Michael Berry – författare

"I always compare filmmaking to cooking. Shooting is like buying the groceries. You buy all kinds of ingredients and the better ingredients you get, the better chance you have of making the movie you want."-Ang Lee, from Speaking in Images Speaking in Images offers an engaging and rare collection of interviews with the directors who have changed the face of Chinese and international cinema. Michael Berry's discussions with such directors as Ang Lee (Crouching Tiger, Hidden Dragon), Zhang Yimou (Hero), Chen Kaige (Farewell My Concubine), Stanley Kwan (Lan Yu), Tsai Ming-Liang (Vive l'Amour), Edward Yang (Yi Yi), and Hou Hsiao-hsien (Flowers of Shanghai) offer an eclectic and comprehensive portrait of contemporary Chinese cinema. In interviews that capture each filmmaker's unique vision, the subjects discuss their formative years, the ideas and influences that shaped their work, film aesthetics, battles with censors and studios, the mingling of commercial and art film, and the future of Chinese cinema in a transnational context.Berry's introduction to the collection provides an overview of Chinese cinema in the second half of the twentieth century, placing the directors and their work in a wider historical and cultural context.

"I always compare filmmaking to cooking. Shooting is like buying the groceries. You buy all kinds of ingredients and the better ingredients you get, the better chance you have of making the movie you want."-Ang Lee, from Speaking in Images Speaking in Images offers an engaging and rare collection of interviews with the directors who have changed the face of Chinese and international cinema. Michael Berry's discussions with such directors as Ang Lee (Crouching Tiger, Hidden Dragon), Zhang Yimou (Hero), Chen Kaige (Farewell My Concubine), Stanley Kwan (Lan Yu), Tsai Ming-Liang (Vive l'Amour), Edward Yang (Yi Yi), and Hou Hsiao-hsien (Flowers of Shanghai) offer an eclectic and comprehensive portrait of contemporary Chinese cinema. In interviews that capture each filmmaker's unique vision, the subjects discuss their formative years, the ideas and influences that shaped their work, film aesthetics, battles with censors and studios, the mingling of commercial and art film, and the future of Chinese cinema in a transnational context.Berry's introduction to the collection provides an overview of Chinese cinema in the second half of the twentieth century, placing the directors and their work in a wider historical and cultural context.

The portrayal of historical atrocity in fiction, film, and popular culture can reveal much about the function of individual memory and the shifting status of national identity. In the context of Chinese culture, films such as Hou Hsiao-hsien's City of Sadness and Lou Ye's Summer Palace and novels such as Ye Zhaoyan's Nanjing 1937: A Love Story and Wang Xiaobo's The Golden Age collectively reimagine past horrors and give rise to new historical narratives. Michael Berry takes an innovative look at the representation of six specific historical traumas in modern Chinese history: the Musha Incident (1930); the Rape of Nanjing (1937-38); the February 28 Incident (1947); the Cultural Revolution (1966-76); Tiananmen Square (1989); and the Handover of Hong Kong (1997). He identifies two primary modes of restaging historical violence: centripetal trauma, or violence inflicted from the outside that inspires a reexamination of the Chinese nation, and centrifugal trauma, which, originating from within, inspires traumatic narratives that are projected out onto a transnational vision of global dreams and, sometimes, nightmares.These modes allow Berry to connect portrayals of mass violence to ideas of modernity and the nation. He also illuminates the relationship between historical atrocity on a national scale and the pain experienced by the individual; the function of film and literature as historical testimony; the intersection between politics and art, history and memory; and the particular advantages of modern media, which have found new means of narrating the burden of historical violence. As Chinese artists began to probe previously taboo aspects of their nation's history in the final decades of the twentieth century, they created texts that prefigured, echoed, or subverted social, political, and cultural trends. A History of Pain acknowledges the far-reaching influence of this art and addresses its profound role in shaping the public imagination and conception-as well as misconception-of modern Chinese history.

The portrayal of historical atrocity in fiction, film, and popular culture can reveal much about the function of individual memory and the shifting status of national identity. In the context of Chinese culture, films such as Hou Hsiao-hsien's City of Sadness and Lou Ye's Summer Palace and novels such as Ye Zhaoyan's Nanjing 1937: A Love Story and Wang Xiaobo's The Golden Age collectively reimagine past horrors and give rise to new historical narratives. Michael Berry takes an innovative look at the representation of six specific historical traumas in modern Chinese history: the Musha Incident (1930); the Rape of Nanjing (1937-38); the February 28 Incident (1947); the Cultural Revolution (1966-76); Tiananmen Square (1989); and the Handover of Hong Kong (1997). He identifies two primary modes of restaging historical violence: centripetal trauma, or violence inflicted from the outside that inspires a reexamination of the Chinese nation, and centrifugal trauma, which, originating from within, inspires traumatic narratives that are projected out onto a transnational vision of global dreams and, sometimes, nightmares.These modes allow Berry to connect portrayals of mass violence to ideas of modernity and the nation. He also illuminates the relationship between historical atrocity on a national scale and the pain experienced by the individual; the function of film and literature as historical testimony; the intersection between politics and art, history and memory; and the particular advantages of modern media, which have found new means of narrating the burden of historical violence. As Chinese artists began to probe previously taboo aspects of their nation's history in the final decades of the twentieth century, they created texts that prefigured, echoed, or subverted social, political, and cultural trends. A History of Pain acknowledges the far-reaching influence of this art and addresses its profound role in shaping the public imagination and conception-as well as misconception-of modern Chinese history.

On October 27, 1930, members of six Taiwanese indigenous groups ambushed the Japanese attendees of an athletic competition at the Musha Elementary School, killing 134. The uprising came as a shock to Japanese colonial authorities, whose response was swift and brutal. Heavy artillery and battalions of troops assaulted the region, spraying a wide area with banned poison gas. The Seediq from Mhebu, who led the uprising, were brought to the brink of genocide.Over the ensuing decades, the Musha Incident became seen as a central moment in Taiwan’s colonial history, and different political regimes and movements have seized on it for various purposes. Under the Japanese, it was used to attest to the “barbarity” of Taiwan’s indigenous tribes; the Nationalist regime cited the uprising as proof of the Taiwanese peoples’ heroism and solidarity with the Chinese in resisting the Japanese; and pro-independence groups in Taiwan have portrayed the Seediq people and their history as exemplars of Taiwan’s “authentic” cultural traditions, which stand apart from that of mainland China.This book brings together leading scholars to provide new perspectives on one of the most traumatic episodes in Taiwan’s modern history and its fraught legacies. Contributors from a variety of disciplines revisit the Musha Incident and its afterlife in history, literature, film, art, and popular culture. They unravel the complexities surrounding it by confronting a history of exploitation, contradictions, and misunderstandings. The book also features conversations with influential cultural figures in Taiwan who have attempted to tell the story of the uprising.

On October 27, 1930, members of six Taiwanese indigenous groups ambushed the Japanese attendees of an athletic competition at the Musha Elementary School, killing 134. The uprising came as a shock to Japanese colonial authorities, whose response was swift and brutal. Heavy artillery and battalions of troops assaulted the region, spraying a wide area with banned poison gas. The Seediq from Mhebu, who led the uprising, were brought to the brink of genocide.Over the ensuing decades, the Musha Incident became seen as a central moment in Taiwan’s colonial history, and different political regimes and movements have seized on it for various purposes. Under the Japanese, it was used to attest to the “barbarity” of Taiwan’s indigenous tribes; the Nationalist regime cited the uprising as proof of the Taiwanese peoples’ heroism and solidarity with the Chinese in resisting the Japanese; and pro-independence groups in Taiwan have portrayed the Seediq people and their history as exemplars of Taiwan’s “authentic” cultural traditions, which stand apart from that of mainland China.This book brings together leading scholars to provide new perspectives on one of the most traumatic episodes in Taiwan’s modern history and its fraught legacies. Contributors from a variety of disciplines revisit the Musha Incident and its afterlife in history, literature, film, art, and popular culture. They unravel the complexities surrounding it by confronting a history of exploitation, contradictions, and misunderstandings. The book also features conversations with influential cultural figures in Taiwan who have attempted to tell the story of the uprising.

This work delves into the act of reporting on different cultures as a means of exploring our own. The way culture is presented to the media highlights various international and intercultural dynamics, as well as the complexity involved in reporting from a cultural standpoint.Reporting Cultures in 60 Minutes is a study covering the journalistic practice of reporting culture by examining "Tango Finlandia," a broadcast report on Finnish culture produced by the American television news magazine 60 Minutes. It covers the journalistic practice of reporting culture broadly by looking specifically at Finns and Americans reporting about their respective homelands and about the other’s culture and social interactions.Unique in its content and approach, this volume: Demonstrates how reports are constructed as deeply cultural forms, couched in points of view derived from one’s discursive habits and their meanings. Analyzes reporting done in professional practice/journalism as well as in common social routine. Offers a way through the process that can move reporting on culture from a self-reflective mirror to opening a window onto another cultural world. Scholars and students in communication, intercultural/international studies, and related areas will find much to consider in this work

This work delves into the act of reporting on different cultures as a means of exploring our own. The way culture is presented to the media highlights various international and intercultural dynamics, as well as the complexity involved in reporting from a cultural standpoint.Reporting Cultures in 60 Minutes is a study covering the journalistic practice of reporting culture by examining "Tango Finlandia," a broadcast report on Finnish culture produced by the American television news magazine 60 Minutes. It covers the journalistic practice of reporting culture broadly by looking specifically at Finns and Americans reporting about their respective homelands and about the other’s culture and social interactions.Unique in its content and approach, this volume: Demonstrates how reports are constructed as deeply cultural forms, couched in points of view derived from one’s discursive habits and their meanings. Analyzes reporting done in professional practice/journalism as well as in common social routine. Offers a way through the process that can move reporting on culture from a self-reflective mirror to opening a window onto another cultural world. Scholars and students in communication, intercultural/international studies, and related areas will find much to consider in this work

Over the past four decades, rap and hip hop culture have taken a central place in popular music both in the United States and around the world. Listening to Rap: An Introduction enables students to understand the historical context, cultural impact, and unique musical characteristics of this essential genre. Each chapter explores a key topic in the study of rap music from the 1970s to today, covering themes such as race, gender, commercialization, politics, and authenticity. Synthesizing the approaches of scholars from a variety of disciplines—including music, cultural studies, African-American studies, gender studies, literary criticism, and philosophy—Listening to Rap tracks the evolution of rap and hip hop while illustrating its vast cultural significance. The text features more than 60 detailed listening guides that analyze the musical elements of songs by a wide array of artists, from Afrika Bambaataa and Grandmaster Flash to Nicki Minaj, Jay-Z, Kanye West, and more. A companion website showcases playlists of the music discussed in each chapter. Rooted in the understanding that cultural context, music, and lyrics combine to shape rap’s meaning, the text assumes no prior knowledge. For students of all backgrounds, Listening to Rap offers a clear and accessible introduction to this vital and influential music.

Over the past four decades, rap and hip hop culture have taken a central place in popular music both in the United States and around the world. Listening to Rap: An Introduction enables students to understand the historical context, cultural impact, and unique musical characteristics of this essential genre. Each chapter explores a key topic in the study of rap music from the 1970s to today, covering themes such as race, gender, commercialization, politics, and authenticity. Synthesizing the approaches of scholars from a variety of disciplines—including music, cultural studies, African-American studies, gender studies, literary criticism, and philosophy—Listening to Rap tracks the evolution of rap and hip hop while illustrating its vast cultural significance. The text features more than 60 detailed listening guides that analyze the musical elements of songs by a wide array of artists, from Afrika Bambaataa and Grandmaster Flash to Nicki Minaj, Jay-Z, Kanye West, and more. A companion website showcases playlists of the music discussed in each chapter. Rooted in the understanding that cultural context, music, and lyrics combine to shape rap’s meaning, the text assumes no prior knowledge. For students of all backgrounds, Listening to Rap offers a clear and accessible introduction to this vital and influential music.

Jia Zhangke on Jia Zhangke is an extended dialogue between film scholar Michael Berry and the internationally acclaimed Chinese filmmaker. Drawing from extensive interviews and public talks, this volume offers a portrait of Jia’s life, art, and approach to filmmaking. Jia and Berry’s conversations range from Jia’s childhood and formative years to extensive discussions of his major narrative films, including the classics Xiao Wu, Platform, The World, Still Life, and A Touch of Sin. Jia gives a firsthand account of his influences, analyzes the Chinese film industry, and offers his thoughts on subjects such as film music, working with actors, cinematography, and screenwriting. From industry and economics to art and politics, Jia Zhangke on Jia Zhangke represents the single most comprehensive document of the director’s candid thoughts on the art and challenges of filmmaking.

Jia Zhangke on Jia Zhangke is an extended dialogue between film scholar Michael Berry and the internationally acclaimed Chinese filmmaker. Drawing from extensive interviews and public talks, this volume offers a portrait of Jia’s life, art, and approach to filmmaking. Jia and Berry’s conversations range from Jia’s childhood and formative years to extensive discussions of his major narrative films, including the classics Xiao Wu, Platform, The World, Still Life, and A Touch of Sin. Jia gives a firsthand account of his influences, analyzes the Chinese film industry, and offers his thoughts on subjects such as film music, working with actors, cinematography, and screenwriting. From industry and economics to art and politics, Jia Zhangke on Jia Zhangke represents the single most comprehensive document of the director’s candid thoughts on the art and challenges of filmmaking.

During the early days of the COVID-19 health crisis, Fang Fang’s Wuhan Diary provided an important portal for people around the world to understand the outbreak, local response, and how the novel coronavirus was impacting everyday people. But when news of the international publication of Wuhan Diary appeared online in early April of 2020, Fang Fang’s writings became the target of a series of online attacks by “Chinese ultra-nationalists.” Over time, these attacks morphed into one of the most sophisticated and protracted hate Campaigns against a Chinese writer in decades. Meanwhile, as controversy around Wuhan Diary swelled in China, the author was transformed into a global icon, honored by the BBC as one of the most influential women of 2020 and featured in stories by dozens of international news outlets.This book, by the translator of Wuhan Diary into English, alternates between a first-hand account of the translation process and more critical observations on how a diary became a lightning rod for fierce political debate and the target of a sweeping online campaign that many described as a “cyber Cultural Revolution.” Eventually, even Berry would be pulled into the attacks and targeted by thousands of online trolls.This book answers the questions: why would an online lockdown diary elicit such a strong reaction among Chinese netizens? How did the controversy unfold and evolve? Who was behind it? And what can we learn from the “Fang Fang Incident” about contemporary Chinese politics and society? The book will be of interest to students and scholars of translation, as well as anyone with special interest in translation, US-Chinese relations, or internet culture more broadly.