Archive for the ‘Uncategorized’ Category

On not acting in a Chinese TV show

Thursday, July 15th, 2010

Back in October 2009, Evan Osnos of the New Yorker blogged about his experiences filming scenes for a tacky Chinese soap:

In the late afternoon, I taped my scene, which consisted of standing at a pay phone and making a call. I was to ask for a girl, and then nod while I was told she was unavailable. Then I was to hang up and gaze at an apartment window, which was, presumably, hers. My delivery needed work, and it took several takes. Eventually, the crew was satisfied enough to declare victory and hand over my lines for the following day. It was then that I discovered that I would be playing a sexual predator.

He ultimately decided to pull out from the gig, ticking off the producers.

The show I didn't appear in

The show I didn't appear in

My own non-experience with a Chinese TV production was pretty similar. In 2001 or 2002, when I was teaching at the Northeast Institute of Electric Power in Jilin City, I was invited to appear as a lecherous foreigner in three scenes of a crime drama. Filmed on location in the city, it would focus on the exploits of northeastern mobsters and the police hot on their track. It would be broadcast on local TV, so I’d be seen by all my students. A middle-aged colleague of mine was cast as a foreign bartender in one scene. The character I was to play was part of a trap set by local mobsters, whose boss had wormed his way into a job with the city police. I was to be bait in an attempt to gain evidence to blackmail the heroine, who had gone on the lam for reasons I can no longer recall.

Before they confirmed my participation, they made sure that I was comfortable with appearing shirtless in one scene: the police would burst into my hotel room and arrest me for soliciting a prostitute, and I would have to dress for the occasion.

Decency is a fluid thing — I’d already adjusted my suburban American attitude to the Speedos of Jilin’s public pools and the dress shoes of its mountain pathways — so I decided I didn’t have a problem. Then the script came. It turned out that my dodgy foreigner would first appear in an elevator casting a lustful eye upon the heroine. Later he would come on to her and react with pervy delight when she claimed to be a college student. That was the deal breaker. Due partly to the conduct codes handed out every year while I was an undergrad, and partly to the stereotype that foreign teachers were only in China to score, student-teacher relationships were off-limits as far as I was concerned. I didn’t want to give anyone the wrong impression in a prime-time soap. My colleague also decided to back out.

The casting director was not pleased. He tried to persuade us to reconsider: “It’s just acting.” “We can erase the college student line.” “It’s going to premiere in Yunnan, and it won’t even show in this city.” Eventually he gave up and went to the other big university across town, where he found two other foreign teachers to fill the roles.

The program did end up on Jilin TV, and everyone had fun identifying where everything was shot. The scenes in question came off pretty much as you’d expect, if you’ve ever seen foreign non-actors playing bit parts on Chinese TV.

The only thing I really remember about the show is a scene where a police officer eating hotpot out on the street is taunted by a mobster and for some reason has retrieve his gun from the hotpot dish. By the time he screws up enough courage to dip his hand into the boiling water, the mobster has already turned a corner. I wouldn’t have minded playing a role like that.

additional stories

A bootleg encounter

Friday, July 2nd, 2010

From Jajia’s twitter feed:

在《炎黄春秋》楼下的一个流动书摊上,看到《墓碑》、《中越战争》及廖亦武的新书,当然都是盗版,老板说生意不错,并说,有次有个老头过来,翻开墓碑扉页的照片,问老板说,你看看我是谁?老板大惊,杨继绳说,没事,盗了就好。

At a book vendor’s cart outside the Yanhuang Chunqiu building I saw Tombstone, The Sino-Vietnamese War, and Liao Yiwu’s latest. All bootlegs, naturally. The vendor said that business was good. He also said that an old man had come by once, flipped open Tombstone to the flyleaf photo, and said, “Guess who I am.” The vendor was shocked. Yang Jisheng said, “No big deal. Pirated — that’s good.”

Highly inefficient punctuation

Sunday, June 20th, 2010

Chinese texts traditionally used no punctuation. A small circle (。) could be used in annotations to mark the end of sentences or phrases, and it also turned up in printed texts, to the lower right of the last character in a sentence.

Before today’s system was standardized, some publishers experimented with alternate ways of punctuating text. We can be glad that the system shown below, on the first page of the 1910 edition of New China (新中国), did not live very long:

The first page of New China by Lu Shi'e

In this text, the “。” represents a continuation: the first character of a phrase has no punctuation, but every subsequent character is marked with a “。”. The text is maddening to read, and while some of that difficulty may be due to the mark meaning roughly the opposite of what it means today (a full stop), I suspect that it may not be a very efficient system even for an experienced reader. It’s certainly not meant for hand-written texts.

In a modern edition, the opening paragraph reads:

话说宣统二年正月初一日,在下一觉醒来,见红日满窗,牌声聒耳,晓得时光不早,忙着披衣下床。开门出来,见客堂中双烛辉煌,香烟缭绕。向外挂着神轴,旁配着珊瑚笺对联。桌上十多盆高脚锡盆,满满的装着茶果。几椅台凳,都饰着红披坐垫。蜡台上红烛,已烧去二寸有余。当地铺着红毯,这都是居停主人布置的。

In rough translation:

on the first day of the first month of Xuantong’s second year I awoke a window filled with red sunlight and a grating sound in my ears so I knew it was not early and I hastened to put on my clothes and get out of bed going out I saw a pair of candles burning brightly and incense smoke wafting in the hall a scroll of a deity faced outward flanked by a couplet on coral paper a dozen high-legged nickel basins full of tea snacks several chairs draped with red cushions a red candle in the candlestick burnt down more than two inches a red carpet on the floor all of this arranged by the master of the house

New China was written by Lu Shi’e (陆士谔, 1878-1944), a Chinese herbalist, and tells the story of a man who falls asleep in 1910 and wakes up in 1951 to a fabulous new world in which China is no longer the sick man of Asia. The novella resembles Liang Qichao’s Future of New China (新中国未来记 ,1902) and other late-Qing utopian fantasies, but Lu could actually write fiction: his output ranged from martial arts romances like The Eight Swordsmen (八大剑侠) and The Flying Guillotine (血滴子) to unauthorized sequels like New Outlaws of the Marsh (新水浒) and amounted to some hundred novellas and novels.

New China was recently exploited for use in promoting the Shanghai 2010 World Expo: Lu’s novel was said to have accurately predicted that Shanghai would hold an expo of “10,000 nations” (万国博览会) one hundred years from its date of publication (i.e. in 2010). The novel actually says that Shanghai hosted a domestic expo (内国博览会) in 1928.

In April, Chen Zhanbiao (陈占彪), who has compiled a fascinating volume of eye-witness accounts of World Expos by late-Qing and early Republican Chinese travelers (清末民初万国博览会亲历记, 2010), wrote an excellent rebuttal of the erroneous claims in the China Reading Journal.

As proof, Chen’s article reproduces one of the pages from the 1910 print edition which, like the above image, uses a nearly unreadable system of punctuation.

An identity swap for the Chinese Murakami

Tuesday, April 27th, 2010

Murakami Haruki’s popularity in mainland China is due in no small part to Lin Shaohua (林少华), who has produced 33 volumes of translations into Chinese over the course of two decades, beginning with Norwegian Wood in 1989. With What I Talk About When I Talk About Running (当我谈跑步时,我谈些什么), Lin was passed over in favor of Shi Xiaowei (施小炜), a relative unknown who just last week was revealed to be the translator of Murakami’s latest work, 1Q84 (the mainland edition, that is: a Taiwan edition translated by Lai Mingzhu has been out since November).

The Southern Metropolis Daily‘s Sunday book review section (April 25) included a short article based around a conversation held on Sina’s microblog host when an earlier SMD report announcing the translation’s upcoming release was linked by Tan Shanshan.

Some quotes:

Atage: “I read for a decade before I realized I was reading Lin Haruki, not Murakami Haruki, and that’s the shame of it.”

Tan Shanshan: “Actually, it’s Lin Haruki that lots of people like.”

Lao Yao: “The new translator can’t compare to Lin Shaohua. Changing a decade-long reading habit is killing me.”

Huang Yuning of Shanghai Translation Publishing House: “The scariest thing is that lots of people, including those who don’t read Japanese and those who don’t really read Murakami, join in the talk of who is more ‘faithful’ and who has a better feel for the language. The question of ‘faithfulness,’ of familiarization versus alienation, is something that translation theory has a hard time working out, so why are you so easily convinced? Commercialism is understandable, controversy is understandable. Out of commercial aims, like for Running, to attack the original translator all over the press, that’s just….”

Perhaps Lin identified too much with the author. He has been quoted as saying, “When I’m not translating Murakami, after a few days I feel uncomfortable” and “When Murakami says half a sentence, I know what he’ll say in the second half.”

See also: Tim Parks in The Guardian: Why translators deserve some credit. And a review of Edith Grossman’s Why Translation Matters at Quarterly Conversation which quotes this paragraph:

One of the brightest students in a seminar I taught recently asked whether, in The Autumn of the Patriarch, we were reading Rabassa or Garcia Marquez. My first, unthinking response was “Rabassa, of course,” and then a beat later, I added, “and Garcia Marquez.” The ensuing discussion of how difficult it is to separate the two, and what it meant to us as readers, writers, and critics to make the attempt, was one of the liveliest and most engrossing we had that semester.

Image from Golden Book.

Ideologies

Friday, April 23rd, 2010

I found this graphic posted on a Sina microblog run by Vista magazine (看天下). I wasn’t able to find the original source — Vista is a digest magazine that lifts the majority of its content from other publications, so the image is most likely from somewhere else.

Commenters got a kick out of the edgy, unharmonious illustration of “hedonism.”

I’ve added English labels to the -isms illustrated: