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Duke baseball looks to keep last year’s fire alive in its season opener against Lehigh

(02/14/19 6:15am)

The 2017-18 season was quite the record-setting year for Duke. Blue Devil head coach Chris Pollard’s squad finished the season with 45 total wins, 18 ACC wins, and a berth in the Super Regional, accomplishments that had never before been reached in the program's history. 



Key Three: Duke Men’s Basketball needs to keep up its stifling perimeter defense against Boston College

(02/05/19 5:24am)

After suffering a road loss to Boston College last year, Duke will host Boston College on Tuesday, with tipoff set for 7 p.m. at Cameron Indoor Stadium. The Blue Zone examines three keys for the Blue Devils to secure a victory:




Neorealism travelled East

(04/11/17 5:22am)

In Blind Mountain/Mang Shan (Li Yang, 2007), director Li Yang tells a loose yet haunting narrative about a kidnapped young woman who is sold to a villager as a bride in the mountains of China. The film centers on her various futile attempts to escape and commit suicide. Like many other of his peers, Li seeks to present the untold stories behind China’s remarkable economic progress with an urgent social concern: exploitation, marginalization, desertion, and rootlessness. Evidently, Li’s film has demonstrated the profound influence of Italian neorealism on the Chinese Sixth Generation filmmakers. Although the two cinemas are separated by geography and a time span of half a century, they share a common impulse to chronicle everyday life and, above all, a humanistic concern. In this article, I shall use Pickpocket/Xiao Wu (Jia Zhangke, 1997) as an example to illustrate how the Sixth Generation has inherited and expounded the aesthetic ideals of neorealism and integrated the spirits of humanism in China’s context.


Why 'Kong: Skull Island' isn't as bad as people think

(03/28/17 1:40am)

It’s been more than a decade since Peter Jackson dazzled us with a mighty ape and a zoo of horrifying animals in his 2005 reboot of King Kong. Jackson brought the memorable beauty-and-beast romance to life through a motion capture performance delivered by the incredibly dedicated actor Andy Serkis. The new monster epic, Kong: Skull Island, has gathered an equally talented cast: you will see Oscar winner Brie Larson, an unusually buff Tom Hiddleston, the fun and humorous John C. Reilly and hear the awesome voice of Samuel L. Jackson, not to mention Jing Tian, who has previously starred in Zhang Yimou’s monster epic—The Great Wall.


Arrival: China in the Eyes of Hollywood

(03/07/17 6:18am)

I want to start a conversation by talking about the most highly anticipated science-fiction film of the year called Arrival, which is based on Ted Chiang’s novella Story of Your Life. Like La La Land, the film had its world premiere at Venice Film Festival, where it received a nomination of Golden Lion. Then, the film received eight Academy Awards nominations last month and won the Best Adapted Screenplay at the annual WGA awards.



The 'La La Land' phenomenon

(02/07/17 7:00am)

If you painfully miss the time when a film is not all about establishing narrative verisimilitude and sequences of characters bursting into singing and dancing do not seem downright weird, you will probably worship Damien Chazelle’s "La La Land" as a glorious return to the golden age of Hollywood cinema. I watched La La Land on Dec. 20 in Memphis—weeks before it swept seven Golden Globes and received fourteen Oscar nominations. Undoubtedly, this was my most anticipated film during the award season of 2017. Showered with universal praise from the critics, it opened the Venice Film Festival on a high note and subsequently beat other major contenders at the Critic’s Choice Awards, including "Moonlight," "Nocturnal Animals" and "Manchester by the Sea."


Has Zhang Yimou died?

(01/24/17 6:17am)

Hollywood has long been accused of its massive destruction of the world’s cultural landmark and heritage. In the recent action-adventure monster epic, “The Great Wall,” director Zhang Yimou brings the battleground to the legendary fortifications of China, assembling a team of multi-racial warriors to battle the flesh-eating monsters named Taotie. Since its release in China on Dec. 16, 2016, China’s critics and amateur movie-goers alike almost unanimously bashed the film, projecting their disappointment with Zhang and his “descent” from a respected art house director into a blatantly commercial moviemaker.