#Hu Chin-chuan

[goalhofer]

2023 World Baseball Classic Taiwan Roster

Pitchers

#15 Yen-Ching Lu (C.T.B.C. Xiōngdì/Kaohsiung Chéngshì)

#16 Wei-Chung Wang (Wei Chuan Lóng/Taitung Xiàn)

#17 Kuan-Yu Chen (Rakuten Hóuzi/Xīn Běishì)

#21 Chen-Ch’ang Lee (C.T.B.C. Xiōngdì/Penghu)

#29 Kai-Wei Teng (Richmond Flying Squirrels/Taichung)

#32 Yu-Hsun Chen (Rakuten Hóuzi/Taipei)

#43 Chia-Hao Sung (Tohoku Rakuten Gōruden'īgurusu/Taitung Xiàn)

#58 Chih-Wei Hu (Tǒngyī Qǐyè 7-Eleven Shīzi Huì/Taichung)

#59 Kuan-Wei Chen (Wei Chuan Lóng/Taipei)

#60 Jyun-Yue Tseng (Fubon Jiānhùrén/Taipei)

#69 Tzu-Peng Huang (Rakuten Hóuzi/Kaohsiung Chéngshì)

#71 Shao-Ching Chiang (Fubon Jiānhùrén/Hualien Xiàn)

#81 Shih-Peng Chen (Fubon Jiānhùrén/Taichung Xiàn)

#93 Che-Yuan Wu (C.T.B.C. Xiōngdì/Taipei)

Catchers

#4 Kungkuan Giljegiljaw (Wei Chuan Lóng/Taichung)

#31 Dai-An Lin (Tǒngyī Qǐyè 7-ElevenShīzi Huì/Sanmin Xiāng)

#65 Yu-Chieh Kao (C.T.B.C. Xiōngdì/Taipei)

Infielders

#1 Tsung-Che Cheng (Bradenton Marauders/Pingtung Xiàn)

#5 Tzu-Wei Lin (Long Island Ducks/Kaohsiung Xiàn)

#6 Wei-Chen Wang (C.T.B.C. Xiōngdì/Taipei)

#18 Yu-Cheng Chang (Boston Red Sox/Taitung Xiàn)

#39 Nien-Ting Wu (Saitama Seibu Raionzu/Taipei)

#46 Kuo-Chen Fan (Fubon Jiānhùrén/Taichung)

#83 Li Lin (Rakuten Hóuzi/Shoufeng)

#90 Kun-Yu Chiang (C.T.B.C. Xiōngdì/Taipei)

Outfielders

#2 Tien-Hsin Kuo (Wei Chuan Lóng/Taipei)

#9 Po-Jung Wang (Hokkaido Nippon-Ham Faitāzu/Pingtung Xiàn)

#12 Chen-Wei Chen (Rakuten Hóuzi/Taipei)

#24 Chieh-Hsien Chen (Tǒngyī Qǐyè 7-Eleven Shīzi Huì/Kaohsiung Chéngshì)

#35 Chin Cheng (Rakuten Hóuzi/Taipei)

Coaches

Manager Yueh-Ping Lin (Tǒngyī Qǐyè 7-Eleven Shīzi Huì/Kaohsiung Chéngshì)

Bench/catching coach Chih-Kang Kao (Tǒngyī Qǐyè 7-Eleven Shīzi Huì/Taichung Xiàn)

Hitting coach Cheng-Min Peng (C.T.B.C. Xiōngdì/Kaohsiung Chéngshì)

Assistant hitting coach Hao-Jin Tseng (Táiwān Bàngqiú/Taipei)

Pitching coach Ming-Chieh Hsu (Rakuten Hóuzi/Kaohsiung Chéngshì)

Bullpen coach Chien-Ming Wang (C.T.B.C. Xiōngdì/Guanmiao)

1st base/outfield coach Chien-Ming Chang (Wei Chuan Lóng/Hualien Xiàn)

3rd base coach Chiang-Ho Chen (C.T.B.C. Xiōngdì/Taipei)

[filmstruck]

The Warrior Heroes of Wuxia: Part 2 by Susan Doll

In my celebration of the four wuxia films currently streaming on FilmStruck, I approached the series in reverse chronological order. Last week, I focused on Zhang Yimou’s HOUSE OF FLYING DAGGERS from 2004, which represents the contemporary revitalization of this unique martial-arts genre by China’s Fifth Generation directors. (See also He Ping’s WARRIORS OF HEAVEN AND EARTH [’03]). Earlier examples of wuxia include the ground-breaking A TOUCH OF ZEN (’71) and DRAGON INN (’67) by King Hu.

Hu, however, directed his films outside Mainland China, because of the politics of the era. The wuxia protagonist is a warrior hero of the mythic past, a mercenary with a moral code who is skilled in the martial arts. During the 1930s, Chiang Kai-shek banned films featuring martial arts and magic in China, accusing them of looking backward instead of forward into a modern era. After the Communist Revolution, when Chiang Kai-shek retreated to Taiwan and China belonged to Mao, the Chinese film industry stopped producing martial-arts films altogether.

In the late 1940s, a steady stream of refugees from the Mainland ended up in Hong Kong, while personnel from the Shanghai and Taiwanese film industries found it less restrictive to work there. The result was a resurgence of Mandarin cinema in this tiny but heavily populated British colony.

By the 1960s, the Shaw Studio, led by Run Run and Runme Shaw, was the largest producer of films in the Hong Kong industry. The Shaws became successful by producing films in Mandarin Chinese for a population in exile. The content and genres produced in Mandarin were often nostalgic or set in the old homeland, including wuxia films. Chang Cheh, who directed over 100 films for Shaw Studio, updated the genre, adding new archetypes and motifs. Cheh introduced the wuxia warrior with a handicap in ONE-ARMED SWORDSMAN (’67), the story of a martial artist who loses his arm after defeating a master’s daughter in a fair fight. Despite his loss, he manages to learn the undiscovered art of one-armed swordplay. Influenced by Hollywood Westerns and Japanese samurai films, Cheh established the conventions for this wave of wuxia. Protagonists hailed from the lower classes and achieved their consummate skill through diligent practice. Wuxia warriors often banded together and dedicated themselves to protecting the weak and innocent. Eventually, the swordplay of wuxia was mixed with the legwork of kung fu.

King Hu would surpass Cheh as an innovator of wuxia films, because he brought a new level of technical artistry and a bit of Buddhist philosophy to the genre. Like Cheh, Hu drew on samurai movies and American Westerns, but he was interested in the visual techniques of those genres as well as their narrative conventions. He was also influenced by the Beijing Opera, which is evident in the ballet-like staging of his fight scenes. In COME DRINK WITH ME (’66), Hu cast dancer Cheng Pei-pei as the female protagonist who sets out to rescue her brothers from bandits. COME DRINK WITH ME established Pei-pei as an action star, at least until she went to America in the 1970s to get married. Over 30 years later, Ang Lee would cast Pei-pei as the evil mentor to the wuxia heroine played by Zhang Ziyi in CROUCHING TIGER, HIDDEN DRAGON (’00) as an homage to Hu. One of my favorite characteristics of wuxia is the use of women warriors who participate in the fight scenes with the skill and vigor of their male counterparts. Hu built on this convention with his female characters, who stand morally and physically above the crowd. They are strong-willed and determined, yet graceful and feminine. They don’t sacrifice their identities as women in their determination and duty.

Hu got his start as a director with the Shaw Brothers, but he left their studio in 1966 to move to Taiwan, where he made DRAGON INN and his masterwork A TOUCH OF ZEN. The former takes place in in an inn, one of Hu’s favorite settings. For Hu, the inn is a kind of mythical, mystical place where the laws of physics are suspended. Likewise, A TOUCH OF ZEN is set in the heart of a small village, where a haunted residence confounds the shy, young painter who lives next door with his mother. Equally as vexing to the unsuccessful painter is the enigmatic Yang (Hsu Feng), a fugitive noblewoman in disguise.

A TOUCH OF ZEN reveals King Hu to be a visually driven director. He suggests the haunted quality of the setting by focusing on long shots of the tall grass moving in the wind, and the fog eerily snaking through the village. Those tall grasses with white, bushy tops were not native to the area where the film was shot. The grasses were transported from another part of the national park in Taiwan where many of the scenes were shot because of the way they gently swayed in the wind. Hu, who was quite knowledgeable about Chinese history and culture, translated certain characteristics of Chinese painting into the medium of film. The mist and the treetops are obvious, but the connection between his horizontal tracking shots and Chinese scroll paintings is subtle. In a long shot of characters walking through the wilderness, the camera tracks with them from a distance. The take is long in duration as the camera keeps the characters center frame. Only the background scenery changes as the characters move screen left. The effect is like looking at a horizontal scroll in which your eyes move from one section of the scroll to the next.

The first fight scene between Yang and a corrupt general is a long time coming, but the graceful wirework as the combatants effortlessly glide over the rooftops and summersault through the air makes the wait worthwhile. Hu’s crisp editing and moving camera accentuate the choreography of the fight scenes, anticipating Zhang Yimou’s HERO (’02) decades later. The female protagonist, the wirework combined with martial arts and the mystical quality of nature found in A TOUCH OF ZEN became the conventions of the wuxia genre during the 1960s. The film was an international success and won the Golden Palm at the 1975 Cannes Film Festival.

King Hu returned to Hong Kong in the early 1970s. He was persuaded to direct films for Raymond Chow, who opened Golden Harvest studio in 1970. Chow had served as production chief for the Shaw Studio. When he decided to break out on his own, he snatched up some of the Shaw Brothers’ talent. Hu organized his own small production company but released his films through Golden Harvest.

During the 1970s, the martial arts film moved in a different direction. The fantasy elements, mythic-historical settings and female warriors were replaced by contemporary stories of cops and combatants who were experts in kung fu. Their feet were firmly planted on earth as they kicked, jabbed and jumped their way through tightly choreographed fight scenes. As wuxia films receded from the spotlight, King Hu could not sustain the momentum generated by A TOUCH OF ZEN, though he continued to direct films for the next 20 years. Still, DRAGON INN (aka DRAGON GATE INN) and A TOUCH OF ZEN were essential to the development of a genre, making King Hu a significant figure in film history. In that way, they are comparable to the early Westerns of John Ford or the English thrillers of Alfred Hitchcock.

[gaycocksmodels64]

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[sheclovercom]

一同乘載回憶的列車，繼續懷抱夢想前行 人生是輛不停前進的單程列車，從生命之初開往落日之盡，沿途景色變換各站停靠，那些來來去去的人們，中途時而上車時而下車，月台上的歡欣與悲喜，車廂裡的駐足與遙望，可能擦肩而過，可能短暫停留，緣份讓我們在這段旅程上相識相知相惜相伴。

S.H.E的夢想列車將一路行駛，生命不斷延伸，你與我更多回憶將不停誕生！

S.H.E 十七週年紀念單曲 吳青峰寫詞譜曲量身打造 十七歲的青春詩篇 你我再翻完美一頁

數位收聽『十七』- https://SHE.lnk.to/17

十七 詞/曲：吳青峰

在無窮無盡之間 充滿吶喊的子夜 十七歲的我們 在哪邊 在未來攤開之前 期待又怕受傷害 是我 和你和你 說著夢想 說著心願

在有來有往之後 三種特別的語言 上天選了我們 圍成圈 在潮起潮落之間 將我環繞的世界 拾起 許多情節 如此和諧 如此無間

時間的長河 我非你們不可 緣分的比喻 匯流成一首歌 那是我們 從還懵懂的青春 變成 最重要的人

也許經歷過聚散和離分 也許嘗受過懷疑眼神 我們的生命卻不斷延伸 更多的回憶不停誕生

我們的感情 不是什麼新聞 你身邊也會 有珍惜你的人 那是我們 最想祝福的你們 懂得 活著的快樂

一起走過了 彼此一半的人生 陪伴只會累積得更深

就一起走著走到了永恆 還請你們陪我們見證

數位收聽『十七』- https://SHE.lnk.to/17

製作人：王治平 編曲：溫奕哲 配唱製作人：馬毓芬 和聲編寫：馬毓芬 和聲：S.H.E

弦樂編寫 Music & Strings Arrangement：溫奕哲 Phil Wen 吉他Guitar：鍾丞洋 貝斯Bass：黃群翰 鼓Drums：楊凱淋 口風琴Melodica：溫奕哲 Phil Wen 弦樂監製String supervisor：溫奕哲 Phil Wen 小提琴 Violin：蔡曜宇 Shuon Tsai、朱奕寧 Yi-Ning Ju 中提琴 Viola：甘威鵬 Weapon Kan 大提琴 Cello：劉涵 Liu Hang 弦樂錄音師 Recording Engineer：溫奕哲 Phil Wen 弦樂錄音室 Recording Room：皮老闆錄音室 Master P’s Studio Bass錄音室：Lights Up Studio 鼓錄音室：楊記錄音室 Yang Studio

製作助理：張育碩 錄音師：馬丁 錄音室：華研猛蛋錄音室 混音師：Craig Burbidge @After Shock studio, LA

【工作人員Credit】

Director：Muh Chen 陳奕仁 Production House：Grass Jelly Studio 仙草影像 Client：HIM 華研國際音樂 Starring：Selina 任家萱 / Hebe 田馥甄 / Ella 陳嘉樺 Co-Starring：任明廷Ming Ting Jen / 鄭瑞蘭Cheng Jui Lan /大目DaMove @DANCE SOUL

Makeup：瑤瑤 Ara Wu @Prettycool 美少女工作室 /曾宥寧Queena Tseng /阿鳳 Evone Chang Hairstyle：Ethan Yao @ hc group / Johnny Ho @ hc group / Cora Ho @ hc group / Ban Chen @ hc group Stylist：曾瓊鶯Olive Tseng Stylist Assistant：王瑾瑩Wang Chin Yin Co-ordinator Hairstyle：Nelson @ZOOM Hairstyling /張伊晴Eleanor Chang Co-ordinator Makeup：張伊晴Eleanor Chang Special Thanks：MS IDEAS

Production DEPT.： Production House：仙草影像Grass Jelly Studio Director：陳奕仁Muh Chen Assistant Director：林曉娸Xiao Chi Lin Director’s Assistant：陳湘喬Rita Chen / 洪凡柔Roddy Hung

Producer：王漢聲Hanson Wang @ Wang’s Studio 聲意旺影音工作室 Line Producer：何逢霖Hill Ho Producer’s Assistant：王璽皓Hsi Hao Wang /湯雅庭Mogan Tang

D.P.：范勝翔Sheng Siang Fan Movi Technician：彭茯星Fu Hsing Peng 1st Asst. Camera：陳柏言Po Yen Chen Camera Assistant : 鐘士偉Shih Wei Chung / 賴建榮Chien Jung Lai / 蔡亞玲Ya Ling Tsai

Gaffer：洪國城Guo Cheng Hong Best Boy Electrician：李模帥Mo Shuai Li Lighting Technician：王雋元Jiuan Yuan Wang / 李培瑋Pei Wei Li / 張仲翰Chung Han Chang / 溫彥博Yen Po Wen

Production Design：郭志達美術工作室ADALA STUDIO Production Designer：郭志達Chih Da Kuo Set Designer：王則岳Che Yueh Wang Graphic Design：鄭以琦Chris Cheng Set Dresser：王鈺婷Chanel Wang / 張雅涵Ya Han Chang Art Assistant：楊晴亞Ching Ya Yang / 郭秋瑾Chiu Chin Kuo / 黃嘉誼Chia Yi Huang Internship：胡淑媚Shu Mei Hu / 鍾政宏Cheng Hung Chung

Scenic：法蘭克質感創作有限公司Frank Scenic Art Company Scenic Art Consultant：陳新發Frank Chen Lead Scenic Painter：林佩蓁Pei Chen Lin / 謝忠恕Zhong Shu Xie / 陳瑞龍Jui Lung Chen Sceinc Painters：林相如Hsiang Ju Lin / 郭佳妤Jia Yu Kuo / 許毓娟Yu Chuan Hsu / 紀品竹Pin Chu Chi /吳妍樺Yen Hua Wu / 蔡淳馥Chun Fu Cai

Wrought Iron Art：弘展工作室Hung Jan Studio 吳京虔Jing Qian Wu / 潘嘉芳Chia Fang Pan / 辜和益Ho Yi Ku

SFX：路飛特效創意行銷有限公司SFX Special Effect Luffy Tech Corporation

Video Engineering：民偉視訊工程有限公司MEWAY VISION ENGINEERING CO Ltd. 許尚淵Shang Yuan Hsu / 徐立緯Li Wei Hsu / 黃宏明Hung Ming Huang / 陳家榮Chia Jung Chen / 呂卓漢Cho Han Lu / 高棋琳Chi Lin Kao / 吳哲賢Che Hsien Wu / 陳智龍Chih Lung Chen / 許宇騰Yu Teng Hsu /鄭家興Chia Hsing Cheng / 巫國基Kuo Chi Wu

Best Boy Grip：緯盛工作室Weisson Studio 許裕成Yu Cheng Shu / 李宗庭Tsung Ting Li / 陳政翰Zheng Han Chen / 陳彥豪Yan Hao Chen / 譚凱富Kai Fu Tan / 邱詠祥Yung Hsiang Chiu / 許峻豪Chun Hao Hsu / 許誌峯Chim Feng Hsu / 林斯偉Sih Wei Lin / 吳明吉Ming Chi Wu / 邱宥翔Yu Hsiang Chiu / 傅昱仁Yu Jen Fu / 劉川琪 Chuan Chi Liu / 藍功民Gong Min Lan / 呂鴻昌Hung Chang Lu

Stylist：陳八比Barbie Chen @米兔皇造型工作室Mii2 Styling Makeup & Hairstyle：陳怡靜Yi Ching Chen / 林芝羽 Chih Yu Lin

Casting：滃滃國際有限公司Wong Win International Co. Ltd

Studio / Lighting：鴻臣片場Hong Chen Film Studio Camera Rental：班生國際有限公司Ban Sheng International Co. Ltd / 和寬攝影器材有限公司He Kuan Equipment Co. Ltd. Camera Support Equipment：懿生移動影業Grip Trix / 力榮影業有限公司LEE RONG FILM & TV EQUIPMENT CO.

Transportation：莊素 Su Chuang / 葉能營Neng Ying Ye @五福將工作室

Sound Effect：奇奕果有限公司Kiwi Audio & Visual Production Inc. Sound Effects Editor：蔣震道Chen Tao Chiang Voice Talent：許伯琴Po Chin Hsu

Design & Animation：仙草影像Grass Jelly Studio VFX Supervisor：陳威廷Weiting Chen Executive Producer：廖梓雯Iris Liao Project Manager：賴奕如Ekijo Lai Financial Manager：陳奕如Lulu Chen

CG & Compositing Lead：苗天雨Greg Miao

Story：李季軒Both Li / 林曉娸Xiao Chi Lin / 陳湘喬Rita Chen / 洪凡柔Roddy Hung

Designer：梁育碩Yu Shuo Leung

3D Animator：黃勗Nigel Huang / 王玨凝Janet Wang / 蘇袖惠Youzi Su / 陳家和Eason Chen

FX Artist：林伯瀚Han Lin

Compositing：黃勗Nigel Huang / 李文婷Wen Ting Li / 林佳儀Gobao Lin

Compositor‘s Assistant：陳家和Eason Chen / 冀擎Ching Chi / 黃于瑄Yu Hsuan Huang / 陳信翰Wilson Chen / 周祐諆Yuki Chou / 陳家榆Jia Yu Chen / 江敬Gene Jiang

Additional Compositor‘s Assistant：邵偉豪Weahao Shao / 張雅雅Ya Ya Chang / 林于心Emory Lin / 呂庭儀Ting Yi Lu / 梁雅雯Wen Liang

Colorist：陳威廷Weiting Chen

[goalhofer]

2020 Fubon Shouhu Zhe Players By Nationality

American: 3 (Ryan Bollinger, Mike Loree & Bryan Woodall)

Taiwanese: 60(Cheng-Wei Chang, Jui-Lin Chang, Keng-Hao Chang, Kuan-Ting Chang, Yung-Han Chang, Hung-Wei Chen, Kai-Lun Chen, Kuan-Chieh Chen, Ming-Hsuan Chen, Pin-Chieh Chen, Shih-Peng Chen, Wei-Chi Chen, Chih-Hsien Chiang, Kuo-Hao Chiang, Yi-Sheng Chu, Pei-Feng Dai, Kuo-Chen Fan, Yu-Yu Fan, Ke-Wei Fang, Yu-Ming Hsiao, Yuan-Hsu Hsin, Chin-Lung Hu, Kuan-Yu Hu, Yi-Chih Huang, Jyun-Long Jhang, Hsiao-Yi Kao, Kuo-Hui Kao, Kuo-Lin Kao, Hung-Cheng Lai, Tsung-Hsien Lee, Chien-Hsun Li, Che-Hsuan Lin, Chen-Hua Lin, Chih-Yang Lin, Sheng-Jung Lin, Wei-Ting Lin, Yi-Chuan Lin, Yi-Hao Lin, Yi-Hao Lin, Yu-Ying Lin, Kuo-Hua Lo, Fu-Te Ni, Shu-Chen Ou, Hsuan-Hung Peng, Hao-Wei Shen, Hsiang-Yu Shih, Yun-Chen Tai, Ming-Jin Tsai, Tsz-En Tseng, Cheng-Tang Wang, Wei-Yung Wang, Shih-Tsung Wang, Shih-Hao Wu, Cheng-Hao Yang, Chin-Hao Yang, Pin Yang, Kuan-Wei Yao, Kuo-Ching Yeh, Sen-Hsu Yu & Ting-Wei Yu)

Dominican: 1 (Henry Sosa)