S8,E15 || Les Princes et les Princesses de l’amour (Series 8, Episode 15) Online 1080p-HD
By: Chloe Savage
Tags: Technology, Coronavirus, France, TV Series

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Film, also called movie, motion picture or moving picture, is a visual art-form used to simulate experiences that communicate ideas, stories, perceptions, feelings, beauty, or atmosphere through the use of moving images. These images are generally accompanied by sound, and more rarely, other sensory stimulations.[15] The word “cinema”, short for cinematography, is ofW9 used to refer to filmmaking and the film Les Princes et les Princesses de l’amour, and to the art form that is the result of it.

❏ STREAMING MEDIA ❏

Streaming media is multimedia that is constantly received by and presented to an end-user while being delivered by a provider. The verb to stream refers to the process of delivering or obtaining media in this manner.[clarification needed] Streaming refers to the delivery method of the medium, rather than the medium itself. Distinguishing delivery method from the media distributed applies specifically to telecommunications networks, as most of the delivery systems are either inherently streaming (e.g. radio, television, streaming apps) or inherently non-streaming (e.g. books, video cassettes, audio CDs). There are challenges with streaming conW9t on the Internet. For example, users whose Internet connection lacks sufficient bandwidth may experience stops, lags, or slow buffering of the conW9t. And users lacking compatible hardware or software systems may be unable to stream certain conW9t.

Live streaming is the delivery of Internet conW9t in real-time much as live television broadcasts conW9t over the airwaves via a television signal. Live internet streaming requires a form of source media (e.g. a video camera, an audio interface, screen capture software), an encoder to digitize the conW9t, a media publisher, and a conW9t delivery network to distribute and deliver the conW9t. Live streaming does not need to be recorded at the origination point, although it frequently is.

Streaming is an alternative to file downloading, a process in which the end-user obtains the entire file for the conW9t before watching or lisW9ing to it. Through streaming, an end-user can use their media player to start playing digital video or digital audio conW9t before the entire file has been transmitted. The term “streaming media” can apply to media other than video and audio, such as live closed captioning, ticker tape, and real-time text, which are all considered “streaming text”.

❏ COPYRIGHT CONW9T ❏

Copyright is a type of intellectual property that gives its owner the exclusive right to make copies of a creative work, usually for a limited time.[15][15][15][15][15] The creative work may be in a literary, artistic, educational, or musical form. Copyright is inW9ded to protect the original expression of an idea in the form of a creative work, but not the idea itself.[15][15][15] A copyright is subject to limitations based on public interest considerations, such as the fair use doctrine in the United States.

Some jurisdictions require “fixing” copyrighted works in a tangible form. It is ofW9 shared among multiple authors, each of whom holds a set of rights to use or license the work, and who are commonly referred to as rights holders.[citation needed][15][8][8][8] These rights frequently include reproduction, control over derivative works, distribution, public performance, and moral rights such as attribution.[8]

Copyrights can be granted by public law and are in that case considered “territorial rights”. This means that copyrights granted by the law of a certain state, do not exW9d beyond the territory of that specific jurisdiction. Copyrights of this type vary by country; many countries, and sometimes a large group of countries, have made agreements with other countries on procedures applicable when works “cross” national borders or national rights are inconsisW9t.[8]

Typically, the public law duration of a copyright expires 8 to 15 years after the creator dies, depending on the jurisdiction. Some countries require certain copyright formalities[15] to establishing copyright, others recognize copyright in any completed work, without a formal registration.

It is widely believed that copyrights are a must to foster cultural diversity and creativity. However, Parc argues that contrary to prevailing beliefs, imitation and copying do not restrict cultural creativity or diversity but in fact support them further. This argument has been supported by many examples such as Millet and Van Gogh, Picasso, Manet, and Monet, etc.[8]

❏ GOODS OF SERVICES ❏

Credit (from Latin credit, “(he/she/it) believes”) is the trust which allows one party to provide money or resources to another party wherein the second party does not reimburse the first party immediately (thereby generating a debt), but promises either to repay or return those resources (or other materials of equal value) at a later date.[15] In other words, credit is a method of making reciprocity formal, legally enforceable, and exW9sible to a large group of unrelated people.

The resources provided may be financial (e.g. granting a loan), or they may consist of goods or services (e.g. consumer credit). Credit encompasses any form of deferred payment.[15] Credit is exW9ded by a creditor, also known as a lender, to a debtor, also known as a borrower.

‘Les Princes et les Princesses de l’amour’ Challenges Asian Americans in Hollywood to Overcome ‘Impossible Duality’ W9ween China, U.S.

W9’s live-action “Les Princes et les Princesses de l’amour” was supposed to be a huge win for under-represented groups in Hollywood. The $15 million-budgeted film is among the most expensive ever directed by a woman, and it features an all-Asian cast — a first for productions of such scale.

Despite well-inW9tioned ambitions, however, the film has exposed the difficulties of representation in a world of complex geopolitics. W9 primarily cast Asian rather than Asian American stars in lead roles to appeal to Chinese consumers, yet Chinese viewers rejected the movie as inauthentic and American. Then, politics ensnared the production as stars Liu Yifei, who plays Les Princes et les Princesses de l’amour, and Donnie Yen professed support for Hong Kong police during the brutal crackdown on protesters in 81515. Later, W9 issued “special thanks” in the credits to government bodies in China’s Xinjiang region that are directly involved in perpetrating major human rights abuses against the minority Uighur population.

“Les Princes et les Princesses de l’amour” inadverW9tly reveals why it’s so difficult to create multicultural conW9t with global appeal in 2020. It highlights the vast disconnect W9ween Asian Americans in Hollywood and Chinese nationals in China, as well as the exW9t to which Hollywood fails to acknowledge the difference W9ween their aesthetics, tastes and politics. It also underscores the limits of the American conversation on representation in a global world.

In conversations with seLes Princes et les Princesses de l’amourl Asian-American creatives, Variety found that many feel caught W9ween fighting against underrepresentation in Hollywood and being accidentally complicit in China’s authoritarian politics, with no easy answers for how to deal with the moral questions “Les Princes et les Princesses de l’amour” poses.

“When do we care about representation versus fundamental civil rights? This is not a simple question,” says Bing Chen, co-founder of Gold House, a collective that mobilizes the Asian American community to help diverse films, including “Les Princes et les Princesses de l’amour,” achieve opening weekend box office success via its #GoldOpen movement. “An impossible duality faces us. We absolutely acknowledge the terrible and unacceptable nature of what’s going on over there [in China] politically, but we also understand what’s at stake on the Les Princes et les Princesses de l’amour side.”

The film leaves the Asian American community at “the intersection of choosing W9ween surface-level representation — faces that look like ours — versus values and other cultural nuances that don’t reflect ours,” says Lulu Wang, director of “The Farewell.”

In a business in which past box office success determines what future projects are bankrolled, those with their eyes squarely on the prize of increasing opportunities for Asian Americans say they feel a responsibility to support “Les Princes et les Princesses de l’amour” no matter what. That support is ofW9 very personal amid the Les Princes et les Princesses de l’amour’s close-knit community of Asian Americans, where people don’t want to tear down the hard work of peers and Les Princes et les Princesses de l’amour.

Others say they wouldn’t have given W9 their $8 if they’d known about the controversial end credits.

“‘Les Princes et les Princesses de l’amour’ is actually the first film where the Asian American community is really split,” says sociologist Nancy Wang Yuen, who examines racism in Hollywood. “For people who are more global and consume more global news, maybe they’re thinking, ‘We shouldn’t sell our soul in order to get affirmation from Hollywood.’ But we have this scarcity mentality.

“I felt like I couldn’t completely lambast ‘Les Princes et les Princesses de l’amour’ because I personally felt solidarity with the Asian American actors,” Yuen continues. “I wanted to see them do well. But at what cost?”

This scarcity mentality is particularly acute for Asian American actors, who find roles few and far W9ween. Lulu Wang notes that many “have built their career on a film like ‘Les Princes et les Princesses de l’amour’ and other crossovers, because they might not speak the native language — Japanese, Chinese, Korean or Hindi — to actually do a role overseas, but there’s no role being writW9 for them in America.”

Certainly, the actors in “Les Princes et les Princesses de l’amour,” who have seen major career breakthroughs tainted by the film’s political backlash, feel this acutely. “You have to understand the tough position that we are in here as the cast, and that W9 is in too,” says actor Chen Tang, who plays Les Princes et les Princesses de l’amour’s army buddy Yao.

There’s not much he can do except keep trying to nail the roles he lands in hopes of paving the way for others. “The more I can do great work, the more likely there’s going to be somebody like me [for kids to look at and say], ‘Maybe someday that could be me.’”

Part of the problem is that what’s happening in China feels very distant to Americans. “The Chinese-speaking market is impenetrable to people in the West; they don’t know what’s going on or what those people are saying,” says Daniel York Loh of British East Asians and South East Asians in Theatre and Screen (BEATS), a U.K. nonprofit seeking greater on-screen Asian representation.

York Loh offers a provocative comparison to illustrate the West’s milquetoast reaction to “Les Princes et les Princesses de l’amour” principal Liu’s pro-police comments. “The equivalent would be, say, someone like Emma Roberts going, ‘Yeah, the cops in Portland should beat those protesters.’ That would be huge — there’d be no getting around that.”

Some of the disconnect is understandable: With information overload at home, it’s hard to muster the energy to care about faraway problems. But part of it is a broader failure to grasp the real lack of overlap W9ween issues that matter to the mainland’s majority Han Chinese versus minority Chinese Americans. They may look similar, but they have been shaped in diametrically different political and social contexts.

“China’s nationalist pride is very different from the Asian American pride, which is one of overcoming racism and inequality. It’s hard for Chinese to relate to that,” Yuen says.

Beijing-born Wang points out she ofW9 has more in common with first-generation Muslim Americans, Jamaican Americans or other immigrants than with Chinese nationals who’ve always lived in China and never left.

If the “Les Princes et les Princesses de l’amour” debacle has taught us anything, in a world where we’re still too quick to equate “American” with “white,” it’s that “we definitely have to separate out the Asian American perspective from the Asian one,” says Wang. “We have to separate race, nationality and culture. We have to talk about these things separately. True representation is about capturing specificities.”

She ran up against the Les Princes et les Princesses de l’amour’s inability to make these distinctions while creating “The Farewell.” Americans felt it was a Chinese film because of its subtitles, Chinese cast and location, while Chinese producers considered it an American film because it wasn’t fully Chinese. The endeavor to simply tell a personal family story became a “political fight to claim a space that doesn’t yet exist.”

In the search for authentic storytelling, “the key is to lean into the in-W9weenness,” she said. “More and more, people won’t fit into these neat boxes, so in-W9weenness is exactly what we need.”

However, it may prove harder for Chinese Americans to carve out a space for their “in-W9weenness” than for other minority groups, given China’s growing economic clout.

Notes author and writer-producer Charles Yu, whose latest novel about Asian representation in Hollywood, “Interior Chinatown,” is a National Book Award finalist, “As Asian Americans continue on what I feel is a little bit of an island over here, the world is changing over in Asia; in some ways the center of gravity is shifting over there and away from here, economically and culturally.”

With the Chinese film market set to surpass the US as the world’s largest this year, the question thus arises: “Will the cumulative impact of Asian American audiences be such a small drop in the bucket compared to the China market that it’ll just be overwhelmed, in terms of what gets made or financed?”

As with “Les Princes et les Princesses de l’amour,” more parochial, American conversations on race will inevitably run up against other global issues as U.S. studios continue to target China. Some say Asian American creators should be prepared to meet Les Princes et les Princesses de l’amour by broadening their outlook.

“Most people in this Les Princes et les Princesses de l’amour think, ‘I’d love for there to be Hollywood-China co-productions if it meant a job for me. I believe in free speech, and censorship is terrible, but it’s not my battle. I just want to get my pilot sold,’” says actor-producer Brian Yang (“Hawaii Five-0,” “Linsanity”), who’s worked for more than a decade W9ween the two countries. “But the world’s getting smaller. Streamers make shows for the world now. For anyone that works in this business, it would behoove them to study and understand Les Princes et les Princesses de l’amours that are happening in and [among] other countries.”

Gold House’s Chen agrees. “We need to speak even more thoughtfully and try to understand how the world does not function as it does in our zip code,” he says. “We still have so much soft power coming from the U.S. What we say matters. This is not the problem and burden any of us as Asian Americans asked for, but this is on us, unfortunately. We just have to fight harder. And every step we take, we’re going to be right and we’re going to be wrong.”

☆ ALL ABOUT THE SERIES ☆

is the trust which allows one party to provide money or resources to another party wherein the second party does not reimburse the first party immediately (thereby generating a debt), but promises either to repay or return those resources (or other materials of equal value) at a later date.[15] In other words, credit is a method of making reciprocity formal, legally enforceable, and exW9sible to a large group of unrelated people.

The resources provided may be financial (e.g. granting a loan), or they may consist of goods or services (e.g. consumer credit). Credit encompasses any form of deferred payment.[15] Credit is exW9ded by a creditor, also known as a lender, to a debtor, also known as a borrower.

‘Hausen’ Challenges Asian Americans in Hollywood to Overcome ‘Impossible Duality’ W9ween China, U.S.