小玩意 (Little Toys | Sun Yu | 1933) in 阮玲玉 (Center Stage | Stanley Kwan | 1991)
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Been looking for more information on Zhou Yu’s 206-208 campaign into Jing. How'd it go and what was Sun Yu's role?
Not much is recorded about those operations, since they were pretty minor. The best place to go is Generals of the South, which discusses the matter in as much detail as possible on pages 186–189.
The short answer is that Zhou Yu captured two relatively isolated towns and then successfully destroyed the forces Huang Zu sent to relieve them. For the next couple years he successfully led raids and skirmishes in the region, relocating the populace to core territories and just generally making it impossible for Huang Zu to offer any kind of counter-offensive.
Of his role in things, Sun Yu's biography (SGZ 1.2) says:
Eleventh year [206], he and Zhōu Yú together attacked the two camps at Má and Bǎo, and defeated them.
Details are not provided.
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//spoiler warning applied//
this post will dabble on the commission quest 'The Sparrow Studies the Blade' and 'The Day the Sword Departs'. Steer away if you haven't finished the quest!
One of the few quests in Genshin that don't have a happy ending. I feel rather attached to Little Que'er and Sun Yu considering how they evolve (more so Sun Yu, not so much Little Que'er) over time. I'm in love with the little details that Genshin has to their NPCs, and why I love Genshin so much in general!
I hope we do see Sun Yu in Fontaine, and really hope there's new commission quests for Little Que'er so that I wouldn't have to see her moping in Jueyun Krast. It's disheartening to see her so crestfallen, even more so to see Little Que'er hadn't set aside her differences and see Sun Yu leave for the last time before he departs. 😭
Regardless, like life, there's opportunities out there that some might let slip out.
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Wang Renmei in Wild Rose (Sun Yu, 1932)
Cast: Han Langen, Jn Yan, Wang Renmei, Ye Juanjuan, Zhang Zhizhi, Zheng Jenli. Screenplay: Sun Yu. Cinematography: Yu Xingsan.
By 1932, sound was so established in American filmmaking that Charles Chaplin's decision a year earlier to release his City Lights with a score and synchronized sound effects but without dialogue was regarded as an anachronistic whim on the part of a cinematic genius. But elsewhere in the world, sound had not fully taken hold. Chinese filmmakers like Sun Yu were still making silent films: Wild Rose was the fourth in his career as a director, which began in 1928. Raised in China, Sun studied drama at the University of Wisconsin and film at the New York Institute of Photography and Columbia University before going home again in 1926. Wild Rose is a skillfully made tale of the romance of a country girl, Xiao Feng (Wang Renmei), which translates as "Little Phoenix," and a rich young city dweller, Jian Bo (Jin Yan), who wants to be an artist. Wang, who made her film debut as the girl, became one of China's major stars during the 1930s, and eventually married her co-star, Jin, who was known as "the Rudolph Valentino of Shanghai." Jian and Little Phoenix meet one day when he's sketching in her village. He's amused by her attempts to do a military drill with a group of kids and her exhortations that they love China. When a fire destroys her home, he takes her to the city with him. After a quarrel with his father, caused by Little Phoenix's clumsy attempt to adjust to city manners and fashion, the young couple move into a slum, sharing quarters with two of his buddies, resulting in scenes that seem to have been inspired by La Bohème. Unable to sell his art, Jian takes a job as a sign painter, working on billboards -- which are, interestingly, mostly in English. But he falls ill, and their increasing poverty causes Little Phoenix to steal a wallet from a drunk. When she's caught, Jian takes the rap, so she goes to his father and secretly makes a deal: If he'll bail Jian out, she'll leave him. Time passes, and when patriotic fervor is roused by the Japanese attempts to take over Manchuria, Jian finds her and and his old friends in the crowds recruiting troops for the war. Wang's performance is strikingly reminiscent of Lillian Gish and Mary Pickford at their spunkiest. The story is well-handled, if a little disjointed toward the end, and the movie gives us some remarkable looks at China in a turbulent era. The scenes of slum life are nicely contrasted with the upperclass milieu of Jian's family, who live in an opulent mansion that's a blend of Chinese style and Art Deco.
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Sun Yuan & Peng Yu: Can’t Help Myself (2016)
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