#lu han edit

[swiftletinthecloud]

THE DOUBLE 墨雨云间 (2024) | Xiao Heng's Allies

@asiandramanet july bingo:shapes (insp)

[ciitrinitas]

wada drew a million of these, edited to have transparent backgrounds, etc. etc. do with them as you will! i just think these are oddly soothing to edit.

[wolveswithblackpearls]

Luhan ~ Delphinium

Never beg someone to see your worth.

~Admin J

[sukitaee]

YALL i think j have a teeny tiny crush on ding yuxi 😭

like I watched love u seven times and passed out from the romance, then I decided to watch romance of tiger and the rose (I’ve been putting it off IK HE ACTED WITH MY GIRLIE LUSI) AND IM UTTERLY FLABBERGASTED, ON THE FLOOR, I LOVE HAN SHOU SO MUCH OH MY GOD and now I’m watching intense love and giggling (THE SHOW IS LOWKEY WINCE WORTHY SOMETIMES but its one of those show u just watch for entertainment, nothing serious) LIKE A FOOL !! OVER NOTHING !! sick and twisted …

[smallest-moon]

🎶✨️when u get this u have to put 5 songs u actually listen to, publish. Then, send this ask to 10 of your favorite followers (non-negotiable, positivity is cool)🎶✨️

ah thank you so muchh <3 and sorry im late adshfih

muse - supermassive black hole

queen - love kills - the ballad

queen - drowse

xiao zhan & wang yibo - wu ji

lu han - lian cheng ci

[grand-theft-carbohydrates]

since you’re writing about the chu-han contention, have you seen any movies adapting the event? do you have any favorite adaptational approaches from them?

I’ve only seen 20% of one adaptation so far, and that’s the last supper. I really like liu bang's portrayal, they do a great job of getting across how he's a charismatic populist. the way he plays up his charming, oafish qualities to make people underestimate him is very well done. I would like to see him as more of a scoundrel, though. He would be more interesting if they went all in on his unctuous, unpleasant, slightly pathetic saul goodman vibe. Xiang Yu is very convincing as a stone cold badass, but historically he was also only 25 at the time of the war, his father died when he was a child, and he's been fighting to prove his worth all his life. this seems like a ripe weak spot that someone like liu bang would immediately find and exploit. you could get SO MUCH messed up power dynamics out of it. (r/qindynastyrelationshipadvice: everyone is telling me to kill my (26m) sworn brother (47m). he is my subordinate, but calls me "big brother" and says stuff like "i wish i had a son like you," which is giving me a lot of mixed vibes. anyways, my question is should i serve swan and goose at upcoming banquet, or is that too on the nose?)

i also didn't like how the film is overly reliant on using modern values and morals to make the audience sympathise with the characters. I think it's an easy out. one especially grievous case is how Lu Zhi is furious at her husband for fathering children behind her back. During this time, men were expected to have as many concubines as they could afford. being monogamous would have been aberrant behaviour. it's a small detail, but it's the kind of details that really matter when it comes to exploring a character's psychology. when i wrote the points of contention between Lu Zhi and her husband, i tried my best to make the issues things that would realistically bother a woman of the time, namely her husband's status, rank and finances (by extension, her status). the story is from liu bang's POV, but i wanted to subtly show that his wife is the neck turning the head. she's the one dressing him up, managing the money, and pushing him to take higher offices. she dominated the political scene for 15 years after his death, and i wanted to lay the groundwork right off for what kind of woman that will be.

lastly, i try to avoid writing with a "tourist mentality", e.g. when pov characters have every. single. thing. explained to them. or even worse, a character living in the time period does the explaining, as if they're seeing things for the first time; "and here we have the [x,y,z]. let me explain what the [x,y,z] is for." i crave full immersion, even if it means being confronted and confused at times. when liu bang sees the thieves who had their noses cut off,* he doesn't go "ah, the laws are draconian and violence is part of our everyday life." his mind barely even registers it, and skips straight to "ah fuck, we're missing three people." **in the edited version

[paganimagevault]

Qing dynasty painting of Epang Palace by Yuan Jiang 1722-1735

"The First Emperor felt that, in view of the large population of Xianyang, the palace of the former kings of Qin was too small. “I have heard,” he said, “that King Wen of the Zhou had his capital at Feng, and King Wu had his at Hao. The area between Feng and Hao is fit for the capital of an emperor or a king.” He accordingly began construction of a state palace in the Shanglin Park south of the Wei River. First he built a front hall at Epang which measured 500 bu from east to west and fifty zhang from north to south. The upper part could seat 10,000 persons, and in the lower part flag poles five zhang high could be erected. It was surrounded by covered walks which then led from the hall directly south to the Southern Mountains. The summit of the Southern Mountains was designated to be the gate of the palace. An elevated walk extended from Epang north across the Wei River to connect the palace with Xianyang,

The palace at Epang had not been completed at this time. The emperor intended to select some appropriate name for it when it was completed, but meanwhile, since it was being built at a place called Epang, everyone referred to it as the Epang Palace. Over 700,000 persons condemned to castration and convict labourers were called up, part of them being put to work building the Epang Palace and part assigned to Mt. Li.90 Stone was quarried from the northern hills and timber transported from the regions of Shu and Jing, all being brought to the site. In the area within the passes there were a total of 300 palaces, while beyond the passes there were more than 400. The emperor had a stone set up at Qujie on the eastern sea, declaring that it was the eastern gate of Qin. He had 30,000 households transported to the town at Mt. Li, and 50,000 households to Yunyang, exempting them all from taxes and corvée labour for a period of ten years.

Master Lu said to the First Emperor, “I and the others have searched for zhi fungus, rare herbs, and the immortals, but we can never seem to encounter them. There would appear to be some entity that is blocking us. The magic arts teach that the ruler of men should at times move about in secret so as to avoid evil spirits. If evil spirits are avoided, one can reach the status of True Man. If the whereabouts of the ruler of men are known to his ministers, this hinders his spiritual power. A True Man can enter water without getting wet, enter fire without getting burned, soar over the clouds and air, and endure as long as heaven and earth. But now Your Majesty, though ruling the whole world, has not yet been able to attain calm and quietude. When you are in the palace, do not let others know where you are. Once that is done, I believe that the herbs of immortality can be obtained.”

The emperor said, “I long to become a True Man. From now on I will refer to myself as True Man and will not call myself zhen.” He then had elevated walks and walled roads built to connect all the 270 palaces and scenic towers situated within the 200 li environs of Xianyang. He filled the palaces with curtains and hangings, bells and drums, and beautiful women, each assigned to a particular post and forbidden to move about. Anyone revealing where the emperor was visiting at any particular moment was put to death."

-Sima, Qian. Records of the Grand Historian: Han Dynasty II (p. 57). Columbia University Press. Kindle Edition.

[masterofrecords]

The Ravages of Time episode 3

So at the end of this card it says “excerpt from “The Records of the Three Kingdoms” – biography of Liu Bei. “The Records of the Three Kingdoms” does have a Liu Bei chapter, but it is titled “Biography of the Former Lord” (and in the translation below he will be addressed as such, according to the original source as well as the text on the card in the donghua). There is, however, a computer game titled “The Records of the Three Kingdoms, Biography of Liu Bei”. As you can imagine, that made my search a little more complicated than it had to be.

“The Records of the Three Kingdoms” has never been fully translated into English, but there were plans to do so, that were regrettably discontinued. Still, William Gordon Crowell, who was working on the project, kindly made the otherwise unpublished completed parts of the translation public, along with his translator’s notes.

The donghua card presents an abridged version of the opening paragraphs of the chapter; I took the liberty to edit Dr. Crowell’s translation to fit the card text as well as for general readability or to bring them in accordance with the terminology I use in my other translations. I have omitted most of the notes except for the explanation on Liu Bei’s looks; I suppose the details on geography and personas mentioned there will be of little interest to most, but if you want to know more, I encourage you to look into the full translation – it is available for free and easily googlable.

Episode 3

From historical records on Liu Bei The Former Lord was surnamed Liu and had the given name of Bei and the courtesy name Xuande. He was a native of Zhuo prefecture in Zhuo commandery, and he was the descendant of a son of Emperor Jing of the Han, Prince Jing of Zhongshan [Liu] Sheng. The Former Lord's grandfather Xiong and his father Hong served in provincial and commandery offices. Xiong was recommended as filially pious and incorrupt, and he rose to become prefect of Fan in Dong commandery. When the Former Lord was young, he was left without a father. With his mother he wove mats to make a living. In his youth, when the Former Lord would play beneath a tree with other small children from his clan, he would say, “I must ride in this feather-covered chariot. His uncle Zijing said to him, “Don't talk so foolishly! You'll bring destruction on our house!” When he was 15, his mother sent him to study. With his clansman Liu Deran and Gongsun Zan of Liaoxi he became a disciple of the former grand administrator of Jiujiang commandery, Lu Zhi who was from the same commandery. Liu Deran's father, Yuanqi, frequently gave the Former Lord material support. Yuanqi's wife said, “Each has his own family. How can you regularly do this?” Yuanqi replied, “This boy is in our clan, and he is an extraordinary person.” The Former Lord did not enjoy studying. He liked dogs and horses, music, and dressing in fine clothing. He was 7 chi 5 cun (173 cm) tall, and his hands hung down to his knees. He was able to look back and see his own ears [1]. Humble before good people, he did not manifest his happiness or anger in his look. He enjoyed associating with braves, and in his youth he fought and hung out with them. The great merchants from Zhongshan, Zhang Shiping and Su Shuang, had riches of several thousands in gold. They sold horses, and they made a circuit through Zhuo commandery. They happened to see Liu and were struck by him, so they presented him with much money and wealth. With this, the Former Lord was able to assemble a group of followers. At the end of the reign of Emperor Ling, the Yellow Turbans rose up, and every province or commandery called up righteous armies. The Former Lord led his adherents, and under Colonel Zou Jing attacked the Yellow Turban bandits with distinction. He was appointed commandant of Anxi. – excerpt from “Records of the Three Kingdoms” – Biography of Liu Bei

[1] These physical idiosyncrasies were thought perhaps to be signs that Liu Bei had been destined to be ruler. Miyakawa Hisayuki has suggested that this description of the large ears and long arms may show the influence of Buddhist iconography from the sutras that had recently arrived in China. The size of Liu's ears, at least, appears not to have been a literary invention, for Lü Bu referred to him as the “big-eared boy.” “Looking back” and being able to see his own ears perhaps means they could be seen with his peripheral vision. The “braves” were ruffians with a code of honor, albeit one at odds with officially sanctioned moral values. Generally viewed by the government as potential threats to the social order, they were often considered heroes by the populace.

And into the spoilers we go!

Shuijing villa - Shuijing means bright, can be used in the sense of a person's brilliance. Literally means "bright as a mirror". The villa here refers specifically to a mountain villa.

I'm afraid there isn't much I can say about the Liu Bei and his companions in the context of the coalition against Dong Zhuo. It is for sure known that they participated in the campaign, but that's about it. The Romance of the Three Kingdoms popularized some fictional events of it, like the 3-vs-1 fight of the trio against Lü Bu, but I'm not sure if those will be included in this donghua. Liu Bei is described as a cunning tactician though, so I can imagine the donghua scenes happening.

Still, I'll give a bit more background info on all three. Liu Bei, Guan Yu and Zhang Fei are probably the most famous example of sworn brothers. Around the time of the Yellow Turban rebellion (more on that on another episode) they gave the famous oath in the peach garden - or at least, so the legends and "The Romance of the Three Kingdoms" say. The actual chronicles only mention the three were "as close as brothers", but the idea is still firmly ingrained in the collective conscious. There are even temples dedicated to the three of them - lit. called "Temples of the Three Righteous".

The above text only mentions he helped his mother make straw mats, but in the cut part shoes are also mentioned; as such, Liu Bei is sometimes worshiped as a god of shoemakers.

Largely thanks to the novel, Liu Bei is commonly regarded as an example of a benevolent and humane ruler, because of the author's preference for him. Considering that The Ravages of Time is mainly considering Sima Yi's point of view (and Liu Bei and Sima Yi will later lead rivaling kingdoms) I was actually rather surprised by the rather sympathetic portrayal of him in the donghua.

Still, while Liu Bei's political decisions and ruling philosophy can be discussed at length, there is no doubt that his choice of companions caused him trouble more than once.

Liu Bei was considered the eldest of the three brothers; the second was Guan Yu (courtesy name Yunchang). His life has been even more glorified than Liu Bei's - and since the Sui dynasty (581-618) he's been considered a deity. In fact, to this day, he is worshiped both in Buddhism and Taoism, as well as respected in other philosophies and religions, to say nothing of the Chinese folk tradition.

Still, despite this truly overwhelming veneration from pretty much all the following dynasties, the records say that despite his righteousness, he was "unrelenting and conceited", which proved to be his downfall..

Finally, the third brother was Zhang Fei (courtesy name Yide), whose main shortcomings - his quick temper and brutality - are the things he's most well-known for, and in a lot of ways he can be seen as the opposite of Guan Yu. While there are accounts of him composing poetry in the middle of the battle, it is by far overshadowed by his cruelty towards his soldiers and the fights he got into, sometimes dragging his sworn brothers into trouble as well.

(Just to complete the picture, yes, Zhang Fei is also sometimes worshiped along with Guan Yu.)

Regardless of all that, both Guan Yu and Zhang Fei were regarded as mighty warriors "worth a thousand men", as well as loyal followers of Liu Bei's.

---

Some final thoughts - it definitely feels like the story is playing up the future main players to keep the cast a little more manageable and maybe to put the more recognizable faces in early. Also the extra drama! It's definitely fun, so I'm not complaining XD

[maysa008]

🍇> Olá a todos! Sejam bem vindos ao meu perfil, me chamo Maysa mas qualquer um pode me chamar de Mah ou Bel, tenho 15 anos de idade e estou aqui no Tumblr para postar coisas aleatórias da qual eu gosto, edits, escritas ou fanfics, fichas de personagens e etc...🍨

Nome: Maysa

Apelidos: Mah, Bel, Isa

Idade: 15 anos

Cor preferida: roxo

Gostos: Five Night At Freddy's, Omori, American Horror Story, Harry Potter, Undertale, The Walten Files, Little Nightmares, South Park, Camp Camp, Gravity Falls, All Of Us Are Dead, My Little Pony, Equestria Girls, Bendy and The Ink Machine, Attack on Titan, etc...

Gostos musicais: Bts, Fnaf, Lady Gaga, Billie Eilish, Rick Montgomery, OneRepublic, Bo Burnham, Blackpink, Shawn Mendes, Lil Nas X, The Neighbourhood, The Living Tombstone, Dagames, Teenage Disaster, Lu Han, Harry Styles, Michael Jackson, Pequeno Cidadão, etc...

Bem, o blog acaba aqui, obrigada a todos que leram isto e tenham um bom dia!

[300iqprower]

Full list of servant rank ups in my backlog:

(Ones already posted (as best as i remember) will be marked with *)

[warning, it's a long list]

Artoria

Salter

Nero

Siegfried

Caesar

Gilles

CasGilles

d’Eon

Gilgamesh

Atalanta*

Eurayle

Stheno

Cu

CasCu

Proto Cu*

Cu Alter

Benkei*

Benkei again

Leonidas

Romulus

Medusa

Gorgon

Ana

Lu Bu

Georgios*

Blackbeard

Columbus

Bartholomew

Drake

Boudica

Ushi

Sushi

Kiichi

Alexander

Iskandar

Marie

Martha

Ruler Martha

Medea

Hans

Shakespeare

Mephistopheles*

Waver

Cursed Arm

Hundred Personas*

Serenity

Gramps

Jing Ke

Sanson

Mozart*

Phantom

Mata Hari*

Carmilla

Heracles

Zerkerlot

Saberlot

Spartacus*

Kintoki

Rider Kintoki

Vlad iii*

Vlancer*

Asterios*

Asterios again

Caligula

Darius

Eric

Catamamo*

Jeanne

Artemis

Castamamo

David

Hektor

Anne&Mary

Nobu

Bigger Nobu

Scathach

Diarmuid(WIP)

Sabeuid(WIP)

Fergus

Santoria

Nursery rhyme

Jack

Mordred*

Tesla

Lalter

Lartoria

Paracelsus

Babbage

Jekyll/hyde*

Frankenstein*

Summer fran

Arjuna*

Karna*

MHX

Fionn

Brynhildr

Summer Brynhildr

Beowulf

Nero Bride

Shiki

Shiki saber

Amakusa

Astolfo*

Bunstolfo

Ko-Gil

Casgil*

Casgil SSR edition

Dantes

Nightingale

Rama

Li Shuwen

Bruce Li

Edison

Geronimo

Billy*

Billy again

Jason*

Jason again

Jason SSR edition

Touta

Jalter

Kerry

Edgya

Shuten

Ibaraki*

Ibaraki again(WIP)

Tomoe(WIP)

Kotarou

Danzo

Musashi

Nitocris

Medjed

Moolah*

Moolah again

Schez

Tristan

Gawain

Gareth

Bedivere

Lancer Tamamo

Summer Marie

Kiyo Lancer*

Cleopatra

Enkidu*

Jaguar Warrior

Quetz

Samba Quetz

Moriarty

Hessian-Lobo

Doppelganger (Yan Qing)

Arthur

Hijikata

Chacha

Suzuka

Bunyan*

Rishtar

Paraiso

Inshun

Yagyu

Weebat*

Mecha Eli MK II

Circe

Ne zha

Abby

Semitruck

Nyalter

Anastasia

Avicebro*

Achilles

Chiron*

Sieg*

Izou

Ryouma

Napoleon

Sigurd

Valkyrie x3

Skadi

MHXX

Xiang Yu

Lanling

Qin Liangyu

Qin Shi Huang

Yu Mei Ren

Red Hare

Bradamante

Beni Enma

Murasaki

KP*

Junao*

Asclepius

Mori

Paris

Chen gong

Charlotte

Salome

Soakkie (summer weebat)

Wu Zeitan

Carmilla Sandiego

Mandy

Europa

Caeneus(WIP)

Quirinus

Boyager

Santa Altera

Janta

Erice

SAbby

Ralter

Katsu

Penthesilia

Kagetora

Odysseus

Yang

Morgan*

Bao Sith

Jiang Ziya

Assassin Valkyrie

[tracydimond]

Description

Join us for Mason Jar Press's release of their pop up journal, The Jarnal Vol III: Transitions, edited by Tara Campbell. The reading will feature Tara Canpbell, sumaiya hernandez, Tracy Dimond, Jessica Haney, A. A. Weiss, Hildie Block, and Lu Han.

Details

3 p.m. - 5p.m., Saturday May 6, 2023

The Potter's House Café & Bookstore

1658 Columbia Road Northwest

Washington, DC 20009

Eventbrite link

Registration encouraged, not required

https://www.eventbrite.com/e/the-jarnal-release-party-at-potters-house-on-may-6th-tickets-624440537457

Here's how you can get Jarnal, even if you can't attend (plus a bunch of us recorded our work for you to listen!):

http://masonjarpress.com/jarnal-3

[wolveswithblackpearls]

Happy New Year!

~Admin J

Original date of publishing: Jan 1, 2019

[saitoakirachan-the-sjw]

Re: Parents always mourned their children

I took a class this semester on the history of childhood, and it's so important to know that parents have always loved their children, and the death of a child has always been a tragedy. Even though child mortality was a lot higher and sometimes people grow numb to the pain, it doesn't mean that the pain isn't there.

Here's a text on the ancient Chinese child (including a long section about textual evidences of mourning a dead child, particularly daughters):

Wu, Pei-Yi. "5. Childhood Remembered: Parents and Children in China, 800 to 1700". Chinese Views of Childhood, edited by Anne B. Kenney, Honolulu: University of Hawaii Press, 1995, pp. 129-156. https://doi.org/10.1515/9780824861889-009

(Actually the whole book is quite good but this particular section is most relevant to the discussion I think)

Copy-pasted passages of poetry about mourning and separation under the cut:

Scholar-Politician Han Yu's (758-824) poem, mourning his 12 year old daughter who died en route while fleeing from political prosecution:

On such a day, such a month, and such a year, your dad and mom send your wet nurse to your grave with pure wine, seasonal fruit, and a variety of delicious food to be offered to the spirit of Nazi, their fourth daughter.

Alas, you were gravely ill just when I was about to be exiled to the south. The parting came so suddenly that you were both startled and grieved. When I caught my last glimpse of you, I knew death would make our separation permanent. When you looked at me, you were too sad to cry. After I left for the south, the family was also driven out. You were helped into a sedan chair and traveled from early morning to night. Snow and ice injured your weakened flesh. Shaken and rocked, you did not have any rest. There was no time to eat and drink, so you suffered from frequent thirst and hunger. To die in the wild mountains was not the fate you deserved. It is usually the parents' guilt that brings calamities to their children. Was I not the cause of your coming to such a pass?

You were buried hastily by the roadside in a coffin which could hardly be called a coffin. After you were interred the group had to leave. There was no one to care for your grave or watch over it, your soul was solitary and your bones were cold. Although everyone must die, you died unjustly. When I traveled back from the south I made a stop at your grave. As I wept over you I could see your eyes and face. How could I ever forget your words and expressions?

Now on an auspicious day I am having you moved to our ancestral cemetery. Do not be frightened or fearful: you will be safe along the way. There will be fragrant drink and sweet food for you, and you will arrive in your permanent resting place in a nice new coffin. Peace will be with you for ten thousand years!

Renowed poet Chen Shidao (1053-1102), writing about sending his wife and children away to live with the grandparents due to his poverty:

My daughter was just old enough to have her hair tied,

Yet she already knew the sadness of parting.

Using me as a pillow she refused to get up

For fear that getting up she would have to let me go.

The older son was just learning to talk.

Unused to adult ceremonies, he had to struggle with his clothes

When he took formal leave of me, saying: "Dad, I am going now."

How can I ever bear to recall these words?

The younger son was still in swaddling clothes.

He was carried by his mother when they left.

His cry is still ringing in my ears:

Can anyone else understand how I feel?

(This is how much pain he felt during a temporary parting. Imagine the pain that would be caused by death)

Two poems about loss (the first one is real, the second one is imaginary) by Lu You (1125–1210), a historian and a poet who, incidentally, also wrote poems about his cat.

By a deserted hill and over a desolate ravine,

Amid frost and dew, and surrounded by thorns and brush,

Lies my hapless daughter in a solitary grave.

No neighbor is seen in any direction.

When she was alive she never left the house.

ln her death she is abandoned in a place like this. How unkind I am!

~

In my dream I had a little son and a little daughter,

For whom I felt boundless love.

I took them to doctors whenever there was anything wrong;

I bored every visitor with tales of their cleverness.

The morning rooster suddenly woke me up:

How can my love still be there?

Life is but a web of entanglements–

With a laugh I free myself of these fetters.

i have to carefully avoid thinking too hard about any time period before like the 1900s because i start thinking about all the dead babies and i fucking lose it

like!!!! i trully cannot countenance any argument that the past was better when nearly HALF of all young children died. 

[idahobob]

I Have No Legs, and I Must Run from Yue Li on Vimeo.

An athlete who is past his prime is struggling with his injuries. The arrival of a talented new member of his team. plants the seeds of jealousy in the Protagonist s mind.

Awards:

66TH BFI London Film Festival - Winner: Best Short Film

Palm Springs International ShortFest - 2023 | Special Mention: Best Live-Action Short 15 Minutes and Under

2022 Young Director Awards - Silver Screen

The 28th ifva Awards - Special Mentioned

Stockholm International Film Festival - nominated

Short of the Week - selected

21st IN THE PALACE International Short Film Festival - nominated

Norwich Film Festival - nominated

CREW: STARRING Wen Xin, Xu Zhaobang, Yan Sanyuan

DIRECTOR Li Yue

WRITTEN BY Li Yue

PRODUCED BY Sol Ye, Mo Zhulin

DIRECTOR OF PHOTOGRAPHY Limbo Lin

PRODUCTION DESIGNER Zeng Yingxin, Deng Ning, Wu Heng

EDITED BY Alvynn Diagne

COLORIST Fu Shu

SOUND DESIGNER Liu Qi

MUSIC BY Peravich Punnatrakul, Adam Chimmanee

CAST Zheng Haotian, Zhao Yuan, Zheng Chenbo, Xu Huangwei, Zhao Wenjie, Dou Ronghui, Ling Hanrui, Xue Zexin, Liu Hao, Ren Haokai, Liu Zhankuo

1st ASSISTANT DIRECTOR Yang DongZhen

2nd ASSISTANT DIRECTOR Zheng Haotian

ASSISTANT EDITOR Henrik Pierce

SPORTS CONSULTANT Zhang Xin

CHOREOGRAPHER/ACTING COACH Liu Yiyi

DIRECTOR ASSISTANT Wang Yizhen

PRODUCTION MANAGER Zeng Xiangchong

LOCATION MANAGER Wang Gaosheng, Hu Xing

PRODUCTION COORDINATOR Song Sixuan

FOCUS PULLER Bu Zhuo

ASSISTANT CAMERA Hu Wenquan, Zhang Hengyuan

CAMERA OPERATOR Yang Yi

GAFFER Liu Aimin

SPARKS Xu Hongjie, Hu Xiaodong, Zhang Shuang

MAKEUP ARTIST & COSTUM Lu Mangmang

HAIRDRESSER Wang Sha, Bai Zirong

SOUND CREW

PRODUCTION SOUND MIXER He Junyi

BOOM OPERATOR Li Hui

STILL PHOTOGRAPHER Han Yu, Li Hao

DRONE OPERATOR Yuan Fukai

D.I.T Cheng Jianxin

PRODUCTION ASSISTANT Yang Linlin， Wang Zerui, Du Xiaoming

PROPS Master Zhang Ge

ASSISTANT PROPS Li Shuai, Ren Xiaoguang, Liu Qiang, Bai Baogui

TRANSPORTATION CAPTAIN Ai Manyi

CAMERA CREW DRIVER Wei Huihong

DRIVER Zheng Yongsheng，Zhao Youcai, Liu Zhiqiang

DRIVER Li Gen

RENTAL HOUSE: KO Film Rental

[liurl]

I Have No Legs, and I Must Run from Yue Li on Vimeo.

An athlete who is past his prime is struggling with his injuries. The arrival of a talented new member of his team. plants the seeds of jealousy in the Protagonist s mind.

Awards:

66TH BFI London Film Festival - Winner: Best Short Film

Palm Springs International ShortFest - 2023 | Special Mention: Best Live-Action Short 15 Minutes and Under

2022 Young Director Awards - Silver Screen

The 28th ifva Awards - Special Mentioned

Stockholm International Film Festival - nominated

Short of the Week - selected

21st IN THE PALACE International Short Film Festival - nominated

Norwich Film Festival - nominated

CREW: STARRING Wen Xin, Xu Zhaobang, Yan Sanyuan

DIRECTOR Li Yue

WRITTEN BY Li Yue

PRODUCED BY Sol Ye, Mo Zhulin

DIRECTOR OF PHOTOGRAPHY Limbo Lin

PRODUCTION DESIGNER Zeng Yingxin, Deng Ning, Wu Heng

EDITED BY Alvynn Diagne

COLORIST Fu Shu

SOUND DESIGNER Liu Qi

MUSIC BY Peravich Punnatrakul, Adam Chimmanee

CAST Zheng Haotian, Zhao Yuan, Zheng Chenbo, Xu Huangwei, Zhao Wenjie, Dou Ronghui, Ling Hanrui, Xue Zexin, Liu Hao, Ren Haokai, Liu Zhankuo

1st ASSISTANT DIRECTOR Yang DongZhen

2nd ASSISTANT DIRECTOR Zheng Haotian

ASSISTANT EDITOR Henrik Pierce

SPORTS CONSULTANT Zhang Xin

CHOREOGRAPHER/ACTING COACH Liu Yiyi

DIRECTOR ASSISTANT Wang Yizhen

PRODUCTION MANAGER Zeng Xiangchong

LOCATION MANAGER Wang Gaosheng, Hu Xing

PRODUCTION COORDINATOR Song Sixuan

FOCUS PULLER Bu Zhuo

ASSISTANT CAMERA Hu Wenquan, Zhang Hengyuan

CAMERA OPERATOR Yang Yi

GAFFER Liu Aimin

SPARKS Xu Hongjie, Hu Xiaodong, Zhang Shuang

MAKEUP ARTIST & COSTUM Lu Mangmang

HAIRDRESSER Wang Sha, Bai Zirong

SOUND CREW

PRODUCTION SOUND MIXER He Junyi

BOOM OPERATOR Li Hui

STILL PHOTOGRAPHER Han Yu, Li Hao

DRONE OPERATOR Yuan Fukai

D.I.T Cheng Jianxin

PRODUCTION ASSISTANT Yang Linlin， Wang Zerui, Du Xiaoming

PROPS Master Zhang Ge

ASSISTANT PROPS Li Shuai, Ren Xiaoguang, Liu Qiang, Bai Baogui

TRANSPORTATION CAPTAIN Ai Manyi

CAMERA CREW DRIVER Wei Huihong

DRIVER Zheng Yongsheng，Zhao Youcai, Liu Zhiqiang

DRIVER Li Gen

RENTAL HOUSE: KO Film Rental

[kurisuo]

Happy birthday Lu Han! I'm so proud of how far you've come and how you stay humble despite being one of the biggest stars in all of China. I love you so much and I hope you're spending this day with all your loved ones 😊💞