Actor, Screenwriter, Director, Chinese, American, Woman, Mother: Who Is Joan Chen?
Bibliographic record
Abstract
International star Joan Chen is a woman of extraordinary talent. She is a well-respected actress as well as a daring director. Joan started her acting career at the early age of fourteen in 1977, when China was in turmoil during the Cultural Revolution, and has since starred in over fifty films. In 1980, she garnered the best actress award in China for her role in The Little Flower (Xiao Hua). She left China to attend university in the US in 1981, and later became a US citizen in 1988. She now divides her time between living in San Francisco with her family, and working throughout the States, as well as, frequently, Asia. She is a walking example of the harmonious mix of Eastern and Western culture, and the most amazing thing is her ability to strike a balance between her career and her personal life. Female directors, unlike male, have the added pressure of being judged not only on the success of their career, but also on their role as wife and mother. Only a person of multiple talents and capabilities can master this division of self in such a manner as to gain recognition in all aspects of her life. The following article has been assembled from material gathered during two conversations had with Joan Chen, between September, 2005, at the Toronto International Film Festival and May, 2007, at the San Francisco International Film Festival. The interviews were conducted in Chinese and I'd like to thank Yan Woo for transcribing the Chinese text. [ILLUSTRATION OMITTED] Alice Shih: Seeing you, Joan, on the big screen has always been a pleasure, but was particularly thrilled to witness your stage performance narrating for Guy Maddin's Brand Upon the Brain at the 50th San Francisco International Film Festival. During the performance, you even sang a Chinese lullaby! asked Guy right after the show about you and he said, I really like Joan's performance, particularly her orgasms ... Joan Chen: (laugh) Did you sense my fear while was up there? I'm prone to stage fright and I'm really afraid of crowds! first noticed it when was in my teen years, touring with a university performance troupe. When I'm on set, feel somewhat protected by the crew and can give myself completely. This sense of security is gone when I'm in front of a crowd. remember there were a couple of times when had to speak on stage, and was so nervous that was gasping for breath! David Henry Hwang has on several occasions invited me to work with him on Broadway. The scripts and the parts offered to me were indeed excellent but didn't have the courage. I'm still hoping that he will one day adapt these projects for the big screen! Recently, agreed to lecture at Stanford University and to narrate for Guy's film. accepted these offers as believe one must constantly improve and learn new skills to advance. If you thought that you had already seen or experienced everything that the world had to offer, then what would be the point of living? For me, after realizing that going on stage is one of my worst fears, consider these are my best opportunities to overcome it. had written down more than ten pages of notes for the Stanford lecture, and memorized everything! Who on earth would memorize their notes word for word? That was because was so afraid! ended up not using my scripted notes, and take that as a step forward. As for this narration on stage, was so afraid at the beginning, but after rehearsals understood and really appreciated the creativity of Guy's film. haven't seen anything as innovative as his film before and it would definitely be my gain if could be a part of this special event and work on my stage fright management at the same time. This was an excellent exercise to conquer my own psychological barrier and it may lead to my doing stage performances in the future, although film is still my first love. There are always new challenges to face in life and we should not be afraid to step out of our comfort zone. …
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.007 | 0.002 |
| Scholarly communication | 0.002 | 0.001 |
| Open science | 0.000 | 0.001 |
| Research integrity | 0.001 | 0.001 |
| Insufficient payload (model declined to judge) | 0.014 | 0.003 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".