Untitled

Pendahuluan

Latar Belakang

1. Perkembangan film di Cina

• Sebuah film tidak lepas dari sutradara yang mengolah dan memproduksi film tersebut
• Chinese film relate to the present day
• Selain penyempurnaan industri, reformasi ini juga memperluas kembali ruang untuk meninggikan kedudukan perempuan (Fairbank, J. K. dan Merle Goldman, 2006: 406), melanjutkan perjuangan kebebasan kedudukan perempuan yang sebelumnya telah hadir di masa Gerakan empat Mei (1919) dan Revolusi kebudayaan (1966-1976).

1. Latar belakang film

   Production company: Bad Rabbit Pictures

   U.S. distributor: Cheng Cheng FilmsCast:

   Yao Chen, Li Jiuxiao, Wu Yufang, Yang Xinming, Yuan Hong, Shi Qiang, Liang Guanhua, Zhao YongDirector-screenwriter: Teng CongcongProducers: Dun He, Zhang Lei, Yao ChenExecutive producers: Franco Liu, Fu Ruoqing, Bill Kong, Ellen Eliasoph, Jie Lian, Peter Zheng, Zhu Weiie, Li Ying, Cheng Yuhai, Yang Wei, Chen LizhiDirector of photography: Jong LinProduction designer: Lli JianingEditor: Zhang YifanMusic: Wen ZiWorld sales:

   Edko Films

   https://www.hollywoodreporter.com/movies/movie-reviews/send-me-clouds-song-wo-shang-qingyun-review-1244205/

   elizabeth Kerr_ SEPTEMBER 30, 2019

   Kerr, Elizabeth. (2019, 30 September). Interview with Teng Congcong: Comedy is difficult; more difficult than tragedy. https://asianmoviepulse.com/2019/10/interview-with-teng-congcong-comedy-is-difficult-more-difficult-than-tragedy/

   Sutradara

   • Film ini disutradarai dan ditulis oleh teng cong cong yang baru saja memulai debutnya di dunia perfilman. Teng cong cong adalah bla bla bla
   • Released: 2019 Viewed: February 2020 Dublin International Film Festival Shengnan [Yao Chen] is a 30 something investigative journalist who discovers she has ovarian cancer. Needing money for treatment, she reluctantly agrees to write the biography of an obnoxious entrepreneur’s father. Nominally, she begins a trip to Guizhou to interview the father but, in the film, this becomes a trip of self-discovery (though what exactly she is discovering is always unclear).
   • Teng Congcong holds bachelor and master’s degree in directing at Beijing Film Academy with Xie Fei as her tutor. Her short films have won the Grand Prize at the 5th Asian Film Festival, Filmmaker Award at Up-and-coming International Film Festival Hanover, and was selected at Chinese Youth Film Forum and College Student Film Festival. Since 2009, she has been editing commercial films and completed 2 scripts. Send Me to the Clouds is her first feature. The project was selected in 2014 FIRST Financing Forum.

   https://www.firstfilm.org.cn/en/movies-en/film-library-en/send-me-to-the-clouds/

   Interview with Teng Congcong: Comedy is difficult; more difficult than tragedy

   • Beijing Film Academy graduate Teng, 34, is already planning for her next film, a realist black comedy centered on a traditional Chinese funeral, which she hopes to start shooting in 2021. The Chinese market has historically gravitated towards martial arts films and comedies featuring middle-aged men, with very few films either centered on women or intended for a female audience, she said. It’s only in the past few years that more realist films have begun to develop a foothold.
   • Xie Fei has lots of excellent film students like Chen Kaige, Tian Zhuangzhuang, Zhang Yimou and Jia Zhangke. [Photo provided to China Daily]

   "The best films are not just about unique individuals, they are metaphors for the society and time in which they are made," asserts Xie Fei, one of China's eminent film directors in an exclusive interview with Xinhua last Saturday.

   https://www.chinadaily.com.cn/a/201806/23/WS5b2dd7d5a3103349141de620.html

   2018-06-23_Famed Chinese director Xie Fei shares insights on California tour

   Xinhua. (2018, 23 Juni). Famed Chinese director Xie Fei shares insights on California tour. https://www.chinadaily.com.cn/a/201806/23/WS5b2dd7d5a3103349141de620.html

   Interview point with Teng Congcong:

   • “I was drawn to my topic because the existing Chinese films about women’s issues are a bit narrow, and are mostly about rural women in the countryside or older women of nanny age. There aren’t a lot of stories about modern, urban women facing the confusion of their everyday lives,” she said. “I don’t think romantic films have been well executed enough in the Chinese market. It’s not that there’s not enough of an audience for this type of film, it’s that there are very few works that are down-to-earth, where the story feels very real and relatable,” she said. “It’s an area we can really develop and improve.” Teng considers herself a feminist, but at the same time expresses a more conservative take on the gender binary, believing that certain jobs and topics are still more suited to one sex or the other. Gender equality is “very important,” she asserts, especially when it comes to actor salaries. “But when it comes to female directors, I don’t think requiring 50% of directors to be women is a very scientific way of approaching the matter,” she said, when asked her thoughts on initiatives that have taken off in the U.S. and Europe such as the 50/50 by 2020 movement to increase female representation at international film festivals.
   • Teng says she is content making her movies for the China market. And, like many fellow young Chinese filmmakers these days, she doesn’t dream of crossing over to Hollywood. “Modern China developed so quickly that there are loads of every day stories that are hilarious, fascinating, real and touching. This era of rapid development is a gift to us creators,” she said. “With such a wonderful gift of material to delve into, there’s no need to cast that aside, to cast aside your roots, to go and try to make it in overseas markets that are already very developed and have nothing to do with your culture.

   Producer

   • Film ini diproduseri oleh yao chen yang memulai badan prodcer film baru bernama bad rabbits. Colaborasi antara teng cong cong dan yaochen memang tidak menargetkan keuntungan tinggi, tetapi yang penting keduanya bisa saling menguntungkan dan membantu satu sama lain dalam menciptakan karya.
   • footnote: Last year, Bad Rabbit Pictures, the film production company she co-founded in 2017, won 11 awards in five film festivals. Its chief executive, Liu Hui, has been a friend of Yao for more than 10 years. They are so close, she reveals, that they even know each other’s door lock code. This leads the actor to recall the time when she was on her way to the airport when she was paralysed by the thought she had left the gas on at home. She called Liu, who was in the middle of a training session. Liu dropped everything and drove straight to her place to check the gas and put her mind at ease.

   Red chamber:

   Judul dari red chamber

   • “how to use the east wind of fortune to reach the clouds,” a reference to a poem in the 70th chapter of Dream of the Red Chamber, the classical 18th-century Chinese novel by Cao Xueqin:

   “Good wind, lend me the power. Send me up to the clouds.”

   • The poem is about the rootless willow catkins blown away by wind. In Dream of the Red Chamber, a poetry club meets in a garden and every member is tasked with writing a poem about the rootless willow catkins. While others complain about the lightness and the inevitable disappearance of life in their poems, the character Xue Baochai points out an entirely different perspective which encourages one to find their own value in adverse circumstances
   • willow catkins https://www.vaildaily.com/news/curious-nature-willow-catkins-arent-your-average-fragrant-and-flashy-flowers-column/#:~:text=The willow has a specialized,as birches%2C hickories and chestnuts.&text=During the spring%2C they are,and fallen off the tree.

   Karakter Xue Baochai: model perempuan seperti apa?

   • 《红楼梦》中薛宝钗这一典型的封建淑女形象被作者刻画的深入人心。薛宝钗的才情令人钦 佩，一句“好风凭借力，送我上青云” 表现她才华的同时又表达了她的志向。宝钗的贤良淑 德又是封建时代女性最“完美”的特质，而她为人处事的圆滑精明使得贾府上下无人不称赞。 这样的性格特质也是社会与家族两者因素结合的必然结果。而且她个性中感性与理性的结合 亦是这个人物形象中最矛盾最独特的所在。宝钗的关心他人、细心体贴让读者感受到人性温 暖的一面，但是她漠视生命的表现又不得不让人感叹她的冷漠无情。读者在作品细节处能清 晰体会到她性格的独特魅力和人物色彩。但是由于笔者在论述此篇文章时个人学术能力有限 以及限于篇幅原因使得人物形象分析还有待更深层次的挖掘

   Cao Xue Qin. (2017). The Dream of the Red Chamber: Hung Lou Meng. (n.p.): CreateSpace Independent Publishing Platform.

   Film ini tentang apa singkatnya dihubungin dengan karatker xuebaochai

   Britannica, T. Editors of Encyclopaedia (2021, November 1). Dream of the Red Chamber. Encyclopedia Britannica. https://www.britannica.com/topic/Dream-of-the-Red-Chamber

   Dream of the Red Chamber - Chinese. (2013). United Kingdom: Lulu.com.

2. Kesuksesan film: penghargaan

   • SEND ME TO THE CLOUDS meraih Skenario Terbaik dari Dublin Film Critics Circle Awards

     Pada 8 Maret, Virgin Media Dublin International Film Festival (DIFF) 2020 berakhir di Dublin, Irlandia. Direkomendasikan oleh SIFF WORLD EXPRESS dari Shanghai International Film Festival, beberapa film Tiongkok diputar di DIFF, di antaranya SEND ME TO THE CLOUDS meraih Best Screenplay of the Dublin Film Critics Circle Awards dan IF YOU ARE HAPPY memenangkan Jury Prize

     siff.com, (2020, 13 Maret). SIFF WORLD EXPRESS: Two Chinese Films Awarded at Dublin International Film Festival. Diakses pada 23 Febuari 2022 dari. https://www.siff.com/english/content?aid=import-cms-3834

     • Footnote: In 2020, SIFF World Express continues its global tour to present the Chinese society with outstanding Chinese films. This time the five films recommended to DIFF are quite diverse in styles: SPRING TIDE won the Golden Goblet Award for Best Cinematography at the 22nd SIFF; THE SOUND OF DALI was a nominee for the Golden Goblet Award – Best Documentary at the 22nd SIFF; SEND ME TO THE CLOUDS was nominated for 22nd SIFF Asian New Talent Awards for both Best Film and Best Director; IF YOU ARE HAPPY was shortlisted at the 2018 SIFF Project as a work-in-progress project, and was also specially screened in SIFF’s panorama unit Refreshing Chinese Cinema. Unlike the four new releases, FLOWERS OF SHANGHAI released in 1998 is already a well-known film in China. In 2019, this work by Hsiao-hsien HOU successfully went through the 4K restoration initiated by SIFF and Jaeger-LeCoultre. The revived film received a warm response from the audience during the screening at SIFF

     This film was selected to receive sponsorship and funding during the 2014 Financing Forum at FIRST, and five years later we get to walk into the theater for its worldwide premiere.

3. Kekhasan Film : hal menonjol dalam film (left over woman)

   Shengnu, leftover woman

   https://en.wikipedia.org/wiki/Sheng_nu

   https://www.vogue.com/article/sheng-nu-leftover-women-sk-ii-viral-video

   One child policy

   https://journal.aihii.or.id/index.php/ijir/article/view/86#:~:text=One child policy is a,infrastructure problems%2C labour and resources.&text=This research analyze one child,stability because of aging population.

   ‘‘Fresh Winds in Beijing: Chinese Feminists Speak Out on the One Child Policy.’’ Signs 26(3): 847-886.

   Hung, Jean K. M. 1995. ‘‘The Family Status of Chinese Women in the 1990s.’’ China Review. Hurst, William and Kevin J. O’Brien. 2002. ‘‘China’s Contentious Pensioners.’’ China Quarterly 171: 345-360.

   Tsui, Ming and Lynne Rich. 2002. ‘‘The Only Child and Educational Opportunity for Girls in Urban China.’’ Gender & Society 16(1): 74-92

   Pletcher, K. (2021, September 15). one-child policy. Encyclopedia Britannica. https://www.britannica.com/topic/one-child-policy

   Perempuan di Cina Dulu dan Kini

4. Film perempuan yang digarap dan menceritakan ttg perempuan

5. Ratings dan Review

The film cycles around the idea of “effort” with wittiness and depth. Teng Congcong confesses that when she was younger she thought her individual effort could change the world. She was riding high on the clouds of youthful rebellion and self-importance. However, as life has unfolded the way it did, she realized that her efforts were insignificant. Sometimes, it is merely a waste of time to apply more efforts. This realization was captured cinematically in the film as the protagonist Sheng Nan finally releases her frustration and a sense of helplessness in a confrontation with her mother:

Dikutip dari Menurut

keunggulan film ini adalah pembentukan karakter lebih sukses, perbaikan diri, keinginan, hidup dan mati dan konten lainnya, topik diungkapkan secara unik, intelektual, dan lucu; kelemahannya adalah struktur plotnya digenggam muda. itu menyimpang dari hukum struktural "satu orang dan satu hal" (qing, "cinta kosong" li yu), yang bukan "satu orang memiliki banyak hal" atau "banyak orang dalam satu masalah", dan beberapa telah jatuh ke dalam situasi di mana pusat "banyak orang yang penting" tidak menonjol.