electronicalifornia

This is the description of a lecture one of my film professors is giving at UCI:

This paper is part of a larger project on “Cultural Revolutions”
and the symptoms of Chinese modernity. Since the beginning of
the 20th century, cryptic nationalism and the melodramatic imagination
give political and aesthetic form to many different attempts to
“revolutionize” Chinese culture. Two particular texts
demand our attention Su Xiaokang’s television documentary River Elegy
(1988) and Zhang Yimou’s To Live (1994). To grasp the complexity of
recent Chinese history, we must be able to compare its forms of
thought and structures of feeling to other cultural moments of what
Thomas Elsaesser has described as “bourgeois militancy”
that gave birth to melodrama’s privatization of all forms of virtue
and happiness.

That makes the same amount of sense as this:

One spoon inserting the mad rhinoceros in the colorful pop music, when 33 times you stir, it to be possible, rising. As for present dessert lemon source per seat snowball of wild cherry.

By the way she is a film professor but here are her credentials:

Jane Newton* is a Visiting Associate Professor
in Film and Media Studies at UCI. She is the author of
Copying Machines: Taking Notes for the Automaton (University of
Minnesota Press, 2000). In 1997 she published a novel,
Oriental Girls Just Want Romance (Kaya, 1997). Her articles
have been published in journals including Cultural Critique,
Aperture, Grey Room, and Lacanian Ink. Until
2004, she was Associate Professor of Cultural Studies and Comparative
Literature at the University of Minnesota, where she also held a joint
appointment with the Department of French and Italian. Jane Newton
was a Fulbright Teaching Fellow the Tainan University of the Arts in
Taiwan and has been a Visiting Professor at Queensland University of
Technology, Brisbane, Australia.

*Name changed for…some reason