Hooray! The biggest film festival for Chinese cinema of the year in Europe has landed in the UK, with a rich programme of films and events starting from 10th May until 10th June!
According to the UK-China Film Collab (英中电影合作研发中心), the presenter of Odyssey: a Chinese cinema season –
From 10th May to 10th June 2022, with more than 60 films in 8 curated sections, 10 panel discussions and many inspiring Q&A sessions, we will bring you a whole month of outstanding and innovative Chinese cinema that promises to illuminate your mind. The festival will not only introduce the latest young Chinese film talents to the UK audience, but also provide forums for professionals to exchange creativity and business ideas.
While many of the events will take place in London and Edinburgh, there are a good many online events and films that one can choose to attend, some of which are free. Below are the highlights for local Chinese community and fans of Chinese films in Northern Ireland.
Neo Horizon: The Audience Award
As audience, you are invited to view the six selected films for free and vote for the Audience Award, starting from 10th May. Don’t miss out!
Shanghai Animation Film Studio Retro
This is a great opportunity to enjoy some classic Chinese animated films of different eras and art styles while learning about the history of Chinese animation.
During the month-long China Cinema Season, there will also be ten online discussion panels, exploring aspects of UK-China film collaboration and other topics such as regional cinemas and the role of female film programmers in China.
Venue: Brian Friel Theatre, 20 University Square, Queen’s University, Belfast BT7 1NN
Booking: Eventbrite (free, but advanced booking essential)
Join us for an audio journey that brings together 1960s Northern Ireland and 21st Century China. Alongside excerpts from the original English version, Chinese Students from the Centre for Translating and Interpreting (CTI) at Queen’s University will narrate a new translated adaptation of Brian Friel’s short story ‘The Widowhood System’.
The Widowhood System是一个由布莱恩.弗里尔写于二十世纪六十年代的爱尔兰故事。三个嗜酒如命的中年单身汉，为了追逐埋藏于心多年的赛鸽梦，开始了一场堂吉诃德式的养鸽之旅。殊不知，赛鸽的命运和他们的人生产生了奇妙的重合……
What effect does translation have in transporting a story across time and space? When the page is adapted for the stage, what role does a translator play? What happens when a translator, often considered as the one doing the paperwork, leaves their desk to work as a theatre practitioner?
In this script reading and discussion event, co-organized by CTI, Friel Reimagined, and the Brian Friel Theatre, the translator, Chuchu, the music producer, Kehan and the actors will present the original text, the translated work and the procedure of the adaptation— a Chinese audiobook based on the story ‘The Widowhood System’ by the great Irish playwright Brian Friel. With the original text in English, the Chinese voice actors reading the translated version, and the translator sharing the background of the translation and adaptation process, this event aims to provide a unique insight into how a translated play is produced and presented.
Shurui Yang, aka Chuchu, is a PhD in translation from Center of Translation and Interpreting. Supervised by Prof. David Johnston and Dr. Kathleen Kaess, she mainly focuses on translating Brian Friel’s work from English into Chinese.
CCF11 – Whose Play Is It? Translating and Performing Chinese Drama for the Global Stage
Speaker: Dr Yangyang LONG 龙杨杨, Xi’an Jiaotong-Liverpool University
Dr Yangyang LONG is Assistant Professor in Translation and Interpreting. She was awarded PhD by Queen’s University Belfast in 2019. Her works have been published on journals such as The Translator, Asia Pacific Translation and Intercultural Studies, Atlantic Studies: Global Currents and Coup De Théâtre. She is currently working with Routledge on a monograph entitled “The Works of Lin Yutang: Translation and Recognition”, which will be published with the series “Routledge Studies in Chinese Translation”.
Outline: Who owns a translated foreign-language play? The translator? The author? The playwright? The director? The dramaturg? The actors/actresses? The audiences? The critics? The theatre company? The (mass) media? What makes a Chinese play – in this case a classic of its national literature – worth translating and performing in a new environment, that is, the here and now of the 21st-century English-speaking world? This talk aims to explore the translation and performance of 2017 “Snow in Midsummer” (窦娥冤, The Injustice to Dou E That Moved Heaven and Earth by Guan Hanqing), a new stage production by the Royal Shakespeare Company for its “Chinese Classics Translation Project” (2013-2023).