novel "Summer of Foam" is being made into a TV series and shooting has just begun. The lead roles are played by stars Huang Xiaoming, He Rundong, Barbie Hsu, and Ying Tsai-ling. Lead actor He Rundong, who is also the series' producer, says they are being very careful about adapting the novel into a TV series. They have chosen quality stars who appeal to a young audience.

TV series "Love in a Fallen City", adapted from late writer Eileen Chang's famous novel, features actress Chen Shu as the heroine.

Producer He Rundong said, "I persuaded Ming Xiaoxi, the writer of the original novel for two months, letting her to sell the adaptation rights to me. Now, you see our cast is very powerful, so I believe the series will be a success."

Another two screen adaptations in China are using stars to boost their image. The film "Night Rose" was adapted from Taiwan writer Cai Zhiheng's novel of the same name. It stars Ruby Lin and Wallace Chung. Another TV series "Love in a Fallen City", adapted from late writer Eileen Chang's famous novel, features actress Chen Shu as the heroine. Chen rose to fame by playing a mathematician in the hit TV series "Calculation". The novel is a classic in the eyes of many readers. Chen has done a lot of preparation for her role, hoping she can satisfy fans' expectations.

The most successful adaptation of the year arguably goes to "Slumdog Millionare". It met Chinese audiences within the shortest time of all imported films, after its foreign premiere. It garnered eight Academy awards at this year's Oscars.

e film, directed by an Englishman, and focusing on Indian society, tells a moving rags-to-riches tale of Jamal, and his unflinching pursuit of true love. The film won Best Adapted Screenplay at the Oscars and the British Academy of Film Awards. Director Danny Boyle says it was thanks to a good story.

But a good story doesn't always lead to a good film. "Dragon Ball" has been rated by the fans of the original novel as the worst adaptation of the year. The cartoon novel, illustrated by cartoonist Toriyama Akira, has large fan base across the Asia, so fans had high expectations. But the film didn't satisfy the novel's readers. Even the lead actor Chow Yun-fat was not confident about the production upon the film's release.

"Dragon Ball"

Actor Chow Yun-fat said, "The director told me to forget the cartoon image, and follow my pace. So I followed him. Every one of my moves was directed by him."

Due to a big departure in the look of the roles, in the plot, and in the action moves compared to those depicted in the novel, the film "Dragon Ball" turned out to be a failure.

Audiences are also expecting more adaptations of novels, like "Harry Potter and the Half-blooded Prince" and "Astro Boy". Fans of the novels are waiting to see if the visual story can make their idols really come to life.

Building a loft

What is a loft?

A loft is a self-supporting, freestanding structure that is not attached to the walls, floor or ceiling. The purpose of a loft is to raise the bed spring and mattress off of the floor. Residents are permitted to construct lofts in varying designs and sizes. Residents who choose to have a loft in their rooms assume any and all liability in regards to damage to the room that may result from the use, construction or removal of the loft. This includes, but is not exclusive to, damage to paint and plaster, ceilings, smoke detectors, light fixtures, bed parts, other furniture and floors.

In which halls are lofts allowed?

Lofts may be constructed in Burnhams, Davis, Draper/Siedschlag, Henry and Zimmerman halls. All other halls are furnished with loftable furniture and cannot accommodate additional lofting structures.

Loft requirements

Lofts are not encouraged, inspected or endorsed by Western Michigan University, although some residents may choose to have a loft in their residence hall room to utilize additional space and individualize their room. All residents are cautioned that the University does not recommend any specific type or kind of loft. In the event of a fire, smoke and toxic fumes rise to the ceiling of the room. Lofts are designed to move beds to the top of the room to increase space below. As a result, if a fire occurs lofts can increase the risk of smoke inhalation or serious injury. Residents who choose to have a loft in their rooms assume any and all liability in regards to physical injury.

The construction, assembly, disassembly and removal of lofts are the sole responsibility of the residents of the room. These guidelines are for the safety and protection of the room occupants and other residents of the hall. Over the years the availability of manufactured lofts or loft kits has increased. Certain manufacturers of lofts may claim, advertise or infer that their lofts have been approved, endorsed or recommended by Western Michigan University. Students are cautioned that no manufacturer of any loft has any such approval, endorsement or recommendation by WMU. Because rooms vary a great deal in dimensions and layouts, a manufactured loft may not fit the room. Measure your room before buying or building a loft. Students are cautioned to use discretion when considering the purchase of any manufactured loft.

1. Constructing a loft

•	Lofts may be assembled between 10 a.m. and 10 p.m. during the first three (3) days of a semester and between the hours of 10 a.m. to 8 p.m. thereafter.
•	All cutting and sawing must be done inside the student's room or outside of the building. Cutting, sawing and construction are not permitted in the hallways.
•	Lumber, furniture and other items may not be stored in lobbies or hallways during the construction period because of the fire and safety hazards involved.
•	People assembling lofts must thoroughly clean up and properly dispose of all waste material. Brooms and vacuum cleaners are available at the front desk.
•	Wood should have a minimum of knot holes and be properly seasoned. Untreated construction grade #2 pine or fir is frequently used. Whatever stock is selected, it should be strong enough to withstand normal use. Tree limbs or rough sawn lumber are not permitted.

2. Size of lofts

Lofts are permitted to occupy no more than 50 percent of the floor space of the room where they are placed. Closet areas will be included in calculating the floor space.

3. Height of lofts

There must be a minimum of 19 inches from the top of the mattress to the ceiling or the surface immediately above the mattress.

4. Proximity to windows and doors

The full width and height of doors and windows must not be obstructed and must be available for use as an emergency exit or entry to the door at all times.

5. Sub-floor sleeping compartment

Sub-floors are not permitted due to safety restrictions.

6. Lofts must not obstruct air or heat circulation.

7. Lofts must work around all permanent room structures

Built-in furniture may not be moved. Supporting parts of the lofts may not be placed on top of furniture or affixed to any permanent structure in the room such as walls, ceilings, floors or pipes.

8. Lofts may not be enclosed in any way

This includes using paneling or fabric.

9. Light fixtures, electrical outlets, switches and cords, telephone and data outlets

These may not be moved or blocked by loft parts. Lighting fixtures and electrical cords cannot be attached to the loft structure.

10. Lofts must be free standing

Lofts may not be secured to walls, ceilings or to the floor. Wedging is permitted. Wobbling must be entirely eliminated from all lofts.

11. Bed springs and mattresses

•	Most residents incorporate standard University bed springs and mattresses into the construction of their lofts. Bolts and nuts are required in securing the springs to the loft; however, different spring sizes exist. Typically springs are approximately 36 inches wide by 80 inches long, but there are a few 76-inch long mattresses throughout campus. Do not drill holes and cut loft pieces without first measuring the size of the spring and height of the ceiling.
•	Furniture storage: All University furniture must remain in the resident's room. Lack of storage space prohibits the University from storing furniture or loft parts. Bed-ends may be stored; contact your hall director.
•	Missing bed parts: A fee for replacing missing bed parts such as springs, end boards, nuts, bolts or washers will be assessed.

12. Terminology and acceptable standards

•	Deck - the horizontal surface holding the mattress. Usually a bed spring, but may be a flat piece of plywood as long as it is appropriately supported and at least 1/2 inch thick
•	Supports - vertical pieces, usually at the corners of the loft. Must be constructed of 4" by 4", 2" by 6" or two 2" by 4" side-by-side pieces, and they must be designed to hold deck and springs
•	Cross beam - horizontal pieces attached to support 2" by 6" or greater, designed to hold deck/springs. Must be bolted to the cross supports
•	Deck joists - horizontal pieces attached to cross beam when plywood decking is used, designed to support the deck
•	Cross supports - angled support bracing. At least 2" by 4" or 1" by 3", used for strengthening and removing wobble. Must be bolted or screwed to supports and to cross beams
•	Cleat - 2" by 2", running parallel with cross beam, must be glued and screwed to cross beam; used to support deck joists when plywood is used in place of springs
•	Hanger - commercially available metal brackets secured to cross beam; used in place of cleats to support deck joists
•	Fasteners - use nuts, washers and bolts that are 3/8 inch diameter because the bolt mounting holes in the bed frames are 3/8 inch diameter. Nails are not permitted because they have a tendency to loosen. Lag bolts may be used to fasten cross beams to joists. Bolts should be positioned so that the threaded end will not cause injury nor will it cause damage to the mattress
•	Wedges - wood cut at an angle, wrapped in a carpet scrap. Used between supports and the wall to add stability and reduce wobble. Care should be taken when wedging so wall plaster is not damaged

13. Safety considerations

•	Ladders: Ladders are not required, but consideration should be given to exiting a loft in an emergency. When in use, ladders must be securely attached to the loft. Ladders must be strong enough to support weight in excess of the anticipated load. Horizontal braces connecting 4" by 4" supports frequently serve as ladders.
•	Safety rail: Residents may use a safety rail when sleeping in a loft. A safety rail of sufficient height and strength must be a part of all lofts; however, safety rails may be removable if they are secured in place when in use. If any sides of the loft are pushed directly against a wall, no additional safety rails are necessary for those sides
•	Smoke detectors: All residence hall rooms or suites of rooms have at least one smoke alarm supplied by the University. Some two room arrangements have a University supplied smoke alarm in only one room. Residents must supply a ceiling mounted, battery operated smoke alarm in a room with a loft if they choose to use a loft in a room where there is no University smoke alarm. Mounting screws or nails are not permitted; double faced tape is a common mounting method. It is the resident's responsibility to keep all smoke detectors in working order at all times
•	Swing-a-way beds: Lofts designed to have the bed spring and mattress move up and out of the way must have a safety catch or chain to prevent the accidental falling of the bed

14. Residents must provide their own tools.

15. Disassembling lofts

Lofts must be disassembled by 8 p.m. on the Friday preceding exam week, unless the resident is returning to the same room the immediate following semester. This early time is required so that the noise of disassembling will not occur during the two days prior to exam week, as well as during exam week. Lofts not removed before exam week may be disassembled between 8 and 11 a.m., on the last day the halls are open.

16. After removing a loft

The room must be returned to the original condition after removing a loft. This includes beds properly assembled and painted where necessary.

“创意工厂”成新兴产业 城市化危及LOFT生存

　 在上海、杭州、南京等大城市摩天大楼的夹缝里，偶尔可以看到紧闭大门的工厂、废弃破旧的仓库。但在破旧的外表之下，里面却可能别有洞天：或夸张或精致的油画，或粗犷或唯美的雕塑，还有那些旁若无人，醉心创作的艺术家 …… 这里是艺术家积聚和创业的乐园，艺术的激情在恣意挥洒，创意的鲜花在绚烂开放。在国外，这样的地方被称为“LOFT”（仓库、阁楼意思）；这样的产业被称为创意产业。

全球目前以LOFT为代表的创意产业每天创造的产值高达220亿美元，并正以5％左右的速度递增，在一些国家，其增长速度更快，如美国达到14％，英国达到12％。

在中国的大城市，LOFT正在迅速崛起，并初具规模。然而，记者在采访中，却无一例外地发现一个令人尴尬的现象：几乎所有的LOFT产业基地，都面临着或曾经面临着拆迁问题。一个新兴的朝阳产业，为何在中国的城市中无一例外地遭遇尴尬？

杭州运河之畔的LOFT49号，被废弃仓库破旧的外表之下却别有洞天。

废弃之地崛起新经济

LOFT的称谓，最早来自欧美。上世纪70年代开始，英美等发达国家的一些高度工 业化的城市，遗留下大批工业化进程中被淘汰和废弃的破旧工厂和仓库。高大宽敞的空间有利于艺术家们的创作，较浓的历史文化氛围则能极大地激发艺术家们的灵 感，同时，相对低廉的房租，则符合那些未成名的艺术家的经济承受能力。于是，大批艺术家进驻被废弃的LOFT，将其作为自己的创作基地。LOFT的内涵和 外延也在发展中不断变化，逐步演变为新型文化和创意型产业的聚集地。

在上海、杭州和苏州等城市，LOFT迅速崛起。作为我国近代工业的发源地，拥 有大量老厂房、老仓库的上海可谓中国LOFT的高地。位于卢湾区的泰康路视觉创意设计基地，目前已进驻了十多个国家和地区的近百家视觉创意设计机构，并形 成了一定的视觉创意设计产业规模。位于普陀区苏州河边的莫干山路50号，入驻了来自瑞士、法国、意大利和我国香港等国家和地区的50多家画廊和艺术家工作 室。此外，还有位于闸北区的共和新路上海工业设计园，位于卢湾区的建国中路八号桥时尚设计产业谷等一批工业历史建筑与创意产业结合的园区，吸引了众多国内 外著名的创意产业机构进驻。

而杭州运河之畔杭印路49号的LOFT，很多人已经习惯称之为“LOFT49 号”，则崛起于最近几年。2002年9月，美国DI设计公司首先入驻该地，在短短两年时间内，一大批设计公司纷纷进入，迅速形成了拥有19家艺术室和设计 公司的文化创意型企业集聚地。而位于南京河西新城的圣划艺术中心，则是江苏唯一的LOFT。这里占地面积3000多平方米，拥有800多平方米的展示空间 和20多个国内外艺术家工作室。

城市摩天大楼的夹缝里，那些废弃破旧的仓库成了国内外艺术家工作室。

拆还是留，争执之声不绝于耳

然而我们在采访中发现：一边是艺术家对城区里的破旧厂房情有独钟，一边是城市化的脚步不可阻挡。这些刚刚开始抽枝展叶的创意产业区块，在城市化进程的脚步声中，命运岌岌可危。

“破旧外表蒙尘现代化大都市”，这是多数“主拆派”的理由。LOFT相对破旧的外表，无疑与城市的现代化进程格格不入。

入驻杭州LOFT49号的艺术家之一，杭州潘天寿环境艺术设计研究院院长朱仁民在 谈到拆迁问题时认为，这一现状的根本原因是中国城市的工业布局造成的。朱教授曾在欧洲留学多年，他告诉记者，西方发达国家的工业区往往建在郊区，城市要进 行改造，在规划时基本上不会涉及远在郊区的LOFT工厂，故国外的LOFT产业能以比较原始的面貌保留下来。可在中国，工业企业都建在城市中心，且分布比 较零散。当地政府在进行旧城改造时，那些废旧的厂房就势必被划入城改范围内。即便暂缓改建，但当周围环境设施已变得十分先进且现代化时，那些废旧厂房，就 像好皮肤上的烂疮疤，越发显得刺目、难看。

杭州拱墅区委宣传部副部长徐红岗在讲到杭州LOFT49号的生存之难时也提到，LOFT49号所在地原本是拱墅区规划的回迁居民的安栖之所，如果不进行房产开发，回迁居民的住房就成了一个不小的问题；如果处理不好，很可能会激化某些社会矛盾。

而文化艺术界人士却认为，LOFT拆不得，因为它“不仅是灵感的源泉，更是历史文化遗迹”。沪上独立出版 人、艺术经纪人叶觉林先生告诉记者，莫干山路50号之所以成为上海LOFT发展比较成功的典型，很大的原因就在它选择的地址和厂房。古老的苏州河，提供了 丰富的历史文化养分；厂房内独特的建筑结构和宽敞的空间，则充分刺激着艺术家的创作神经。“拆了这样的地方，不仅是拆了一片破旧的厂房，更是抽走了艺术家 们的灵感源泉！”

国家历史文化名城研究中心主任阮仪三教授认为，苏州河沿岸所建的厂房、仓库等 工业建筑，无论是在结构形式上还是建筑造型风格上，都体现了上海早期民族工业发展的历史进程，它们具有重要的文化价值。企图推倒一切然后重新建设的思想显 然是错误的，因为无论是历史还是文化，都是难以复制的。

在杭州LOFT49号，艺术家们的反对声也毫不逊色。“世界上有几条京杭大运河？又有哪条河像运河一样孕育了一代工业，承载着文明的发展？失去具有丰厚文化底蕴的LOFT49号是一种巨大的损失。”首位进驻LOFT49号的DI设计库负责人杜雨波如是说。

拆还是留，争执之声不绝于耳。

新城市是否一定要铲除旧建筑？如何才能留存文化和城市的记忆？学者余秋雨在参观LOFT49号。

从“制造工厂”到“创意工厂”

阮仪三教授告诉记者，纽约著名的LOFT“苏荷区”（SoHo）在“拆”还是“不 拆”上斗争了10年，最终被保留了下来。新城市是否一定要铲除旧建筑？新生活是否要摒弃一切旧东西？放弃一块工厂仓库地盘，今天不过多了一个商业地块。而 留存“苏荷”，就留存了文化和城市的记忆。如今的“苏荷”已成为城市独有的艺术和时尚区域。文化产业和发达的经济相辉映，政府也因税收的增长得到巨额财 富。

长三角地区的LOFT是幸运的。几经争取反复，长三角城市的政府部门站在战略发展的高度，看到了以LOFT为代表的创意产业的巨大生命力，并不约而同地作出了保留甚至扶持的决定。

徐红岗说，拱墅区政府将有选择地对这些旧厂房进行保留，那些没有任何历史价值和奇异造型的建筑则会被拆除。为了将LOFT49号打造成成功的创意产业区，政府除了对厂房外貌进行适当的装修外，还将对周边的市政设施进行改造，使环境与之配套。

在去年底召开的“2004年上海中国创意产业发展论坛”上，上海市经委主任徐建国 曾明确指出，上海近期将以保护和开发利用工业历史建筑为切入点，发展创意产业，加强政府导向和扶持力度。杭州市委书记王国平在考察LOFT49号之后说， 以LOFT49号为代表的创意产业是智慧经济、大脑经济，要加快杭州创意产业的发展，就要做到政府主导力、企业主体力、市场基础力三力合一，坚持“保护老 厂房、最小干预和修旧如旧”的发展原则。

“政府不要抨击，不要怀疑，不要排斥它，需要引导它。”南京圣划艺术中心经理陈燕在谈到LOFT与政府的关系时这样表示。

解决了去留问题，LOFT产业开始面临一个新的议题：如何实现从“制造工厂”到“创意工厂”的转变，使创意产业真正成为赚钱产业？

“我们感谢政府的高瞻远瞩和政策上的扶持、帮助。同时我们也看到了政府要将其打造成产业链的决心。只有真正将LOFT产业打造成一个完整的产业链，创意产业才会真正绽放出它的耀眼光芒。”朱仁民教授说。（完）

A Different Take on Nanjing Massacre

Another Nanjing Massacre film - this one about China's Oskar Schindler - has opened nationwide, depicting the efforts of a German businessman/Nazi Party member to save innocents in Nanjing. Xu Wei reports.

One week after the debut of Lu Chuan's "City of Life and Death" - the Nanjing Massacre as seen through the eyes of a Japanese recruit - an acclaimed and less disturbing Nanjing Rape film has opened in China.

The biopic "John Rabe," which opened yesterday, describes the efforts of German businessman Rabe to help set up a shelter in Nanjing for more than 200,000 Chinese citizens during 1937.

Rabe is sometimes called "China's Oskar Schindler" after the businessman who saved Jews in Europe.

Lu's bold film featuring a distraught Japanese soldier is considered shocking by many people used to standard portrayal of the invaders in the War of Resistance Against Japanese Aggression (1937-45). It is also extremely graphic and violent, shot in black and white with handheld cameras.

The Sino-German coproduction "John Rabe," however, is more reassuring and uplifting, about the best of human efforts.

Directed by Oscar-winning film maker Florian Gallenberger, it stars German actor Ulrich Tukur as Rabe, a German engineer-businessman operating in a neutral Safety Zone.

American actor Steve Buscemi plays a doctor who helps Rabe and Chinese mainland actress Zhang Jingchu plays a Chinese student who uses her camera to record the atrocities committed by Japanese troops.

Last week, "John Rabe" won four Lola prizes at the annual German Film Awards, the German Oscars, including best film, best actor, best costume design and best art direction.

The film is widely expected to represent Germany in next year's US Academy Awards for best foreign-language feature.

Director Gallenberger once said he hoped the film would be shown in Japan and encourage Japanese to face their past.

The film doesn't depict Rabe as a great hero, instead it portrays him as an ordinary person who did extraordinary things. Like others, Rabe experiences fear, confusion and depression, but pushes ahead with his humanitarian actions.

Due to Rabe's long experience in China working for Siemens AG and his familiarity with Nanjing, he was elected head of the International Committee for the Nanjing Safety Zone.

When the city was occupied by the Japanese army, he used his Nazi Party membership and appealed to the German-Japanese bilateral pact to try to protect civilians. That failed, but it also created a delay that allowed people to flee.

After his return to Berlin in 1938, Rabe was arrested for collaborating with the Chinese. Twelve years later he died in Berlin, an impoverished man, but he was memorialized as a hero by the Chinese people.

Before shooting, Gallenberger and the production visited Nanjing, the Nanjing Massacre Memorial Hall and Rabe's former residence. Most of its locations, however, were filmed at Shanghai's old factories, hotels, docks and alleys.

The film's trophies and successful media screenings around the country are expected to improve its box office performance. "City of Life and Death," however, will be its biggest rival during the Labor Day holiday.

Critic Chen Hua says he was more impressed by "John Rabe" and its message of peace, selflessness and love.

"City of Life and Death," filmed in black and white with handheld cameras, has a gritty and realistic style. Various figures, including a Chinese schoolteacher, and interpreter and others are depicted, but at the center is the traumatized young Japanese recruit from a church school.

"John Rabe" has "a more mature shooting style, from the portrayal of characters to its rhythm and music," Chen adds.

"City of Life and Death" has already taken about six million yuan (US$882,000) at the chain's box office, according to Wu Hehu, deputy director of Shanghai United Cinema Lines.

Wu says each of the two films has a distinct style and captures different aspects of carnage.

"However, 'John Rabe' takes a look at the massacre's cruelty and inhumanity from a less distressing and somewhat more distant angle and it centers on his own heroic stories," Wu says.

He does not view the different viewpoints of the two films as a negative thing. "It can raise the awareness of the younger generation of this special period of history."

"John Rabe" is screened in its German original and a Chinese-dubbed version, both with English and Chinese subtitles. Check C7 for where to watch the film.