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DTSTART;TZID=America/New_York:20170909T190000
DTEND;TZID=America/New_York:20170909T210000
DTSTAMP:20260420T215527
CREATED:20170906T123706Z
LAST-MODIFIED:20231107T152428Z
UID:5839-1504983600-1504990800@fairbank.fas.harvard.edu
SUMMARY:An Ethics of Observation. Four Films by Wang Bing
DESCRIPTION:Three Sisters (San zimei)\nSeptember 9\, 7:00 pm\nSeptember 30\, 4:00 pm\nFrance/Hong Kong 2016\, DCP\, color\, 153 min. Mandarin with English subtitles \nHigh in the remote Yunnan Mountains live three sisters\, ages ten\, six and four\, abandoned by their mother and left largely alone by a father who must travel vast distances in search of work. This heart-wrenching portrait of family and fidelity is grounded in the remarkable intimacy of camera and subject that is Wang’s extraordinary gift\, allowing us to not only observe but to seemingly be a part of the daily rituals and rhythms of the girls\, who miraculously never appear to struggle against their plight\, instead abiding almost entirely within the everyday. Three Sisters is one of Wang’s most stark\, elemental and beautiful films; a raw\, unconventional beauty derives from the truth and subtlety of the unstated but everywhere palpable bonds connecting the children and their father\, despite the distances and hardships that threaten to tear them asunder. \nBitter Money (Ku Qian)\nSeptember 10\, 7:00 pm\nChina/France 2017\, DCP\, color\, 152 min. Mandarin with English subtitles \nA restless energy drives Bitter Money’s portrayal of the difficult lives of migrant garment workers who travel from rural Yunnan to the eastern city of Huzhou in search of scarce jobs and security. Like its uprooted subjects\, Bitter Money seems to be ceaselessly searching for a center\, a point of stability in a world set adrift by sleepless sweatshops and the crowds of slave laborers who fuel the world’s insatiable appetite for cheap and disposable goods. Bitter Money is arguably Wang’s most abstract film\, the work that moves toward yet ultimately denies a socioeconomic vantage point able to survey a larger terrain. Instead Wang is drawn\, again and again\, to the individual lives unraveling slowly before his camera\, trapped in a desperate cycle of endless work and impossible debt\, an existential condition rarely rendered with such sadness and truth than in Wang’s uncompromised cinema. \n‘Til Madness Do Us Part (Feng ai)\nSeptember 16\, 7:00 pm\nJapan/France/Hong Kong 2016\, DCP\, color\, 238 min. Mandarin with English subtitles \n‘Til Madness Do Us Part announced Wang Bing as the authentic heir to Frederick Wiseman with its gripping\, shape-shifting portrait of an isolated “asylum” whose exact mission remains troublingly unclear throughout the film’s almost four-hour length. Simultaneously prison\, hospital and refuge\, the unnamed institution is peopled by a sprawling community of patients/inmates who range from the clearly insane to incarcerated petty criminals to others who have been simply deposited by families unable to care for their weakest or eldest members. Shot over the course of two-and-a-half months\, ‘Til Madness Do Us Part takes place almost entirely within a single all-male floor of the asylum\, resulting in a film that restores the true meaning of the term immersive now used too frequently to superficially describe contemporary moving image art. Following Wang’s restless\, gliding camera\, the viewer drifts through the asylum\, gently observing but never privileging any of the men who drift\, tranquilized\, stunned\, sleepless\, lost. Never settling upon a single figure\, ‘Til Madness Do Us Part is instead a choral and decentered film that tests our roles as privileged viewers and as extensions of the cinema’s surveillance apparatus. So engrossed\, so immersed are we that a sudden burst of freedom becomes disorienting\, unnatural\, as we realize that we have become accustomed to the fluid enclosure of the asylum\, where night is day and day is night. \nTa’ang\nSeptember 18\, 7:00 pm\nHong Kong/France 2017\, DCP\, color\, 148 min. Burmese & Mandarin with English subtitles \nWith Ta’ang\, Wang offers invaluable and deeply moving cinematic testimony to the terrible plight of refugees victimized by the intractable conflicts that enflame so much of today’s world yet rarely receive the attention or solutions they so urgently demand. Ta’angis named for the Burmese ethnic minorities driven from Myanmar by the still-raging war between the Burmese Army and a strong insurgent movement that includes troops of the Ta’ang National Liberation Army. Wang’s haunting film inhabits the fragile camps and shelters of the refugees squatting in the border nether-zone\, fleeing from the imminent threat of violence embodied in the quickening sound of bombs that recurs throughout the film’s second half. At the heart of Ta’ang are the whispering groups that huddle quietly around the firesides at night\, telling stories\, sharing cold comforts and creating a vital yet fleeting community trapped in an anxious waiting\, bravely resolute despite the imminent threat of extinction.
URL:https://fairbank.fas.harvard.edu/events/an-ethics-of-observation-four-films-by-wang-bing/
LOCATION:MA
ATTACH;FMTTYPE=:
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170910T190000
DTEND;TZID=America/New_York:20170910T210000
DTSTAMP:20260420T215527
CREATED:20170906T123706Z
LAST-MODIFIED:20170906T123706Z
UID:5844-1505070000-1505077200@fairbank.fas.harvard.edu
SUMMARY:An Ethics of Observation. Four Films by Wang Bing
DESCRIPTION:Three Sisters (San zimei)\nSeptember 9\, 7:00 pm\nSeptember 30\, 4:00 pm\nFrance/Hong Kong 2016\, DCP\, color\, 153 min. Mandarin with English subtitles \nHigh in the remote Yunnan Mountains live three sisters\, ages ten\, six and four\, abandoned by their mother and left largely alone by a father who must travel vast distances in search of work. This heart-wrenching portrait of family and fidelity is grounded in the remarkable intimacy of camera and subject that is Wang’s extraordinary gift\, allowing us to not only observe but to seemingly be a part of the daily rituals and rhythms of the girls\, who miraculously never appear to struggle against their plight\, instead abiding almost entirely within the everyday. Three Sisters is one of Wang’s most stark\, elemental and beautiful films; a raw\, unconventional beauty derives from the truth and subtlety of the unstated but everywhere palpable bonds connecting the children and their father\, despite the distances and hardships that threaten to tear them asunder. \nBitter Money (Ku Qian)\nSeptember 10\, 7:00 pm\nChina/France 2017\, DCP\, color\, 152 min. Mandarin with English subtitles \nA restless energy drives Bitter Money’s portrayal of the difficult lives of migrant garment workers who travel from rural Yunnan to the eastern city of Huzhou in search of scarce jobs and security. Like its uprooted subjects\, Bitter Money seems to be ceaselessly searching for a center\, a point of stability in a world set adrift by sleepless sweatshops and the crowds of slave laborers who fuel the world’s insatiable appetite for cheap and disposable goods. Bitter Money is arguably Wang’s most abstract film\, the work that moves toward yet ultimately denies a socioeconomic vantage point able to survey a larger terrain. Instead Wang is drawn\, again and again\, to the individual lives unraveling slowly before his camera\, trapped in a desperate cycle of endless work and impossible debt\, an existential condition rarely rendered with such sadness and truth than in Wang’s uncompromised cinema. \n‘Til Madness Do Us Part (Feng ai)\nSeptember 16\, 7:00 pm\nJapan/France/Hong Kong 2016\, DCP\, color\, 238 min. Mandarin with English subtitles \n‘Til Madness Do Us Part announced Wang Bing as the authentic heir to Frederick Wiseman with its gripping\, shape-shifting portrait of an isolated “asylum” whose exact mission remains troublingly unclear throughout the film’s almost four-hour length. Simultaneously prison\, hospital and refuge\, the unnamed institution is peopled by a sprawling community of patients/inmates who range from the clearly insane to incarcerated petty criminals to others who have been simply deposited by families unable to care for their weakest or eldest members. Shot over the course of two-and-a-half months\, ‘Til Madness Do Us Part takes place almost entirely within a single all-male floor of the asylum\, resulting in a film that restores the true meaning of the term immersive now used too frequently to superficially describe contemporary moving image art. Following Wang’s restless\, gliding camera\, the viewer drifts through the asylum\, gently observing but never privileging any of the men who drift\, tranquilized\, stunned\, sleepless\, lost. Never settling upon a single figure\, ‘Til Madness Do Us Part is instead a choral and decentered film that tests our roles as privileged viewers and as extensions of the cinema’s surveillance apparatus. So engrossed\, so immersed are we that a sudden burst of freedom becomes disorienting\, unnatural\, as we realize that we have become accustomed to the fluid enclosure of the asylum\, where night is day and day is night. \nTa’ang\nSeptember 18\, 7:00 pm\nHong Kong/France 2017\, DCP\, color\, 148 min. Burmese & Mandarin with English subtitles \nWith Ta’ang\, Wang offers invaluable and deeply moving cinematic testimony to the terrible plight of refugees victimized by the intractable conflicts that enflame so much of today’s world yet rarely receive the attention or solutions they so urgently demand. Ta’angis named for the Burmese ethnic minorities driven from Myanmar by the still-raging war between the Burmese Army and a strong insurgent movement that includes troops of the Ta’ang National Liberation Army. Wang’s haunting film inhabits the fragile camps and shelters of the refugees squatting in the border nether-zone\, fleeing from the imminent threat of violence embodied in the quickening sound of bombs that recurs throughout the film’s second half. At the heart of Ta’ang are the whispering groups that huddle quietly around the firesides at night\, telling stories\, sharing cold comforts and creating a vital yet fleeting community trapped in an anxious waiting\, bravely resolute despite the imminent threat of extinction.
URL:https://fairbank.fas.harvard.edu/events/an-ethics-of-observation-four-films-by-wang-bing-2017-09-10/
LOCATION:Harvard Film Archive\, Carpenter Center\, 24 Quincy St\, Cambridge\, MA\, 02138\, United States
ATTACH;FMTTYPE=:
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170913T123000
DTEND;TZID=America/New_York:20170913T140000
DTSTAMP:20260420T215527
CREATED:20170803T165814Z
LAST-MODIFIED:20170803T165814Z
UID:5418-1505305800-1505311200@fairbank.fas.harvard.edu
SUMMARY:Critical Issues Confronting China Series - The U.S. and China: How Should We Assess the Policy of "Engagement?"
DESCRIPTION:Read event summary \nSpeaker: Orville Schell\, Asia Society \nOrville Schell is the Arthur Ross Director of the Center on U.S.-China Relationsat Asia Society in New York. He is a former professor and Dean at the University of California\, Berkeley’s Graduate School of Journalism. Schell was born in New York City\, graduated Magna Cum Laude from Harvard University in Far Eastern History\, was an exchange student at National Taiwan University in the 1960s\, and earned a Ph.D. (Abd) at University of California\, Berkeley in Chinese History. He worked for the Ford Foundation in Indonesia\, covered the war in Indochina as a journalist\, and has traveled widely in China since the mid-70s. \nSchell is the author of fifteen books\, ten of them about China\, and a contributor to numerous edited volumes. His most recent books are: Wealth and Power\, China’s long March to the 21st Century; Virtual Tibet; The China Reader: The Reform Years; and Mandate of Heaven: The Legacy of Tiananmen Square and the Next Generation of China’s Leaders. He has written widely for many magazine and newspapers\, including The Atlantic Monthly\, The New Yorker\, Time\, The New Republic\, Harpers\, The Nation\, The New York Review of Books\, Wired\, Foreign Affairs\, the China Quarterly\, and the New York Times\, the Washington Post and the Los Angeles Times. \nHe is a Fellow at the Weatherhead East Asian Institute at Columbia University\, a Senior Fellow at the Annenberg School of Communications at USC and a member of the Council on Foreign Relations. Schell is also the recipient of many prizes and fellowships\, including a Guggenheim Fellowship\, the Overseas Press Club Award\, and the Harvard-Stanford Shorenstein Prize in Asian Journalism.
URL:https://fairbank.fas.harvard.edu/events/critical-issues-confronting-china-series-2/
LOCATION:CGIS South S020\, Belfer Case Study Room\, 1730 Cambridge St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Critical Issues Confronting China
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170914T143000
DTEND;TZID=America/New_York:20170914T160000
DTSTAMP:20260420T215527
CREATED:20170830T142054Z
LAST-MODIFIED:20170830T142054Z
UID:5765-1505399400-1505404800@fairbank.fas.harvard.edu
SUMMARY:East Asian Legal Studies Open House
DESCRIPTION:Join East Asian Legal Studies for an opportunity to meet EALS Faculty\, Staff\, Research Fellows\, and the 2017-2018 Visiting Scholars. \nLight refreshments will be served.
URL:https://fairbank.fas.harvard.edu/events/east-asian-legal-studies-open-house/
LOCATION:Austin Hall Room 308\, 1515 Mass Ave\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Events of Interest,Special Event
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170914T160000
DTEND;TZID=America/New_York:20170914T180000
DTSTAMP:20260420T215527
CREATED:20170830T162321Z
LAST-MODIFIED:20170830T162321Z
UID:5805-1505404800-1505412000@fairbank.fas.harvard.edu
SUMMARY:Asia Beyond the Headlines: One Belt/One Road in Historical and Global Context
DESCRIPTION:Chair: Professor Elizabeth Perry\, Henry Rosovksy Professor of Government; Director\, Harvard-Yenching Institute \nProfessor Mark Elliott\, Vice Provost of International Affairs;  Mark Schwartz Professor of Chinese and Inner Asian History\, Harvard University \nProfessor Michael Szonyi\,  Professor of Chinese History; Director\, Fairbank Center for Chinese Studies\, Harvard University \nDr. William Overholt\, Senior Fellow\, Harvard University Asia Center \nAsia Beyond the Headlines Seminar Series\, Harvard University Asia Center; co-sponsored by the Fairbank Center for Chinese Studies
URL:https://fairbank.fas.harvard.edu/events/asia-beyond-the-headlines-one-beltone-road-in-historical-and-global-context/
LOCATION:CGIS South S020\, Belfer Case Study Room\, 1730 Cambridge St.\, Cambridge\, MA\, 02138\, United States
ATTACH;FMTTYPE=:
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170915T160000
DTEND;TZID=America/New_York:20170915T173000
DTSTAMP:20260420T215527
CREATED:20170906T114342Z
LAST-MODIFIED:20170906T114342Z
UID:5836-1505491200-1505496600@fairbank.fas.harvard.edu
SUMMARY:I'd Rather Be Dead: Conflicts of Care at the End of Life
DESCRIPTION:Spaeaker: Karen Thornber\, Professor of Comparative Literature and East Asian Languages and Civilizations\, Harvard University\nVictor and William Fung Director\, Harvard University Asia Center
URL:https://fairbank.fas.harvard.edu/events/id-rather-be-dead-conflicts-of-care-at-the-end-of-life/
LOCATION:MA
ATTACH;FMTTYPE=:
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170916T190000
DTEND;TZID=America/New_York:20170916T210000
DTSTAMP:20260420T215527
CREATED:20170906T123706Z
LAST-MODIFIED:20170906T123706Z
UID:5845-1505588400-1505595600@fairbank.fas.harvard.edu
SUMMARY:An Ethics of Observation. Four Films by Wang Bing
DESCRIPTION:Three Sisters (San zimei)\nSeptember 9\, 7:00 pm\nSeptember 30\, 4:00 pm\nFrance/Hong Kong 2016\, DCP\, color\, 153 min. Mandarin with English subtitles \nHigh in the remote Yunnan Mountains live three sisters\, ages ten\, six and four\, abandoned by their mother and left largely alone by a father who must travel vast distances in search of work. This heart-wrenching portrait of family and fidelity is grounded in the remarkable intimacy of camera and subject that is Wang’s extraordinary gift\, allowing us to not only observe but to seemingly be a part of the daily rituals and rhythms of the girls\, who miraculously never appear to struggle against their plight\, instead abiding almost entirely within the everyday. Three Sisters is one of Wang’s most stark\, elemental and beautiful films; a raw\, unconventional beauty derives from the truth and subtlety of the unstated but everywhere palpable bonds connecting the children and their father\, despite the distances and hardships that threaten to tear them asunder. \nBitter Money (Ku Qian)\nSeptember 10\, 7:00 pm\nChina/France 2017\, DCP\, color\, 152 min. Mandarin with English subtitles \nA restless energy drives Bitter Money’s portrayal of the difficult lives of migrant garment workers who travel from rural Yunnan to the eastern city of Huzhou in search of scarce jobs and security. Like its uprooted subjects\, Bitter Money seems to be ceaselessly searching for a center\, a point of stability in a world set adrift by sleepless sweatshops and the crowds of slave laborers who fuel the world’s insatiable appetite for cheap and disposable goods. Bitter Money is arguably Wang’s most abstract film\, the work that moves toward yet ultimately denies a socioeconomic vantage point able to survey a larger terrain. Instead Wang is drawn\, again and again\, to the individual lives unraveling slowly before his camera\, trapped in a desperate cycle of endless work and impossible debt\, an existential condition rarely rendered with such sadness and truth than in Wang’s uncompromised cinema. \n‘Til Madness Do Us Part (Feng ai)\nSeptember 16\, 7:00 pm\nJapan/France/Hong Kong 2016\, DCP\, color\, 238 min. Mandarin with English subtitles \n‘Til Madness Do Us Part announced Wang Bing as the authentic heir to Frederick Wiseman with its gripping\, shape-shifting portrait of an isolated “asylum” whose exact mission remains troublingly unclear throughout the film’s almost four-hour length. Simultaneously prison\, hospital and refuge\, the unnamed institution is peopled by a sprawling community of patients/inmates who range from the clearly insane to incarcerated petty criminals to others who have been simply deposited by families unable to care for their weakest or eldest members. Shot over the course of two-and-a-half months\, ‘Til Madness Do Us Part takes place almost entirely within a single all-male floor of the asylum\, resulting in a film that restores the true meaning of the term immersive now used too frequently to superficially describe contemporary moving image art. Following Wang’s restless\, gliding camera\, the viewer drifts through the asylum\, gently observing but never privileging any of the men who drift\, tranquilized\, stunned\, sleepless\, lost. Never settling upon a single figure\, ‘Til Madness Do Us Part is instead a choral and decentered film that tests our roles as privileged viewers and as extensions of the cinema’s surveillance apparatus. So engrossed\, so immersed are we that a sudden burst of freedom becomes disorienting\, unnatural\, as we realize that we have become accustomed to the fluid enclosure of the asylum\, where night is day and day is night. \nTa’ang\nSeptember 18\, 7:00 pm\nHong Kong/France 2017\, DCP\, color\, 148 min. Burmese & Mandarin with English subtitles \nWith Ta’ang\, Wang offers invaluable and deeply moving cinematic testimony to the terrible plight of refugees victimized by the intractable conflicts that enflame so much of today’s world yet rarely receive the attention or solutions they so urgently demand. Ta’angis named for the Burmese ethnic minorities driven from Myanmar by the still-raging war between the Burmese Army and a strong insurgent movement that includes troops of the Ta’ang National Liberation Army. Wang’s haunting film inhabits the fragile camps and shelters of the refugees squatting in the border nether-zone\, fleeing from the imminent threat of violence embodied in the quickening sound of bombs that recurs throughout the film’s second half. At the heart of Ta’ang are the whispering groups that huddle quietly around the firesides at night\, telling stories\, sharing cold comforts and creating a vital yet fleeting community trapped in an anxious waiting\, bravely resolute despite the imminent threat of extinction.
URL:https://fairbank.fas.harvard.edu/events/an-ethics-of-observation-four-films-by-wang-bing-2017-09-16/
LOCATION:Harvard Film Archive\, Carpenter Center\, 24 Quincy St\, Cambridge\, MA\, 02138\, United States
ATTACH;FMTTYPE=:
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170918T120000
DTEND;TZID=America/New_York:20170918T140000
DTSTAMP:20260420T215527
CREATED:20170830T152659Z
LAST-MODIFIED:20170830T152659Z
UID:5786-1505736000-1505743200@fairbank.fas.harvard.edu
SUMMARY:Identity Politics and Organized Crime
DESCRIPTION:East Asian Legal Studies talk with Professor J. Mark Ramseyer\, Harvard Law School \nMark Ramseyer spent most of his childhood in provincial towns and cities in southern Japan\, attending Japanese schools for K-6. He returned to the U.S. for college. Before attending law school\, he studied Japanese history in graduate school. Ramseyer graduated from HLS in 1982. He clerked for the Hon. Stephen Breyer (then on the First Circuit)\, worked for two years at Sidley & Austin (in corporate tax)\, and studied as a Fulbright student at the University of Tokyo. After teaching at UCLA and the University of Chicago\, he came to Harvard in 1998. He has also taught or co-taught courses at several Japanese universities (in Japanese). In his research\, Ramseyer primarily studies Japanese law\, and primarily from a law & economics perspective. In addition to a variety of Japanese law courses\, he teaches the basic Corporations course. With Professors Klein and Bainbridge\, he co-edits a Foundation Press casebook in the field. \nCo-sponsored by the Program on US-Japan Relations and the Reischauer Institute of Japanese Studies
URL:https://fairbank.fas.harvard.edu/events/identity-politics-and-organized-crime/
LOCATION:Austin Hall Room 308\, 1515 Mass Ave\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Co-Sponsored Lectures,Events of Interest
ATTACH;FMTTYPE=:
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170918T160000
DTEND;TZID=America/New_York:20170918T173000
DTSTAMP:20260420T215528
CREATED:20170830T154845Z
LAST-MODIFIED:20170830T154845Z
UID:5796-1505750400-1505755800@fairbank.fas.harvard.edu
SUMMARY:What to Expect from the 19th Party Congress
DESCRIPTION:Join us for a discussion about what’s going to happen at the 19th Party Congress of the Chinese Communist Party (CCP). Xiang Bing\, Dean of Cheung Kong Graduate School of Business\, will speak. Arne Westad\, S.T. Lee Professor of U.S.-Asia Relations\, HKS\, will moderate. \nRefreshments will be served. \nThis event is cosponsored by the Fairbank Center for Chinese Studies \nhttps://ash.harvard.edu/event/what-expect-19th-party-congress
URL:https://fairbank.fas.harvard.edu/events/what-to-expect-from-the-19th-party-congress/
LOCATION:MA
CATEGORIES:Co-Sponsored Lectures,Events of Interest,Special Event
ATTACH;FMTTYPE=:
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170918T190000
DTEND;TZID=America/New_York:20170918T210000
DTSTAMP:20260420T215528
CREATED:20170906T123706Z
LAST-MODIFIED:20170906T123706Z
UID:5846-1505761200-1505768400@fairbank.fas.harvard.edu
SUMMARY:An Ethics of Observation. Four Films by Wang Bing
DESCRIPTION:Three Sisters (San zimei)\nSeptember 9\, 7:00 pm\nSeptember 30\, 4:00 pm\nFrance/Hong Kong 2016\, DCP\, color\, 153 min. Mandarin with English subtitles \nHigh in the remote Yunnan Mountains live three sisters\, ages ten\, six and four\, abandoned by their mother and left largely alone by a father who must travel vast distances in search of work. This heart-wrenching portrait of family and fidelity is grounded in the remarkable intimacy of camera and subject that is Wang’s extraordinary gift\, allowing us to not only observe but to seemingly be a part of the daily rituals and rhythms of the girls\, who miraculously never appear to struggle against their plight\, instead abiding almost entirely within the everyday. Three Sisters is one of Wang’s most stark\, elemental and beautiful films; a raw\, unconventional beauty derives from the truth and subtlety of the unstated but everywhere palpable bonds connecting the children and their father\, despite the distances and hardships that threaten to tear them asunder. \nBitter Money (Ku Qian)\nSeptember 10\, 7:00 pm\nChina/France 2017\, DCP\, color\, 152 min. Mandarin with English subtitles \nA restless energy drives Bitter Money’s portrayal of the difficult lives of migrant garment workers who travel from rural Yunnan to the eastern city of Huzhou in search of scarce jobs and security. Like its uprooted subjects\, Bitter Money seems to be ceaselessly searching for a center\, a point of stability in a world set adrift by sleepless sweatshops and the crowds of slave laborers who fuel the world’s insatiable appetite for cheap and disposable goods. Bitter Money is arguably Wang’s most abstract film\, the work that moves toward yet ultimately denies a socioeconomic vantage point able to survey a larger terrain. Instead Wang is drawn\, again and again\, to the individual lives unraveling slowly before his camera\, trapped in a desperate cycle of endless work and impossible debt\, an existential condition rarely rendered with such sadness and truth than in Wang’s uncompromised cinema. \n‘Til Madness Do Us Part (Feng ai)\nSeptember 16\, 7:00 pm\nJapan/France/Hong Kong 2016\, DCP\, color\, 238 min. Mandarin with English subtitles \n‘Til Madness Do Us Part announced Wang Bing as the authentic heir to Frederick Wiseman with its gripping\, shape-shifting portrait of an isolated “asylum” whose exact mission remains troublingly unclear throughout the film’s almost four-hour length. Simultaneously prison\, hospital and refuge\, the unnamed institution is peopled by a sprawling community of patients/inmates who range from the clearly insane to incarcerated petty criminals to others who have been simply deposited by families unable to care for their weakest or eldest members. Shot over the course of two-and-a-half months\, ‘Til Madness Do Us Part takes place almost entirely within a single all-male floor of the asylum\, resulting in a film that restores the true meaning of the term immersive now used too frequently to superficially describe contemporary moving image art. Following Wang’s restless\, gliding camera\, the viewer drifts through the asylum\, gently observing but never privileging any of the men who drift\, tranquilized\, stunned\, sleepless\, lost. Never settling upon a single figure\, ‘Til Madness Do Us Part is instead a choral and decentered film that tests our roles as privileged viewers and as extensions of the cinema’s surveillance apparatus. So engrossed\, so immersed are we that a sudden burst of freedom becomes disorienting\, unnatural\, as we realize that we have become accustomed to the fluid enclosure of the asylum\, where night is day and day is night. \nTa’ang\nSeptember 18\, 7:00 pm\nHong Kong/France 2017\, DCP\, color\, 148 min. Burmese & Mandarin with English subtitles \nWith Ta’ang\, Wang offers invaluable and deeply moving cinematic testimony to the terrible plight of refugees victimized by the intractable conflicts that enflame so much of today’s world yet rarely receive the attention or solutions they so urgently demand. Ta’angis named for the Burmese ethnic minorities driven from Myanmar by the still-raging war between the Burmese Army and a strong insurgent movement that includes troops of the Ta’ang National Liberation Army. Wang’s haunting film inhabits the fragile camps and shelters of the refugees squatting in the border nether-zone\, fleeing from the imminent threat of violence embodied in the quickening sound of bombs that recurs throughout the film’s second half. At the heart of Ta’ang are the whispering groups that huddle quietly around the firesides at night\, telling stories\, sharing cold comforts and creating a vital yet fleeting community trapped in an anxious waiting\, bravely resolute despite the imminent threat of extinction.
URL:https://fairbank.fas.harvard.edu/events/an-ethics-of-observation-four-films-by-wang-bing-2017-09-18/
LOCATION:Harvard Film Archive\, Carpenter Center\, 24 Quincy St\, Cambridge\, MA\, 02138\, United States
ATTACH;FMTTYPE=:
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170920T123000
DTEND;TZID=America/New_York:20170920T140000
DTSTAMP:20260420T215528
CREATED:20170803T165814Z
LAST-MODIFIED:20170803T165814Z
UID:5420-1505910600-1505916000@fairbank.fas.harvard.edu
SUMMARY:Critical Issues Confronting China Series - This Is Sino Tap: My Life as a Chinese Rock Star
DESCRIPTION:Event Summary \nSpeaker: Kaiser Kuo\, Sinica Podcast/ChinaFile\, former member of the band Tang Dynasty \nKaiser previously worked as director for international communications for Chinese search engine Baidu. Before that he was a technology correspondent for Red Herring magazine\, and also worked as director of digital strategy\, China\, for Ogilvy & Mather in Beijing. He used to write a column for the foreigner-focused English-language magazine The Beijinger from 2001 to 2011. \nIn 2010\, Kaiser started the Sinica show\, a current affairs podcast that invites prominent China journalists and China-watchers to participate in uncensored discussions about Chinese political and economic affairs.
URL:https://fairbank.fas.harvard.edu/events/critical-issues-confronting-china-series-2-2017-09-20/
LOCATION:CGIS South S020\, Belfer Case Study Room\, 1730 Cambridge St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Critical Issues Confronting China
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DTSTART;TZID=America/New_York:20170923T090000
DTEND;TZID=America/New_York:20170923T120000
DTSTAMP:20260420T215528
CREATED:20170911T144351Z
LAST-MODIFIED:20170911T144351Z
UID:5853-1506157200-1506168000@fairbank.fas.harvard.edu
SUMMARY:Digital Research: Concepts\, Current State\, and Debates
DESCRIPTION:Part of the Digital China Initiative Workshop Series \nAs an introductory session for a series of workshops on digital tools and methods in China studies\, this first session will be an open discussion on the nature of data\, existing projects and research examples\, exploratory exercises of sample DH tools\, and debates on the advantages and disadvantages of using digital methods in areas pertaining the research topics of the participants. \n24-seat limit. Please RSVP at: https://goo.gl/forms/gP2uJJKOSYcfVvcu2 or contact Dr. Amelia Ying Qin: ying_qin@fas.harvard.edu
URL:https://fairbank.fas.harvard.edu/events/digital-research-concepts-current-state-and-debates/
LOCATION:Northwest Building\, Room B129\, 52 Oxford St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Co-Sponsored Lectures
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DTSTART;TZID=America/New_York:20170925T123000
DTEND;TZID=America/New_York:20170925T133000
DTSTAMP:20260420T215528
CREATED:20170911T181405Z
LAST-MODIFIED:20170911T181405Z
UID:5856-1506342600-1506346200@fairbank.fas.harvard.edu
SUMMARY:Hopkins-Nanjing Center Information Session
DESCRIPTION:Meet with a Hopkins-Nanjing Center (HNC) admissions representative to learn more about our graduate school program offerings in China\, as well as the application process\, fellowship opportunities and career outcomes for HNC graduates. Feel free to contact feneh1@jhu.edu to schedule a one-on-one appointment.
URL:https://fairbank.fas.harvard.edu/events/hopkins-nanjing-center-information-session/
LOCATION:CGIS Knafel K262\, 1737 Cambridge Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Events of Interest
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DTSTART;TZID=America/New_York:20170925T153000
DTEND;TZID=America/New_York:20170925T170000
DTSTAMP:20260420T215528
CREATED:20170919T160522Z
LAST-MODIFIED:20170919T160522Z
UID:5890-1506353400-1506358800@fairbank.fas.harvard.edu
SUMMARY:Co-ethnic Capital in Coastal China and India: The Developmental Diasporas of Guangdong and Kerala
DESCRIPTION:Speaker: Kellee Tsai\, Hong Kong University of Science and Technology
URL:https://fairbank.fas.harvard.edu/events/co-ethnic-capital-in-coastal-china-and-india-the-developmental-diasporas-of-guangdong-and-kerala/
LOCATION:Elaine Conference Room 300\, Chao Center\, Harvard Business School\, 25 Harvard Way\, Bostom\, MA\, 02163\, United States
CATEGORIES:Co-Sponsored Lectures,Events of Interest
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DTSTART;TZID=America/New_York:20170926T123000
DTEND;TZID=America/New_York:20170926T140000
DTSTAMP:20260420T215528
CREATED:20170830T161232Z
LAST-MODIFIED:20170830T161232Z
UID:5800-1506429000-1506434400@fairbank.fas.harvard.edu
SUMMARY:Sino-Japanese Relations: What Went Wrong after 1992
DESCRIPTION:Speaker: Ezra Vogel\, Henry Ford II Professor of Social Sciences Emeritus\, Harvard University. \nModerator: Susan Pharr\, Edwin O. Reischauer Professor of Japanese Politics and Director\, WCFIA Program on U.S.-Japan Relations\, Harvard University.
URL:https://fairbank.fas.harvard.edu/events/sino-japanese-relations-what-went-wrong-after-1992/
LOCATION:CGIS Knafel K262\, 1737 Cambridge Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Co-Sponsored Lectures,Events of Interest,Special Event
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DTSTART;TZID=America/New_York:20170927T123000
DTEND;TZID=America/New_York:20170927T140000
DTSTAMP:20260420T215528
CREATED:20170803T165814Z
LAST-MODIFIED:20170803T165814Z
UID:5421-1506515400-1506520800@fairbank.fas.harvard.edu
SUMMARY:Critical Issues Confronting China Series - The Progression of Repression: Online Censorship and Physical Repression in China Today
DESCRIPTION:Event Summary \nSpeaker: Mary Gallagher\, University of Michigan \nMary Gallagher is a Professor of Political Science at the University of Michigan\, where she is also the Director of the Center for Chinese Studies\, and a faculty associate at the Center for Comparative Political Studies at the Institute for Social Research.  Her research areas are Chinese politics\, comparative politics of transitional and developing states\, and law and society.  The underlying question that drives her research in all of these areas is whether the development of markets is linked to the sequential development of democratic politics and legal rationality.  Put simply\, she is interested in the relationships between capitalism\, law and democracy.  Her empirical research in China is used to explore these larger theoretical questions. \nProfessor Gallagher was a foreign student in China in 1989 atNanjing University.  She also taught at the Foreign Affairs College in Beijing from 1996-1997.  She was a Fulbright Research Scholar from 2003 to 2004 at East China University of Politics and Law in Shanghai\, China.  It was funded by the Fulbright Association and the National Science Foundation.  From 2005-2007 she was part of the public intellectual program for the National Committee on US-China Relations\, a program that brought together academics and policy makers working on US-China relations.  
URL:https://fairbank.fas.harvard.edu/events/critical-issues-confronting-china-series-2-2017-09-27/
LOCATION:CGIS South S020\, Belfer Case Study Room\, 1730 Cambridge St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Critical Issues Confronting China
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DTSTART;TZID=America/New_York:20170927T160000
DTEND;TZID=America/New_York:20170927T173000
DTSTAMP:20260420T215528
CREATED:20170919T155741Z
LAST-MODIFIED:20170919T155741Z
UID:5888-1506528000-1506533400@fairbank.fas.harvard.edu
SUMMARY:Poetry Reading
DESCRIPTION:Speaker: Dang Zi\,\nTranslator: Eleanor Goodman \nZang Di\, who has been honored three times as one of China’s top ten poets\, is a featured poet at the Princeton Poetry Festival on October 5-6\, 2017. His new collection\, The Roots of Wisdom\, translated by award-winning translator Eleanor Goodman\, will be published at the same time by Zephyr Press. In this bilingual book\, Zang Di uses rich\, emotional language to explore the natural world\, including his beloved Weiming Lake at Peking University — his “Walden.” Zang Di will give readings at Harvard University’s Yenching Library (Common Room) on September 27\, and at Yale University during his visit to the U.S. \nZang Di 臧棣\, a poet\, critic\, translator\, and editor\, was born in Beijing in 1964. He was educated at Peking University\, where he received his Ph.D. in literature in 1997 and where he now teaches. Widely acknowledged as one of the leading poets and literary critics of his generation\, he has won numerous honors and awards\, including the Contemporary China’s Top Ten Prominent Young Poets Award (2005)\, China’s Top Ten Rising Poetry Critics Award (2007)\, the Chinese Poetry Biennial Top Ten Poets Award (2008)\, and the Poet of the Year Award (2008). Zang has published many collections of poetry\, including The Universe Is Flat (2008) and No-Name Lake (2010)\, and edited several major anthologies of modern and contemporary Chinese poetry\, as well as a collection of Chinese translations of Rilke’s poetry. He is the editor of the journal New Poetry Criticism. \nTranslator and poet Eleanor Goodman is a Research Associate at the Fairbank Center at Harvard University. Her translation of the book of poems\, Something Crosses My Mind\, by Wang Xiaoni (Zephyr\, 2014)\, won the 2015 Lucien Stryk Asian Translation Prize\, was short-listed for the 2015 Griffin International Poetry Prize\, and was the recipient of a 2013 PEN/Heim Translation Grant. Her first collection of her own poems\, Nine Dragon Island\, was a finalist for the Drunken Boat First Book Prize\, and was published in 2016 (Enclave Publishing House and Zephyr Press).
URL:https://fairbank.fas.harvard.edu/events/poetry-reading/
LOCATION:MA
CATEGORIES:Co-Sponsored Lectures,Events of Interest,Special Event
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DTSTART;TZID=America/New_York:20170929T120000
DTEND;TZID=America/New_York:20170929T140000
DTSTAMP:20260420T215528
CREATED:20170922T173434Z
LAST-MODIFIED:20170922T173434Z
UID:5975-1506686400-1506693600@fairbank.fas.harvard.edu
SUMMARY:The Revolutionary Ethic and the Spirit of Factionalism in the Chinese Cultural Revolution
DESCRIPTION:Speaker: Guobin Yang\, Grace Lee Boggs Professor of Communication and Sociology at the University of Pennsylvania \nFrom 1966 to 1968\, youth in urban China were embroiled in factional battles in what many of them believed to be a revolution of a lifetime. Based on the recently published book The Red Guard Generation and Political Activism in China (2016)\, this talk argues that factional violence was the result of the enactment of a hallowed revolutionary tradition. The mechanism of this enactment was political competition.  In a political process of ambiguity and uncertainty and a social context of domestic fears and international threats\, individuals were compelled to show\, through public performances of revolutionary faith\, that they\, not their rivals\, were the true revolutionaries\, “the elect.” This conclusion has broader implications for understanding the role of political culture in processes of collective violence and social change
URL:https://fairbank.fas.harvard.edu/events/the-revolutionary-ethic-and-the-spirit-of-factionalism-in-the-chinese-cultural-revolution/
LOCATION:William James Hall\, Room 1550\, 33 kirkland st\, cambridge\, MA\, 02138\, United States
CATEGORIES:Events of Interest
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DTSTART;TZID=America/New_York:20170930T160000
DTEND;TZID=America/New_York:20170930T180000
DTSTAMP:20260420T215528
CREATED:20170906T123706Z
LAST-MODIFIED:20170906T123706Z
UID:5847-1506787200-1506794400@fairbank.fas.harvard.edu
SUMMARY:An Ethics of Observation. Four Films by Wang Bing
DESCRIPTION:Three Sisters (San zimei)\nSeptember 9\, 7:00 pm\nSeptember 30\, 4:00 pm\nFrance/Hong Kong 2016\, DCP\, color\, 153 min. Mandarin with English subtitles \nHigh in the remote Yunnan Mountains live three sisters\, ages ten\, six and four\, abandoned by their mother and left largely alone by a father who must travel vast distances in search of work. This heart-wrenching portrait of family and fidelity is grounded in the remarkable intimacy of camera and subject that is Wang’s extraordinary gift\, allowing us to not only observe but to seemingly be a part of the daily rituals and rhythms of the girls\, who miraculously never appear to struggle against their plight\, instead abiding almost entirely within the everyday. Three Sisters is one of Wang’s most stark\, elemental and beautiful films; a raw\, unconventional beauty derives from the truth and subtlety of the unstated but everywhere palpable bonds connecting the children and their father\, despite the distances and hardships that threaten to tear them asunder. \nBitter Money (Ku Qian)\nSeptember 10\, 7:00 pm\nChina/France 2017\, DCP\, color\, 152 min. Mandarin with English subtitles \nA restless energy drives Bitter Money’s portrayal of the difficult lives of migrant garment workers who travel from rural Yunnan to the eastern city of Huzhou in search of scarce jobs and security. Like its uprooted subjects\, Bitter Money seems to be ceaselessly searching for a center\, a point of stability in a world set adrift by sleepless sweatshops and the crowds of slave laborers who fuel the world’s insatiable appetite for cheap and disposable goods. Bitter Money is arguably Wang’s most abstract film\, the work that moves toward yet ultimately denies a socioeconomic vantage point able to survey a larger terrain. Instead Wang is drawn\, again and again\, to the individual lives unraveling slowly before his camera\, trapped in a desperate cycle of endless work and impossible debt\, an existential condition rarely rendered with such sadness and truth than in Wang’s uncompromised cinema. \n‘Til Madness Do Us Part (Feng ai)\nSeptember 16\, 7:00 pm\nJapan/France/Hong Kong 2016\, DCP\, color\, 238 min. Mandarin with English subtitles \n‘Til Madness Do Us Part announced Wang Bing as the authentic heir to Frederick Wiseman with its gripping\, shape-shifting portrait of an isolated “asylum” whose exact mission remains troublingly unclear throughout the film’s almost four-hour length. Simultaneously prison\, hospital and refuge\, the unnamed institution is peopled by a sprawling community of patients/inmates who range from the clearly insane to incarcerated petty criminals to others who have been simply deposited by families unable to care for their weakest or eldest members. Shot over the course of two-and-a-half months\, ‘Til Madness Do Us Part takes place almost entirely within a single all-male floor of the asylum\, resulting in a film that restores the true meaning of the term immersive now used too frequently to superficially describe contemporary moving image art. Following Wang’s restless\, gliding camera\, the viewer drifts through the asylum\, gently observing but never privileging any of the men who drift\, tranquilized\, stunned\, sleepless\, lost. Never settling upon a single figure\, ‘Til Madness Do Us Part is instead a choral and decentered film that tests our roles as privileged viewers and as extensions of the cinema’s surveillance apparatus. So engrossed\, so immersed are we that a sudden burst of freedom becomes disorienting\, unnatural\, as we realize that we have become accustomed to the fluid enclosure of the asylum\, where night is day and day is night. \nTa’ang\nSeptember 18\, 7:00 pm\nHong Kong/France 2017\, DCP\, color\, 148 min. Burmese & Mandarin with English subtitles \nWith Ta’ang\, Wang offers invaluable and deeply moving cinematic testimony to the terrible plight of refugees victimized by the intractable conflicts that enflame so much of today’s world yet rarely receive the attention or solutions they so urgently demand. Ta’angis named for the Burmese ethnic minorities driven from Myanmar by the still-raging war between the Burmese Army and a strong insurgent movement that includes troops of the Ta’ang National Liberation Army. Wang’s haunting film inhabits the fragile camps and shelters of the refugees squatting in the border nether-zone\, fleeing from the imminent threat of violence embodied in the quickening sound of bombs that recurs throughout the film’s second half. At the heart of Ta’ang are the whispering groups that huddle quietly around the firesides at night\, telling stories\, sharing cold comforts and creating a vital yet fleeting community trapped in an anxious waiting\, bravely resolute despite the imminent threat of extinction.
URL:https://fairbank.fas.harvard.edu/events/an-ethics-of-observation-four-films-by-wang-bing-2017-09-30/
LOCATION:Harvard Film Archive\, Carpenter Center\, 24 Quincy St\, Cambridge\, MA\, 02138\, United States
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