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Jia Zhangke Responds To Criticism From Global Times Editor Hu Xijin (Full Translation)

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Jia Zhangke (l) versus Hu Xijin

When the editor-in-chief of state tabloid Global Times gave Jia Zhangke’s latest film a bad review on Weibo, the renowned director responded with a bad review of the bad review.

This week, an online quarrel between Global Times editor-in-chief Hu Xijin (胡锡进) and Chinese director Jia Zhangke (贾樟柯) drew much attention on Chinese social media.

The issue started when Hu Xijin criticized Jia Zhangke’s latest film Ash Is Purest White (江湖儿女) on Weibo on September 24, calling the film “depressing” and “full of negative energy,” and suggesting the film Dying to Survive is much better.

At SupChina, Jiayun Feng translated Hu’s comments. Besides condemning the film for its negativity, Hu also wrote:

Please don’t place stinky tofu under our noses and force us to get used to that particular smell. I am aware that some people love to watch horror movies and negative energy can also attract audiences in a way like how opium gets people hooked. But I still hope filmmakers in China can study movies created by Hollywood and Bollywood and produce some movies with normal views about what’s good and what’s evil.”

Adding:

I know I can’t blame others because I bought the [movie] ticket and no one forced me to watch it. But what I’m doing here is to caution my fans no to be deceived by the movie’s title. It uses a gloomy style of filming to tell a banal story of how nice people don’t get properly rewarded for good deeds. It’s neither pleasant nor sad enough to bring you to tears. It only makes you frustrated and upset.”

Hu’s criticism was soon after deleted, but the screenshots already circulated online.

Ash Is Purest White, that was released in mainland China on September 21st, is a big box-office success and is Jia Zhangke’s highest-grossing film yet. The film revolves around the tumultuous love story between gangster Bin (Fan Liao) and dancer Qiao (Tao Zhao).

Jia’s responded to the harsh criticism in a lengthy Weibo post, that has since been shared more than 68,000 times, receiving over 128,000 likes and 30,500 comments.

Here is a full translation of Jia’s Weibo post in response to Hu:

Editor Hu Xijin:

I’m glad you went to watch ‘Ash is Purest White’. And I’m sorry it made you feel “depressed” (堵心) during the Mid-autumn Festival. First, I wish you nothing but happiness. Regarding your opinions, I’ll respond to them one by one below, comments/suggestions are of course welcome.

1. I also was moved by the movie ‘Dying to Survive’ (我不是药神). But, as Lu Xun (鲁迅) [famous Chinese writer] once said: “People’s joy and sorrows are not connected” (人类的悲欢并不相通). I’m not sure you and I are similar in what makes us happy or sad. That also goes for our feelings on ‘Ash is Purest White’ – I’m quite confused about how we could be so far apart.

2. About the “negative energy” – I believe energy is built on the basis of telling the truth as much as possible. The truth is the most powerful form of positive energy. Not tolerating truth or facts will bring about negative energy. Seeing or hearing it all the time, but pretending you have not, gains no truth or facts. In the end, it’ll lead to even greater negative energy. You should always be seeking truth from facts, don’t you agree?

3. Speaking of horror films and their audiences; I’ve never directed any horror films myself, hence my experience in this area is limited. However, all audiences are equal, regardless of taste. As an atheist, you shouldn’t really have any opinion regarding ghosts anyway, as you don’t believe in them.

4. With regards to Hollywood and Bollywood; you’re a ‘complex China’ (复杂的中国) reporter, but it would be better for you to further investigate ‘complex foreign movies’! Your job is to report ‘complex China’, and I am interested in making films about ‘complex characters.’ You can’t really be picky about your definition of “complex”, now can you?

5. Regarding “normal views about what’s good and what’s evil” – what I don’t really understand is: who should be the judge of what is normal and what is not?

6. About “stinky tofu” – you can certainly use ‘fragrant’ or ‘stinky’ as metaphors to comment on a movie. However, I disagree with your slandering of “stinky tofu.” For many families in poverty, it is all they eat! I’ve had a lot myself, and for that I’m eternally grateful.

7. Regarding the fact that you “bought the ticket yourself,” great! I’m a big supporter of the 8 provisions [rules stipulated by Chinese government on frugality within Party/government]. We don’t give free tickets to chief editors of government media!

8. About “letting your fans know” – I think it’s great of you to always have your fans in mind. But your fans might not be exactly the same as you in thinking that a movie is good or bad, in considering stinky tofu edible or not. There are many different colors in this world, if something is not black doesn’t mean it’s white.

9. About the movie using a “gloomy style” – were your eyes built in Meituxiuxiu? [美图秀秀: Chinese photoshop app]. Things are beautiful because they are real. Accept diversity and this world will be more beautiful.

10. About “nice people not getting properly rewarded for their good deeds” – I also wish good things come to good people, but this world is full of strange circumstances, and no one can have full control over it. Things we can’t control are also normal, we should accept that. I didn’t know you believed in karma yourself.

11. About it being “a banal story”: I’ve always been curious about strange stories, but would always do my best to understand the lives of ordinary people and this both inspires me and moves me.

12. With regards to you feeling “depressed” (堵得慌) – my apologies for not making you feel all warm and fuzzy during the Mid-autumn festival. I couldn’t make you tear up, your feelings didn’t get an outlet, instead, you felt “blocked and trapped.” But ‘feeling trapped’ is actually a complicated sensation, a big emotional wave if you will. You’ve been numb for too long, ‘feeling trapped’ shows that you still have some emotions. Congratulations! The fact that you ‘feel trapped’ has raised my hopes for the complexities of China.

Happy Mid-autumn Festival! I wish you all the best.

Many netizens applauded Jia’s reaction to the Global Times editor. One of the most popular comments was a wordplay on the two men’s names, saying: “Director Jia is not fake [‘jia’ in Chinese] while Editor Hu is full of nonsense [‘hu’ in Chinese]. (“贾导不假,胡编真胡 Jiǎ dǎo bù jiǎ, hú biān zhēn hú“)

“Perhaps Hu can tell me all the movies he dislikes,” another commenter said: “Because I’d sure love to watch them.”

At time of writing, the hashtag “Jia Zhangke sents response to Hu Xijin” (#贾樟柯发长文回应胡锡进#) received over 12,5 million views.

Hu dedicated another post to the issue on his Weibo account on Wednesday, saying he had written the bad review in the heat of the moment after watching the film, and that he had deleted it after calming down, never expecting it already went viral.

The editor wrote that he “fully accepted” everything Jia had written, and that he had learned his lesson and will be “more careful” in the future in posting his criticisms on Weibo.

“You have your right to criticize, and Jia has the right to refute it,” a popular comment said.

Although many people support Jia’s response to Hu, there are also those who are critical of it: “He’s just creating a hype to sell more tickets at the box office.”

Ash Is Purest White (Director’s cut) will also be featured at the upcoming Busan Film Festival.

By Miranda Barnes and Manya Koetse

Spotted a mistake or want to add something? Please let us know in comments below or email us.

©2018 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com

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Miranda Barnes is a Chinese blogger and part-time translator with a strong interest in Chinese media and culture. Born in Shenyang, she used to work and live in Beijing and is now based in London. On www.abearandapig.com she shares news of her travels around Europe and Asia with her husband.

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China Arts & Entertainment

China’s New Hit Drama ‘Nothing But Thirty’ Thrives in the “She Era”

Chinese latest hit drama ‘Nothing but Thirty’ has 20 billion views on its Weibo hashtag page.

Yin Lin Tan

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China’s latest TV drama hit Nothing But Thirty is flooding Weibo discussions. With over 20 billion views on its hashtag page, the show is one of the most popular shows of the season and demonstrates that China’s ‘she era’ (ta shidai 她时代) dramas are all the rage. What’s on Weibo’s Yin Lin Tan explains.

“Have you heard of ‘independent at the age of thirty’ (sān shí ér lì 三十而立)?” Wang Manni asks, her hair pulled back neatly and white shirt cleanly pressed. “I hope that, before I’m thirty, I’ll be promoted to supervisor.”

Riding on the wave of female protagonist (‘heroine’ 大女主) shows that have been taking over China’s entertainment scene, Nothing But Thirty (三十而已) is a 43-episode drama by Dragon Television that follows the challenges of three different women who have reached the ever-important age of thirty.

In a society where women are often expected to be married by their late twenties, a show like this, which tackles women’s present-day struggles, both in their personal and professional lives, has resonated with many.

In fact, the show is so popular that at the time of writing, the show’s hashtag (“Nothing But Thirty”, #三十而已#) has over 20 billion (!) views on Weibo.

 

Depicting the struggles of China’s thirty-something women

 

Nothing But Thirty revolves around the lives of three female leads from different walks of life. Gu Jia (Tong Yao) is a capable businesswoman turned full-time housewife; Wang Manni (Jiang Shuying) is an independent, career-oriented sales assistant; and Zhong Xiaoqin (Mao Xiaotong) is your run-of-the-mill office lady.

For Gu Jia, the birth of her son was what truly transformed her into a full-fledged housewife. In many ways, she seems like a perfect wife and mother: well-educated, capable, and thoughtful. But, eventually, she too has to face life’s challenges.

Driven and hardworking, Wang Manni is confident in both her looks and abilities. Her immediate goal, at least at the start of the show, is to achieve professional success. Throughout the show, her resilience is put to the test, personally and professionally.

Zhong Xiaoqin is described by many netizens as the most “average” or “normal” character. She is kind-hearted -sometimes to the point of being a pushover -, and has spent years at the same company without rising the ranks. Though her story might seem mundane at first, this peace is disrupted when her marriage takes a turn for the worse.

 

A story that resonates with the masses

 

“The show attracted wide attention, and it strongly resonated with female audiences. Many thirty-something working women saw their own lives reflected in the show,” Xinhua recently wrote about the show.

Nothing but Thirty currently carries a 7.6 out of 10 rating on Douban, an online reviewing platform.

Though some reviewers criticized how the later episodes of the show were unnecessarily draggy, most praised it for its portrayal of strong female characters, good acting, and largely realistic depiction of women above the age of thirty.

“I saw myself, and also saw the friends beside me,” a reviewer notes.

In China, women are, more often than not, burdened with expectations of getting married and settling down by the time they are in their late twenties. If you’re single and thirty, that’s made even worse.

Those who fall into this category carry the derogatory label of “leftover women” (剩女), a term that reflects how single women above the age of thirty are seen as consolation prizes or even unwanted goods.

Thirty is thus an incredibly important number, especially for women — something that’s clearly reflected in the show’s concept trailer.

Aside from societal expectations of starting a family, some women now also take it upon themselves to build their careers. In fact, you can chase after professional success without burdening yourself with the idea that you must be married – a notion exemplified by the character of Wang Manni.

Nothing But Thirty also showcases the sheer diversity of experiences for women above thirty: you don’t have to be married, you don’t have to be super capable, and you don’t have to be thinking about having children. Each woman goes through her own unique struggles and isn’t necessarily endowed with the so-called “protagonist’s halo.”

Ultimately, the popularity of the show is driven by the three female leads and the actresses who bring these strong characters to life.

By telling a story that is relatable and touches on relevant social issues, namely on expectations of women in society, Nothing But Thirty was able to achieve widespread popularity and is adding another notch on the trend of China’s ta shidai (她时代) dramas. 

 

The rise of ta shidai shows

 

Ta shidai literally translates to “her era” or “the ‘she’ era.”

Ta shidai shows explore what it’s like to be a woman in China today. The female characters are diverse when it comes to both their backgrounds and character arcs; they might have different jobs, different levels of education, or different personalities. These shows mostly center around a strong female lead and/or a main cast that is primarily female.

More importantly, they often feature capable women and how these women overcame the odds to achieve success.

Recent shows like The Romance of Tiger and Rose (传闻中的陈芊芊) and Sisters Who Make Waves (乘风破浪的姐姐) also fall under this category, as do somewhat older hit shows such as Ode to Joy (欢乐颂) and Women in Beijing (北京女子图鉴).

The Romance of Tiger and Rose is set in a society in which women are in charge and men are subordinate, in a daring reversal of gender roles. Though the show has been criticized for using social issues to attract attention, it gained a decent following for tackling topics like gender inequality and women’s rights.

The Romance of Tiger and Rose (传闻中的陈芊芊)

A reality TV competition that swept the Chinese entertainment scene, Sisters Who Make Waves attempted to rebuke stereotypes of women over 30 as “leftover women.”

The show brought together female celebrities above the age of 30 (the oldest competitor was 52), and had them go through a series of challenges, culminating in a girl group formed by the final competitors.

Nothing But Thirty is just another example of a show that’s attempted to depict the realistic struggles of women in modern-day China.

More Chinese dramas that feature women — specifically, their struggles and the expectations that society places on them — are slated to be released in 2020.

Over the past few years, more attention has been focused on women’s rights in China. As feminism becomes an increasingly important topic of discussion in China, strongly facilitated by social media and not without controversy, companies are likely to hop on the bandwagon and continue producing shows that fall squarely in the ta shidai category, given the genre’s rising popularity.

Though we can’t expect every single show to perfectly, accurately, and realistically portray women’s struggles, the fact that more stories like these are being produced already helps bring such conversations into the mainstream. 

Hopefully, the trend of ta shidai shows is a sign that these issues won’t just be tackled on camera, but in real life as well. 

 
Read more about Chinese TV dramas here.
 

By Yin Lin Tan

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©2020 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

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China Arts & Entertainment

Two Hour Time Limit for KTV: China’s Latest Covid-19 Measures Draw Online Criticism

China’s latest COVID-19 infection prevention and control measures are drawing criticism from social media users.

Manya Koetse

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No more never-ending nights filled with singing and drinking at the karaoke bar for now, as new pandemic containment measures put a time limit as to how long people can stay inside entertainment locations and wangba (internet cafes).

On June 22nd, China’s Ministry of Culture and Tourism (文旅部) issued an adjusted version to earlier published guidelines on Covid-19-related prevention and control measures for theaters, internet cafes, and other indoor entertainment venues.

Some of the added regulations have become big news on Chinese social media today.

According to the latest guidelines, it will not be allowed for Chinese consumers to stay at various entertainment locations and wangba for more than two hours.

Singing and dancing entertainment venues, such as KTV bars, can only operate at no greater than 50% maximum occupancy. This also means that private karaoke rooms will be much emptier, as they will also only be able to operate at 50% capacity.

On Weibo, the news drew wide attention today, with the hashtag “KTV, Internet Cafe Time Limit of Two Hours” (#KTV网吧消费时间不得超2小时#) receiving over 220 million views at the time of writing. One news post reporting on the latest measures published on the People’s Daily Weibo account received over 7000 comments and 108,000 likes.

One popular comment, receiving over 9000 likes, criticized the current anti-coronavirus measures for entertainment locations, suggesting that dining venues – that have reopened across the country – actually pose a much greater risk than karaoke rooms due to the groups of people gathering in one space without a mask and the “saliva [drops] flying around.”

The comment, that was posted by popular comic blogger Xuexi, further argues that cinemas – that have suffered greatly from nationwide closures – are much safer, as people could wear masks inside and the maximum amount of seats could be minimized by 50%. Karaoke rooms are even safer, Xuexi writes, as the private rooms are only shared by friends or colleagues – people who don’t wear face masks around each other anyway.

Many people agree with the criticism, arguing that the latest guidelines do not make sense at all and that two hours is not nearly enough for singing songs at the karaoke bar or for playing online games at the internet cafe. Some wonder why (regular) bars are not closed instead, or why there is no two-hour time limit for their work at the office.

Most comments are about China’s cinemas, with Weibo users wondering why a karaoke bar, where people open their mouths to sing and talk, would be allowed to open, while the cinemas, where people sit quietly and watch the screen, remain closed.

Others also suggest that a two-hour limit would actually increase the number of individuals visiting one place in one night, saying that this would only increase the risks of spreading the virus.

“Where’s the scientific evidence?”, some wonder: “What’s the difference between staying there for two hours or one day?”

“As a wangba owner, this really fills me with sorrow,” one commenter writes: “Nobody cares about the financial losses we suffered over the past six months. Our landlord can’t reduce our rent. During the epidemic we fully conformed to the disease prevention measures, we haven’t opened our doors at all, and now there’s this policy. We don’t know what to do anymore.”

Among the more serious worries and fears, there are also some who are concerned about more trivial things: “There’s just no way we can eat all our food at the KTV place within a two-hour time frame!”

By Manya Koetse

*” 餐饮其实才更严重,一群人聚在一起,而且不戴口罩,唾沫横飞的。开了空调一样也是密闭空间。电影院完全可以要求必须戴口罩,而且座位可以只出售一半。KTV其实更安全,都是同事朋友的,本身在一起都不戴口罩了,在包间也无所谓。最危险的餐饮反而都不在意了”

Spotted a mistake or want to add something? Please let us know in comments below or email us. First-time commenters, please be patient – we will have to manually approve your comment before it appears.

©2020 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

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