go lala go !
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[ news ] c - movie “go lala go 2” with taiwanese triple threat all set for 11. 11 release
[ news ] c - movie “go lala go 2” with taiwanese triple threat all set for 11. 11 release | skimmedmilkdrama
the fox unit has teamed up with local production firm new classics media for the romantic drama film
go lala go 2 .
go lala go 2, a sequel to xu jingle’s 2010 go lala go, is a romantic drama based on a chinese novel that follows a career - focused woman who must choose between her boyfriend who she has been dating for several years and a new romantic flame .
the sequel of the
go lala go
series welcomes an all - new cast. (photo: www. koalasplayground. com )
according to pledis entertainment on june 1st, nana is a confirmed cast member for upcoming film go lala go 2, the sequel to the hit romantic comedy film, go lala go. she will be acting one of the lead roles in the film, alongside famous taiwanese celebrities ariel lin and vic zhou .
the chinese film go lala go! (2010) reveals the formation of a new “chinese dream
, a fantasy of economic success heavily patterned on the american dream. like the us film working girl (1988), go lala go! ’s narrative structure is based on the rags - to - riches cinderella narrative of financial mobility and romantic love. using working girl as a lens, this essay analyzes go lala go! ’s representation of chinese personal fulfillment and success, as well as the potential for female empowerment during this process .
the film will be about the life of the modern cinderalla named go lala and her fun adventures whilst working an office .
asia’s pay tv group fox international channels (fic) has partnered with china - based film and tv production and distribution outfit new classics media (ncm) on upcoming title go lala go 2 .
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i like wang wei performed by vic zhou and i like that vic zhou performed wang wei. go lala go 2 would not have had the same feel to it if the character had been performed by anyone else .
for wang wei, for vic zhou and for the love that is more than a romance, is a feeling, go lala go 2 is a really good movie to watch. love exists. there is hope !
both go lala go! and working girl feature the basic cinderella narrative. yet there are marked distinctions between the chinese and american processes, and the films differ greatly in their approaches to female conflict, empowerment, and class struggle .
the romantic drama movie is based on a well - known novel that covers the different stages of the life of modern woman du lala and her career adventures. the first film “go lala go, ” directed by xu jinglei, was a big hit in 2010 and a precursor to the current wave of chinese contemporary romance films .
pay - tv group, fox international channels is to invest in and co - produce mainland chinese movie “ go lala go 2, ” which will get a theatrical release in december. the picture has been developed at chinese production house new classics media .
go lala go 2
follows the adventures of a young chinese career woman. the sequel of the 2010 smash hit, directed and starred by xu jinglei, also features an all - star cast including ariel lin, vic zhou and chen bolin .
go lala go 2
is set to be released on dec. 4 in china, singapore, north america, new zealand and australia. it will hit hong kong and macau theaters on dec. 10 and taiwan' s on dec. 11 .
lala starts a new career in a new position after company restructures. she encounters a handsome and successful client, chen feng, who proposed to lala, and broke up with wang wei. lala is in a dilemma between love and career .
although none of these come across as believable – not least the part where lala misrepresents herself as the company vp for weeks on end – go lala go ii is still a fairly serviceable watch for its lead actress’ endearing turn. in a role that calls for ridicule, lin maintains a dignified air that nearly turns the whole shebang into a serene meditation on romantic ideals .
ariel lin as du lala is giving me “in time with you” cheng you qing’s vibes but i have a feeling that lala will be very different from the former as well .
wendy williams takes you through the messiness which is the carmelo anthony and lala vazquez divorce .
it’s a sequel to xu jinglei’s 2010 “go lala go” film with her as the titular character, stanley huang, and karen mok. it was also made into a drama with wang luo dan as lala who coincidentally was in a movie recently with vic zhou, who will be one of the main leads of this sequel. enough talking for here now because i’ll be spamming you with pretty pictures !
add this to the legion of chinese rom - coms which threaten to condemn career - minded women as leftovers. a sequel to actress - director xu jinglei’s go lala go! (2010), which saw the upwardly mobile lala navigate a workplace love triangle, this latest adaptation of author li ke’s bestselling series goes through the same motions with a new writer - director, andrew chien, and an all - new cast .
joon lee, the chief of fic' s original production in mainland china, said :
we are particularly grateful to work with ncm to both co - produce and distribute' go lala go 2.' this collaboration is definitely a good foundation for both parties to engage a step further in the chinese movie business .
go lala go! begins with scenes of job hunting. when asked why she left her previous job, du lala answers that she is searching for her dream job. the image, however, cuts to her previous boss attempting to play footsie with her during a business meeting. like tess, lala is forced to find a job in order to avoid sexual harassment. lala successfully enters a global fortune 500 company called db, where over the course of six years she works her way up to hr manager for the company. in the process, she also falls in love with the sales director, wang wei, but breaks up with him partially out of jealousy (wang had a previous relationship with rose, lala’s boss) and partially to focus on her career. at the end of the film, lala visits thailand, where she is reunited with wang wei .
pay - tv group, fox international channels is to invest in and co - produce mainland chinese movie “go lala go 2, ” which will get a theatrical release in december. the picture has been developed at chinese production house new classics media. the romantic drama movie is based on a well - known novel that covers the different stages of the [ … ]
go lala go! disregards issues of class and gender, rejects quick promotions and questions fairytale endings. in fact, there is so little conflict or romantic escapism in the film, that it is not terribly compelling. the film is directed by chinese star xu jinglei, who also plays the lead character. unlike nichols, xu chooses to limit the female conflict in the film and play down the rivalry between lala and rose. wang wei and rose break up amicably long before lala and wang wei begin a relationship. when there are issues at work, rose tends to call in sick or resign, thereby removing herself from competition. rose is gruff and intense with lala, but she behaves similarly with both her male bosses and with wang wei. rose, receiving the promotion she fought for, says, “i used to care so much about promotions. i thought only promotions could prove my value. the title’s different. so what. i’m not happy at all. ” interestingly, the lack of rivalry means that go lala go! has little dramatic tension. however, xu appears to be making a subtle commentary on the meaning of success. rose, as the “katherine parker” hard - nosed businesswoman has, after reaching the pinnacle of success, discovered that it is not fulfilling. thus go lala go! , while lacking the entertainment value of sensationalistic cinderella tales like working girl, shows pragmatic and adult skepticism about the american / chinese dream .
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however, newer chinese narratives like go lala go! have taken the foundational ideology of the american dream (upward mobility, materialism, universal accessibility) and adapted them to chinese society. from the popularity of du lala among audiences, it would seem the reworked american dream is now widely yearned for and accepted. indeed, with china’s burgeoning economy and vastly expanding middle class, the atmosphere of opportunity and potential in many ways mirrors the confidence of the american 1980s. many chinese television series now depict scenes of upward mobility and financial success, such as the television version of du lala and the shanghai tv show, dwelling narrowness (2009) .
go lala go! is an adaptation of du lala’s promotion, an immensely popular series of novels written by female writer li ke, a former employee of ibm. the first novel quickly sold over half a million copies and inspired various sequels and media adaptations. the book and films relate the meteoric rise of du lala, a hard - working young woman who manages to ascend from secretary to hr manager in the narrative’s fictional fortune 500 company, db. like working girl, du lala’s promotion largely ignores issues of gender. however, the story also rejects class struggle, strictly focusing on issues of globalization, the attainment of wealth, and the question of balancing both career and romance. also unlike working girl, the film slightly questions the value and meaning of job success .
based on what i’ve been reading regarding this film, “go lala go 2” centers on du lala (ariel lin), a career woman in her 30’s who is set on finding love and getting married to the perfect man. we have heard of this kind of plot so many times already especially that greater china actually calls unmarried career women in their 30’s as left - over women. such a harsh and anti - feminist term if you ask me but that’s how it is in their culture so i won’t dwell on that anymore .
“go lala go 2” will be released in china, singapore, north america, australia and new zealand on dec. 4, hong kong and macau on dec. 10, and taiwan on december 11 this year. it will later be exclusively screened on fic’s chinese movies channel, scm (star chinese movies) linear, vod and online catch - up service (scm play) in asia pacific, as well as north america .
moreover, go lala go! takes a different approach to romantic love. whereas working girl posits that love and business can be compartmentalized and attained concurrently, lala has to give up wang wei to keep her career. after their one - night - stand in thailand, she ends the relationship because of the company’s policy of no dating. she tells her brother and confidante, “i would rather focus on my career. ” however, chemistry beckons and lala and wang wei begin a secret office romance. the film makes it clear that they are still immaculate professionals at work. but when lala is informed of wang wei’s impending termination, she chooses to protect company information and does not notify him before the official termination date. that, added to her misguided jealousy of rose, leads to their break up. although the film ends with lala finding wang wei in thailand, it does not resolve the question of whether she can find a balance between work and love .
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beijing—chinese audiences generally don’t go wild for movie musicals, tending to be put off by scenes in which actors burst into song and dance for no apparent reason .
“this collaboration is definitely a good foundation for both parties to engage a step further in the chinese movie business, ” said joon lee, evp of north asia and head of original production mainland china at fic. “we believe that ‘go lala go 2’ will help build a more consistent and closer partnership between fic and ncm, and lead the charge in pushing forward this wave of chinese content to reach more audiences, ” said cao huayi, chairman of ncm .
xu jinglei' s fourth self - directed movie go lala go! will be released on april 15, a day before her birthday. but the talented director / actress doesn' t get a break. not only is she busy promoting for the film, plans for a sequel are being finalized as well. it surely sounds like the production team is getting ahead of themselves but the quality of the trailer suggest that they might have a good reason to .
lala’s salary and material possessions also mark her upward progress. the film is organized into chapters by du lala’s promotions. each time she receives a promotion, we see lala removing her shoes at the entrance of the company. first, she changes from sneakers to flats. the screen flashes to a text animation, revealing her position and salary - - she begins as a secretary earning a few thousand rmb per month. then, she switches to heels, the text on the screen revealing both a higher position and - - more importantly - - a higher salary. it is important to note that, like tess, lala’s physical transformation also demonstrates her upward progression. however, lala’s clothing marks material status, not class status. brands and shiny jewelry are presented as indicative of earnings - - the more lala earns, the more she can buy. and not only is lala exchanging cheaper clothes for increasingly expensive clothes, but like her position in db, her heels also grow higher and higher .
other than the names of the two protagonists and the name of the company, the sequel 杜拉拉追婚記 (go lala go 2) (blu - ray release 2016 - 3 - 3) has absolutely no continuity from the previous movie. the entire cast is replaced and their personalities are different, the company no longer looks like a traditional office building as before. the new cast is far more good looking, so i cannot say having no continuity is completely bad here .
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xu jinglei announced the major plots and actors of her upcoming film qin mi di ren (intimate enemies) at a press conference in beijing on march 28, 2011. intimate enemies is xu' s fifth directorial work, and she will also take on the leading role. set in the finance world, xu jinglei will costar with actor - singer stanley huang again after their successful cooperation in last year' s go lala go! . xu had huang in mind as she was thinking of possible male leads for intimate enemies, as she enjoyed acting alongside him and credited the box office success to his involvement and their collaboration. an updated version of go lala go! , intimate enemies will be more dramatic and complicated, promises xu, who is also in charge on the film' s story, she invited several high - ranking bank managers to help her develop the script. the film will begin production on april 27 in hong kong and is aiming for a new year release .
there hasn’t a single misstep so far with rom - com c - movie go lala go 2, a movie sequel that totally eclipses the hype of the original thanks to the addition of three of taiwan’s top acting talent. ariel lin takes over the role of office girl lala, with vic zhou as her stalwart photographer boyfriend and bolin chen as the sexy dangerous new guy in town. the set up is basically my catnip – it finally pairs ariel and zai zai as an onscreen couple fourteen years after she starred in his mv back in 2001, and it refreshes ariel and bolin’s pairing by turning the character tables and letting him be the aggressive one .
martyn' s voids is reflective of an artist who has survived a life - changing trauma and, in doing so, visited the very darkest places a mind can go .
he gets the johns, who are usually stigmatized, to unload on camera .
many people go to brothels - - and they' re not the kind that rape young girls or are horrible people. the only huge injustice is it doesn' t work both ways, [ except ] in thailand. young men in the subcontinent want to brag, be manly... either they do some gay stuff or go to brothels. as a young man in bangladesh you can go nowhere, the house is full of family; the park is full of policeman. you can only have sex when you' re married. they go in and the conquest costs 50 takas. [ u. s. 60 cents ]
go lala go 2 has that driven almost obsessed eagerness to be professionally successful at a high profile or high end job, believed to bring satisfaction but that type of satisfaction is like coffee, addictive at first, creating a vibe of can do it all, want to do it all, achieve it all, need it all but ultimately comes the realization that triumph like coffee can be bittersweet in the long run and that love well... love is love and what is life without love? an ocean of emptiness .
indeed, xu peiqing, in her article on du lala, argues that the narrative makes its characters “prisoners of development. ” (xu, peiqing. “technical age and bureaucratic society - - to experience modern life from du lala' s promotion. ” journal of ningbo radio and tv university (2010). as lala rises higher and higher in db, perhaps she will eventually echo rose’s disillusionment with the chinese / american dream: “the title’s different. so what. i’m not happy at all .
working girl and go lala go! display similar narrative and structural elements - - the spunky upwardly mobile female “working girl, ” the non - threatening male co - worker / romantic interest, the hostile female boss. they are also both similarly disinterested by the questions and complications of female empowerment. however, the two films have disparate views in terms of the meaning of success. whereas working girl portrays class struggle, it does not question the underlying issue of the american dream - - i. e. , are there limitations and problems within the dream itself? the chinese dream portrayed in lala! , while disproportionately shallow and materialistic, suggests that the chinese dream is not as unrelentingly optimistic. there are confines to upward mobility .
in a twist that should delight this chick flick’s target audiences, lala soon finds new sparks in her professional and private lives: after she’s given a precious chance to impress in her supervisor’s sudden enforced absence, lala is also seriously courted by the wealthy bachelor (chen bo - lin) who’s negotiating to join her company as a major business partner .
杜拉拉升職記 (go lala go !) (blu - ray release 2011 - 5 - 26) is adapted from a popular chinese novel after being adapted for a tv series. the first half of the movie focuses on a woman moving up in her career, then it shifts to romance. at the beginning of the movie it states that if the company finds out two staff having a romantic relationship, one of them needs to be fired as per company policy. the protagonist happens to take a career path in human resources, and she falls for her boss. guess what happens .
perhaps this could be because success in go lala go! is measured strictly by material possessions. helen wang, in a recent forbes blog entry, notes, “ [ this ] is the picture in most chinese people’s minds of “the american dream” - - owning a big house, driving a nice car, and having a comfortable life. the chinese middle class wants it all” (wang, helen. “what is the chinese dream? ” forbes 10 dec 2010. 24 march 2011). indeed, money plays a central role in denoting success in lala! . on her first day of work, the head secretary tells lala, “by the way, this company has really different personnel levels. people below manager are small potatoes. that means they’re poor, making less than 4, 000. the managers are middle class; they have their own cars, and an annual salary of over 200, 000. directors are upper class. their annual salaries are over 500, 000. the older ones take their vacations abroad…the ceo makes more than a million a year. typical upper crust. ”
a boss of a toy corporation, chenggong li, tries to head back to chan sar to celebrate the chinese new year with his family. however, plans don' t go as smoothly after he crosses paths with a stranger, geng niu .
in many ways, the “american dream” is also an adaptation of the cinderella story. both go lala go! and working girl feature the basic cinderella narrative. there is a lower class cinderella / plucky “working girl” (du lala / tess mcgill), a prince charming / male love interest / male boss (wang wei / jack turner), and an evil step - sister / sinister female boss / romantic rival (rose / katherine parker). the evil female character is rejected by prince charming, who helps raise the “working girl” from obscure poverty to a life of unimaginable riches. however, as opposed to cinderella’s passivity and reliance on sheer luck, the american dream demands a puritan work ethic and dogged tenacity. in both films the female protagonists must persevere to achieve both job and personal happiness. yet there are distinctions between the chinese and american processes - - the films differ greatly in their approaches to female conflict, female empowerment, and class struggle .
they even go way back as ariel lin was zai zai’s leading lady in his “make a wish” music video. this honestly surprised me because i remember always watching and singing to this song when i was a kid but i never realized that it was ariel until recently .
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ultimately, the chinese dream may be more complicated because it is tied to the process of globalization. globalization - - literally “walk to meet the world” in chinese - - is a marker of both success and of widening economic gaps in chinese society. lala! is a text of globalization. db is a foreign company. wang wei speaks fluent american - accented english; rose speaks fluent british - accented english and peppers her chinese with english phrases. even lala’s bosses, two english - speaking caucasian foreigners, speak excellent mandarin chinese. meanwhile, beijinger du lala clearly speaks some english, but it is limited enough for her to be the “everyman” in whom chinese society can see itself reflected, a nation “walking to meet the world. ” thus du lala’s tale is not just a story of individual success, but also that of china’s global success. however, since the 1970’s, globalization has made many of china’s rich richer and many of the poor poorer - - the harsh urban / rural divide is the country’s main social concern today. thus the less optimistic chinese dream may be questioning the “success for all” tenant of the american dream .
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bolin chen’s chen feng is a ceo of a big company who’s in love with ariel’s lala (can i be her please? !). he’s willing to woo her away from zai zai’s wang wei despite their serious relationship. such a far cry from his li da ren aka probably one of the most perfect drama characters ever created !
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one sunny afternoon, we sat at a midtown park chatting about asian prostitutes, and i recalled the hostile reception i got once when trying to shoot inside sonagachi, kolkata' s whorehouses where they were naturally more welcoming of men .
no, women couldn' t go there. it' s the opposite of the world outside. complete female rule ,
stated glawogger who is austrian, and shoots with an all - male crew .
now the human resources manager of a multinational enterprise, lala (played by ariel lin yi - chen) sees her promotion prospects dwindle dramatically after a no - nonsense president (vivian wu junmei) takes over. to compound her misery, the 33 - year - old’s longtime boyfriend (vic chou yu - min) appears way too preoccupied with his fledgling career as a photographer to consider tying the knot .
so do i recommend it? if you' re a big ariel lin, vic chou, and chen bo lin fan like me, then yes go for it! i mean, when will we ever get to see the three of them together in a drama / movie again? re - watch? i' m good, thanks. overall, it was worth watching one time just to see the three of them together. (7 / 8 )
i suggest that in every human culture, prostitution is the oldest alternative and by - product of mainstream monogamous culture .
i think it makes men utterly happy when they can just choose, and say no. 33 - - now! and the second aspect is they can go away afterwards ,
says glawogger frankly .
we are a pseudo - monogamous culture, enjoying the pretense of being monogamous and doing the opposite. the brothel is nothing more than a playground for easy access .
if there’s anyone who bloomed so much ever since his debut days, it would be vic zhou or zai zai as fondly called by his own country’s people. he’s my first ever asian love so this man will always have a special place in my heart. oops this isn’t even related to the movie haha! i’m not quite sure about the details of his character yet except that he’s lala’s love interest (and has always been since the first movie) .
bolin chen is an eye candy rather than a strong performer but when the other main male lead is vic zhou, is vic zhou who steals the show and brings an ordinary story to life. wang wei loves a woman, loves her madly. he supports her, he defends her, he longs for her. all those emotions are there in his eyes to see, in his actions to interpret, in his love for lala, a woman who waivers but never truly forgets, a couple that loves and hopes for love .
in la la land the
city of angels
is reimagined through the glorious sheen of the late 40s / early 50s hollywood musical. for examples, watch an american in paris, singin' in the rain, or the band wagon to see what i mean. what makes chazelle' s 3rd feature so incredible is how brilliantly he understand how to reference history. he skillfully recontextualizes the vernacular of the american musical for the modern age. the exquisite score by justin hurwitz, elaborate production design by david wasco, those costumes by mary zophres, the technicolor, the romance - la la land' s aesthetic borrows from history but the time period and the characters are rooted firmly in contemporary society. 2016 is all here: cell phones, hybrid vehicles, the part - time job as a barista. chazelle makes our present era seem so much more magical. there is an exuberant quality i haven' t seen recently. mia and sebastian radiate sweetness too. this uncorrupted pair shares a purity. you want them to be together. their emotion is real. you fall in love. this why we go to the cinema. if i may paraphrase a famous expression once said by humphrey bogart, la la land is the stuff that [ movies ] are made of. it is sublime. urltoken
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the sequel directed by andrew chien sees du, now in her 30s, finally receive a marriage proposal from her long time suitor, though by then she is already dating another man. meanwhile du’s assistant is busily chasing du’s suitor. the film satrs ariel lin, vic zhou and chen bolin .
the investment move is fic’s first feature movie collaboration with china ’s new classics media, having previously worked together on tv series “tiger mom” but bith companies said they were loking to do more together .
ncm has produced hits this year including “ jian bing man ” and “goodbye mr. loser, ” with gross box office of over $ 400 million in china .
fic has produced more than 70 hours of chinese original scripted content, including films such as “ah boys to men 3, ” “sara, ” “full strike, ” and “1965, ” and is also developing several mini - series across asia .
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first, what is the so - called “american dream? ” jennifer hochschild calls it “a new world where anything can happen and good things might” (hochschild, jennifer l. facing up to the american dream: race, class, and the soul of the nation. princeton: princeton university press, 1995). in a capitalist society, the process of achieving success in a world of limitless opportunities is equated with economic and professional mobility. in fisher’s 1973 article, he states that the american dream is based on materialistic success and the democratic availability of said success - - the dream should be accessible to all, and it must be achieved through hard work and self - reliance (fisher, walter r. “reaffirmation and subversion of the american dream. ” quarterly journal of speech 59. 2 (1973): 161). thus, the “american dream” ties together the themes of boundless opportunities; of universal availability; of hard work; and, most importantly, of upward mobility .
mike nichols’ working girl (1988) articulates the american dream fantasy as a spunky secretary uses her wits to fight an unfair class system and ascend from secretary to boss. tess mcgill, a working - class administrative assistant, deals with constant sexual harassment from condescending male workers who disparage her gender and class background. tess, however, tenaciously attempts to educate herself and powerfully responds to harassment. she takes evening classes in business and elocution, reads voraciously, and publicly embarrasses chauvinist male co - workers. after quitting her job due to harassment, she manages to find a position at an excellent company with a seemingly benevolent female boss, katherine, who then summarily destroys tess’ trust by belittling her and then later stealing tess’ business ideas. when katherine breaks her leg in a ski accident, tess pretends to be an executive and teams up with jack, another executive, to implement her idea. katherine exposes her masquerade, but both jack and the ceo of the company, trask, are so impressed by tess’ business acumen that she is rewarded and katherine is fired. both tess’ business and romantic relationships are successful, and she successfully escapes the class system that presents the main conflict in working girl .
the film begins with tess mcgill arriving in manhattan on a ferry, the gospel - inspired theme song “let the river run” blasting. (this song went on to win an oscar for its writer / singer, carly simon) the lyrics beckon for “the new jerusalem, ” telling us that it is “for the taking” and that the sky is “the color of blue you’ve never even seen in the eye of your lover
. here, with the opening song, the film clearly lays out tess’ priorities: she must actively pursue success, and romantic love is secondary to her almost religious devotion to the attainment of success (“the new jerusalem”) .
however, the film’s message of female empowerment is undermined by several factors. first, there is no female solidarity in working girl. tess’ number one obstacle is her two - faced female boss, katherine, who steals tess’ idea and constantly ridicules tess’ style choices and class background. additionally, mike nichols, the male director, frequently objectifies tess / the actress melanie griffith. for no explicable reason in terms of narrative, tess / griffith appears in underwear in many scenes - - rushing to clean katherine’s home towards the end of the film, tess vacuums topless, in heels. even the title of the film - - “ working girl ” - - brings to mind a prostitute, undermining the powerful message of tess’ strategic rise by sexualizing and debasing her. the film also makes tess’ success contingent on her physical appearance. tess cuts her hair, borrows katherine’s clothes, and tells her friend, “if you want to be taken seriously, you need serious hair. ” finally, as emmett winn notes in his article on working girl, jack and the male ceo of trask enterprises must validate tess’ final success - - thus patriarchal paternal support further undercuts the film’s tenuous message of female empowerment (winn, emmett. “moralizing upward mobility: investigating the myth of class mobility in working girl. ” southern communication journal 66. 1 (2000): 40 - 51) .
certainly, female empowerment is not the focus of working girl - - it is class. tess takes diction lessons to hide her working class accent and borrows katherine’s expensive clothes to fit in at business parties. her physical makeover, from over - teased hair and trendy make - up to expensive wall street suits and subdued haircuts, is necessary for her corporate success. as winn notes, she needs the “pedigree
. in addition, the film compares tess and her working - class friend cynthia to further establish the differences between the classes. tess has a clear elocution - trained accent; her best friend speaks loudly and nasally. tess adapts to the subtle and conservative styles of the upper crust; cynthia wears flamboyant and trendy clothing. most damning, tess dreams of “more
, cynthia attempts to persuade tess to settle for “less” (i. e. , tess’ cheating boyfriend and a life as a beleaguered secretary). thus, through cynthia’s narrow hopes and dreams, the film establishes the limitations of the lower classes .
hence, working girl reveals a few intriguing views on the american dream. first, the ends justify the means. although tess combats social and gender prejudices through deception, she is rewarded for “thinking outside the box
. secondly, class is a more important obstacle than gender in this process - - or at the very least, gender is largely sidelined in the film. tess spends more time battling her class background and katherine than dealing with chauvinist male co - workers. thus, the us version of the american dream narrative emphasizes ruthless business practices and class struggle .
in the early' 90s, china criticized the limitations of the american dream. the successful novel / tv series a beijinger in new york (1991) portrayed the american dream as inaccessible and morally contaminating, as the wangs, an immigrant family from beijing, lose themselves both financially and ethically. the wangs move to new york in the hopes of upward mobility, but instead work for sweat shops, clean dishes in chinese restaurants, get divorced, sleep with prostitutes, and lose their daughter to drugs and an unsavory motorcycle - riding american boyfriend. geremie barmé says, “to an extent, the series was a reprisal of the boxer mentality, but one bereft of any belief system. it also represented, perhaps, the coming of age of chinese narcissism and bespoke a desire for revenge for all the real and perceived slights of the past century” (barmé, geremie. in the red: on contemporary chinese culture. new york: columbia university press (1999): 255). however one looks at it, beijinger revealed chinese distrust of the american dream .
kasser and ryan question the american dream, arguing that such materialism does not help individuals reach true self - actualization, and in fact has many negative repercussions. (kasser, tim and ryan, richard m. “a dark side of the american dream: correlates of financial success as a central life aspiration. ” journal of personality and social psychology 65. 2 (1995): 410 - 422). it may seem that the chinese, with a century of brutal history and a complex politico - economic system besieged by the negative effects of globalization, are somewhat conflicted .
an unexpected collaboration between joseph arthur and peter buck produces a great summer record of noisy, dark garage - pop .
black salvation is a band that works the psychedelia into the hard rock with skill, and it makes for a very listenable album in uncertainty is bliss .
in a new interview, liz phair looks back on her first four albums, the legacy of exile in guyville, and being an inspiration to today' s female songwriters .
back on the road and determined to take the country by' storm', zz ward belts the blues and prepares to hit the high notes at her top tour stop. (second in a series on
women who rock
. )
whatever anger has landed on her heart in the jungles of trumplandia, patti smith consistently performs the miracle of putting it down, as seen in her recently published prose - poem, the new jerusalem .
gorillaz' s sixth album is damon albarn hunched over his instruments, reflecting on the king kong he' s created .
the talent and diversity of early spanish synthpop music are downright astonishing, as the second interferencias volume proves .
in the development of television ,
color wars
are analogous to the adoption of vhs over betamax and blu - ray over hd - dvd technologies. murray' s study shows how the adoption of standards in media technology directly impact audiences to this day .
north carolina' s the nude party prove there is still lots of life left in good old rock' n' roll on their debut album releasing this friday .
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a romantic comedy surrounding the leading lady as she tries to balance love and work .
would you choose love or your career? the cinderella story or who you really want / who actually knows you? that' s basically what this movie revolves around - a woman in her 30' s currently rising up in her career, the problems surrounding it, losing herself on the way, and finally finding herself in the end .
i must say - i had high expectations for this movie since it included three of my favorite taiwanese actors, and two were the leads of one of my favorite dramas, in time with you. while watching this movie, i kept thinking of other dramas / movie scenes that were just so similar to the scenes in this movie. similarity isn' t always a bad thing, as long as it is well executed - which in this case, wasn' t. i was severely disappointed because i really wanted to love this movie. the story was lacking, with choppy execution and just didn' t flow. it' s basically a modern twist on cinderella, but has nothing new. i must say that there were some cute otp scenes between the leads definitely worth watching, which were the pros of this movie .
the character development was mediocre. there was no substance to chen bo lin' s character, a huge let down for me. ariel' s character had the most character growth from being insecure to a confident woman, the transformation was fun to see but nothing new. vic' s character was endearing but again, not much development either. the supporting characters just sprung out of nowhere, and felt disjointed as well. the acting itself was superb. ariel lin always does a fantastic job in portraying her emotions, along with vic and chen bo lin. nana was both cute and annoying, which was the point of her role so she was pretty good too. on a superficial note, ariel looked gorgeous in this movie. the main problem with this movie was the story. so much star power in this movie, and yet it still couldn' t shine .
rather than dab on the tone of the movie whose premise nowadays is far too cliché to be continuously addressed, i want to reflect upon love as love is the silver lining of the movie. not love towards career ambitions but love between a man and a woman as that is the love that has most romantics drawling in anticipation .
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staff was courteous and friendly and facilities were great but service wasn' t what i expected and ...
staff was courteous and friendly and facilities were great but service wasn' t what i expected and not good value for the price. therapist didn' t seem professionally trained and i wasn' t able to use the facilities to prepare before or after the session. bit dissapointed.
go lala go ! ( simplified chinese : 杜拉拉升职记 ; traditional chinese : 杜拉拉升職記 ; pinyin : dù lālā shēngzhí jì ; literally : " du lala 's promotion " ) is a 2010 chinese romantic comedy film about a chinese woman who learns how to balance a relationship and professional work in a work place . it is directed by xu jinglei , who also plays the title character , and is based on a novel , du lala 's promotion , by li ke . the film also stars stanley huang and karen mok . go lala go ! was released to mainland chinese audiences on 15 april 2010 , where it competed for ticket sales with the american remake , clash of the titans . after the success of " go lala go ! " , xu jinglei directed another film dear enemy and co-starred with stanley huang again . the film is said to be like an updated and improved version of " go lala go ! "
go lala go! (simplified chinese: 杜拉拉升职记; traditional chinese: 杜拉拉升職記; pinyin: dù lālā shēngzhí jì; literally: " du lala's promotion ") is a 2010 chinese romantic comedy film about a chinese woman who learns how to balance a relationship and professional work in a work place. it is directed by xu jinglei, who also plays the title character, and is based on a novel, du lala's promotion, by li ke. the film also stars stanley huang and karen mok. go lala go! was released to mainland chinese audiences on 15 april 2010, where it competed for ticket sales with the american remake, clash of the titans. after the success of " go lala go! ", xu jinglei directed another film dear enemy and co-starred with stanley huang again. the film is said to be like an updated and improved version of " go lala go! "
go lala go! (simplified chinese: 杜拉拉升职记; traditional chinese: 杜拉拉升職記; pinyin: dù lālā shēngzhí jì; literally: " du lala's promotion ") is a 2010 chinese romantic comedy film about a chinese woman who learns how to balance a relationship and professional work in a work place. it is directed by xu jinglei, who also plays the title character, and is based on a novel, du lala's promotion, by li ke. the film also stars stanley huang and karen mok. go lala go! was released to mainland chinese audiences on 15 april 2010, where it competed for ticket sales with the american remake, clash of the titans. after the success of " go lala go! ", xu jinglei directed another film dear enemy and co-starred with stanley huang again. the film is said to be like an updated and improved version of " go lala go! "