Golden Gate Global (GGG) is making a strong impression in both China and the San Francisco Bay Area.
Marvell Technology Group is not the typical Silicon Valley story. Husband and wife, Dr Sehat Sutardja and Weili Dai, met while pursuing their academic dreams studying at the University of California in Berkeley and founded their company on their kitchen table in 1995.
"Our practice is focused and set-up to seamlessly work with Chinese clients investing or operating in the United States," comments managing partner and chair of Nixon Peabody's (NP) Asia-Pacific practice, David Cheng. With teams in both China and the US dedicated to China-related matters, this international law firm builds bridges between the China and US markets everyday.
Silicon Valley Bank (SVB) is a high-tech commercial bank that offers its clients banking and investment services as well as funds management, valuations and analytics through its non-bank divisions.
After the chaotic "cultural revolution" (1966-1976), during which more than 300 Chinese movies were banned, filmmakers could not wait for a new era to begin. Taboo films were screened again and audiences flocked to movie theaters with great passion. In 1979, more than 29 billion cinema tickets were sold and one of the nation's most popular magazines, Popular Cinema, had a monthly circulation of more than 9 million.
As a China Daily reporter, I was lucky to have covered film events from the early 1980s to the late 1990s, an important period for the rising Chinese film industry.
Over three decades, Chinese cinema has played out like a typical three-act blockbuster. In 1979 the spurt of re-releases and new offerings pushed ticket sales to 29.31 billion yuan, a record unlikely to be topped. Fifteen years later, film attendance plummeted to just 1 percent of that record and movie theaters were converted to furniture stores, among other uses, as audiences stayed home to watch television or pirated videos.
The image of a long queue outside the small campus bookstore lingers in the memory of writer Zhao Lihong. He was a student at Shanghai-based East China Normal University from 1977 to 1981 and Chinese literature was his major. "Students and faculty would line up each morning for new books, even before the bookstore started business," Zhao, 60, recalls. "Books were always in short supply."
The shift from collective consciousness to an increasingly personal perception of life characterizes the general trajectory of the past 30 years of Chinese literature.
Thirty years after China's literature began to develop in new and exciting directions, the general consensus of Chinese public opinion seems to be that it's not nearly exciting enough. No one doubts the achievements of the Chinese economy but the achievements of Chinese literature are less obvious.
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Raymond Zhou
Op Rana
Berlin Fang
Zhu Yuan
Huang Xiangyang
Chen Weihua
