*Note: We are no longer screening “Forbidden City, U.S.A.” on this date*

C4 is pleased to present “Made in China” (2008). Filmmaker John Helde sets out to understand his father Tom’s remarkable childhood as a white American growing up in 1930’s China. Navigating his father’s reticence, he tracks down Tom’s China-born peers, a unique community of Americans who grew up with a foot in two cultures. But when cancer intervenes, John’s hope for his father to return to the home he left behind fades – and John’s ensuing solo journey across modern China, guided by new friends, becomes an exploration of what “home” really means.

This film is 70 minutes long, and in English.

For more information about C4, and a listing of the entire year’s program, visit our 2008 Film Series page.

“Gripping, relentlessly tragic retelling of life in revolutionary times.” – Hua Hsu, Village Voice

Morning Sun attempts to create an inner history of the Great Proletarian Cultural Revolution (c.1964-1976). It provides a multi-perspective view of a tumultuous period as seen through the eyes – and reflected in the hearts and minds – of members of the high-school generation that was born around the time of the founding of the People’s Republic of China in 1949, and that came of age in the 1960s. The film essays a psychological history, attempting a cinematic account of experiences and emotions represented by the people, events and ardor of the period.

For more information about C4, and a listing of the entire year’s program, visit our 2008 Film Series page.

More information to come.

Chinese Culture Center Cinema (C4) is pleased to present a special installment of our current film festival. Alongside our screening of Farming the Seas, we are holding a workshop to discuss and learn about the issues facing seafood resources and their relevance to us as individuals and as a community.

Ocean fisheries have been depleted by more than 90% over the past century due to over harvesting by humans, and the loss of resources from aquatic ecosystems endangers cultures that utilize those resources for food and traditions. For the Chinese American community, the idea of maintaining sea resources in an environmentally sustainable matter is practical. Seafood plays a vital role in the cultural food of Chinese American diets, as most family gatherings will contain a fish dish. Chinese culture emphasizes prosperity for future generations, but this is only possible if resources are managed responsibly.

The workshop includes a partial screening of Farming the Seas, a panel discussion, and tips on how to make conscious consumption choices as an individual. Free magazines, recipes, handouts, and light refreshments will be provided. All are welcome, though material is suitable for a more mature audience (highschool and older).

The Moderator:

Derek Emmons is a third year environmental studies major at UC Santa Cruz. He is a 2007 In Search of Roots intern with the Chinese Culture Center.

The Panel:

Olivia Wu is the Executive Chef at Google. Her restaurant on the Google campus at Mountain View serves Asian small-plates fare, with a core of traditional Chinese menus and authentic dishes. She was previously a writer with the San Francisco Chronicle Food and Wine section. In 2006, she was assigned by the paper to report on food and culture from Shanghai.

Sara Randall is Program Director for The Institute for Fisheries Resources (IFR) where she oversees and implements projects that aim to restore and protect marine resources and the fishermen and coastal communities which depend on the resources. For the last four years she has worked to unite the United State’s entire commercial fishing industry into a national coalition, called the Commercial Fishermen of America, and educate Americans about the profession of commercial fishing.

Al Cheng is an educator of 30 years, renown for his involvement in the Chinese American Community, and served on the Chinese Culture Center governing board during the past 20 years. He has been elected president and co-chairperson for three terms each, and is currently the center’s executive director. Cheng is co-founder of the In Search of Roots program, an 18 year old program that guides Chinese American youth in genealogy and to their ancestral villages in China’s Pearl River Delta.

Jesse Marsh is Fisheries Research Manager for Monterey Bay Aquarium’s Sustainable Seafood Initiative and focuses on sustainability evaluations of wild-caught seafood products for consumers and businesses. Jesse received a B.A. in Environmental Science from Boston University, and a Master of Environmental Management from Duke University. Her passion for marine conservation began 10 years ago, while spending a semester in Baja California Sur researching the sustainability of fisheries and fishing communities there.

About the Film:
Farming the Seas (2004) English/ No Subtitles
Aquaculture was intended to take the pressure off ocean fish stocks and help avert a global food shortage, but many experts now believe that some forms of “fish farming” are actually creating more problems than they’re solving. This film journeys around the world documenting the most important stories as they unfold. From the indigenous tribes of British Columbia to the large-scale operations of multinational corporations, from Mediterranean fishermen to Thai shrimp farmers, Farming the Seas gathers perspectives from around the globe as it examines the problems and the promises of this emerging industry.

Reviews:
“Well-crafted and important environmental documentary that combines superb research, production values and journalism…My students were educated, entertained, and inspired.” David L. Brown, City College of San Francisco

“Excellent footage of aquaculture operations…It is easy to see why Farming the Seas won the award for Best Marine Conservation Message at the International Wildlife Film Festival and a host of other awards as well. It is well researched, well edited and a timely and interesting look at the potential problems associated with aquaculture. I highly recommend this video to all libraries.” Barbara Butler, Educational Media Reviews Online

“An outstanding job is done in contrasting the farming of [salmon, shrimp, and tuna] with the more sustainable Chinese practice of raising non-predatory fish and shellfish… The narration by Peter Coyote is excellent. Numerous short interviews effectively feature both advocates and opponents of aquaculture enterprises, including indigenous people, scientists, and industry representatives. With adequate background information provided prior to viewing, the program would be suitable for students in ninth grade and above.” Tim Maret, Shippensburg University for School Library Journal

For more information about C4, and a listing of the entire year’s program, visit our 2008 Film Series page.

Shanghai’s principal dancer, 33-year-old Jin Xing, is a big star. She is the first choreographer to have received recognition in over half a century of national communism. But the most amazing thing about Jin Xing is that, up until 1995, this beautiful young woman was a man, a colonel in the People’s Liberation Army. Despite Jin Xing’s transcendence in the dance world, however, she is still up against the Chinese bureaucracy which refuses to give her permission to perform on the stages of the Western world.

To read an article on Colonel Jin Xing and her incredible life, click here.

For more information about C4, and a listing of the entire year’s program, visit our 2008 Film Series page.

Chinese Culture Center Review of “Colonel Jin Xing: A Unique Destiny”
by Sara Long

Colonel Jin Xing: China’s Most Emblematic Transsexual is not what you would expect. It isn’t the sex change, military childhood, single parent adoption, or sensuous performances that will catch you off guard. What will surprise you is the singular lack of tragedy or despair in Jin Xing’s remarkable life.

When I hear the phrase “first sex change operation in China”, I think of hardship and the multitude of troubles that come with being any kind of pioneer, especially when it relates to gender and society. Indeed, there were bumps in the road for Jin Xing, and the documentary does chronicle her family’s initial confusion and her tearful departure from her mother as she is driven to the hospital to undergo surgery. However, these moments seem only to be a small part of Jin Xing’s life, and overall the film is a celebration of passion, freedom, and excitement. More importantly, it is also a film about acceptance – although several people interviewed admitted they did not understand why Jin Xing wanted to become a woman, everyone had something glowing to say about her.

In fact, if I had to find a fault with this film, I would be tempted to call it over optimistic, a little too positive. The documentary only lightly touches on the fact that Jin Xing does not meet her father at his house, but only ‘on neutral ground’, out of concern for his government career. A former teacher of hers sugar coats his satisfaction at her not publically shaking hands with him by claiming that he hadn’t been ready for her metamorphosis yet. These negative reactions to Jin Xing are few, scattered, and quickly brushed over by the documentary. Even so, I imagine that if I were the filmmaker, I would have done the same thing. It is hard to imagine putting together a sad piece of work when Jin Xing herself is so upbeat and full of life.

If I were to describe Colonel Jin Xing: China’s Most Emblematic Transsexual in cheap Hollywood terms, I would call it a “feel good” movie. Jin Xing’s parents are confused, but still love and support her. She wants to raise a child, and her mother finds her a beautiful baby boy. She was once China’s most renowned male dancer, now she is China’s most renowned female dancer. She is a hardworking professional, a mother, a business owner, even an action movie star. I would like to say something else cheesy, like it is a story about the “power of hope”, but it isn’t. Jin Xing doesn’t need hope. She just needs to be herself, and wonderful things will follow.

This documentary film is about the outstanding Beijing University student Lin Zhao, who was labeled a rightist when she criticized the Anti-Rightist Campaign in 1950s. She was imprisoned and later executed. In Philip Pan’s recent book “Out of Mao’s Shadow”, two chapters were written about this documentary, quoting the filmmaker Hu Jie about Lin Zhao: “(the film is) inspired by her courage, and her uncompromising sense of justice… It was extraordinary that a great woman like Lin Zhao once lived in China… I thought she was a national treasure.”

This film is co-presented by WACSF (World Affairs Council San Francisco),AAWAA(Asian American Women Artists Association), IMOW (International Museum of Women), OACC(Oakland Asian Cultural Center), CCS(Center for Chinese Study) in UC Berkeley.

For more information about C4, and a listing of the entire year’s program, visit our 2008 Film Series page.

這部紀錄片記述了北京大學一名出色的學生–林昭。 20世紀50年代，由於批判當時的反右傾，她被打成右派分子，被投入監獄並最終被處死。在潘公凱最近出版的”走出毛澤東的影子”一書中，有兩個章節是描寫 這部紀錄片的。書中引用了該片製片人胡杰對於林昭的評價：”（這部電影）的靈感來自於她的勇敢，以及對真理的不妥協態度…能有像林昭這樣偉大的女性生活在中國是在是件幸事…我認為她是國家的財富。”

Co-presented by:

Here are some excerpts from an interview with Hu Jie, the director of “In Search of Lin Zhao’s Soul.” For the full interview, please visit here. You can also read Philip Pan (China correspondent for Washington Post and Author of Out of Mao’s Shadow)’s take on the movie here.

SR: How did you discover Lin Zhao?

HJ: Actually I discovered her story by chance. One day a few friends and I were hanging out. One of them said his parents were Lin Zhao’s classmates. I asked who Lin Zhao was. He told me that Lin Zhao was a student at Beijing University in the 1950s. Because of some poems, she was arrested and put in gaol. In gaol she continued writing. She did not have any ink, so she wrote many things with her blood. In the end, she was executed.

His words were simple but very shocking to me. I had never heard this kind of story: that one was arrested for writing poetry and killed for writing books with blood. I never thought that in Mao’s China there was this kind of people who would fight against the Communist Party, literally with blood. I thought that writing with blood could only write a few characters, but I was told that Lin Zhao wrote thousands and thousands characters with blood.

This story was so shocking that I began to collect information and materials about Lin Zhao. I wanted to know her.

By then I was working at the Centre for Pictures of Xinhua News Agency. I had worked there less than three years, shooting those short films about migrant workers. After I began to conduct research about Lin Zhao, one day my boss in Xinhua News Agency talked to me and told me that I could not work there anymore. He was very serious and said, “What you are doing, you know best. We do not want to know. You have two choices. One is to be fired from your job; the other is to resign by yourself.” I thought it would be terrible to be fired, so I chose to resign. They did not tell me why, but I know clearly: I was doing research on Lin Zhao. They also told me that they did like me very much because I was one of the major hands at the Centre, but they could not allow me to continue working there due to pressure from above. Who is above Xinhua News Agency? I understand that must be The Bureau of Public Safety.

SR: What do you think about this film? How significant is it for the Chinese people?

HJ: I think that Looking for Lin Zhao’s Soul is the first documentary to record and reflect the historical periods of the anti-Rightist campaign and the Cultural Revolution in China. It is the first time that we Chinese used documentary films to reflect history. However, when I was making the film I did not think about this issue. Now I see the issue clearly. Indeed, there is a huge blank in Chinese history, such as the death by starvation for 40 million people from 1959–1962, the Cultural Revolution, and others, because in China there is neither discussion about these historical periods nor documentary films recording those historical events. Perhaps Wu Wenguang’s film, 1966: My Experience as a Red Guard (1993), is the only documentary film that touches upon these issues.

After I made the film about Lin Zhao, I realized that there is a massive resource for documentary film in China. The resource awaits us to discover. That is the history including before and after the anti-Rightist campaign, the anti-Rightist campaign itself, the Great Leap Forward, the starvation, and the Cultural Revolution. I feel we could and should have numerous films only about the Cultural Revolution, such as the massacres, the fighting among people in the Cultural Revolution. I believe that all of these can be objects for documentary film. I now go to colleges to give lectures, and I always tell students this idea. I feel that we should record this history with many, many peoples’ participation. Because the Chinese official authority does not want us to remember the history, we non-official people should remember on our own. I told students, “Go to ask your parents and grandparents how they starved, how they took part in weapon fighting in the Cultural Revolution. Go record their words. If we do this for five years, we would make a great contribution to Chinese history.”

C4 is pleased to present “Gate of Heavenly Peace” (1995), a film by Carma Hinton & Richard Gordon. This film will be the longer version of 189 minutes, played in some Mandarin & English with English subtitles.

“Gate of Heavenly Peace” (1996) is a feature-length documentary about the 1989 protest movement, reflecting the drama, tension, humor, absurdity, heroism, and many tragedies of the six weeks from April to June in 1989. The film reveals how the hard-liners within the government marginalized moderates among the protesters (including students, workers and intellectuals), while the actions of radical protesters undermined moderates in the government.

Please note that we will no longer be hosting a panel discussion as our China Earthquake Relief Fundraiser is now being held the same night, and we require additional set up time between events. Thanks for your understanding.

For more information about C4, and a listing of the entire year’s program, visit our 2008 Film Series page.

時間：2008年7月12日，中午12點開始
地點：舊金山中華文化中心，kearny 街750號，3樓
票價：會員3美元，非會員5美元

C4將于下一季榮幸為各位朋友帶來由卡玛和高富贵拍攝的電影《天安门》(1995)。 此片將为未被广泛放映的189分钟加长版本，以部分國語和英文對白，英文字幕放映。

了解更多有關C4信息，以及整年的節目安排表，請登陸我們的網頁查詢2008 Film Series page.

For a sample of what will follow the screening, here is a review from a CCC member.

At just over three hours, The Gate of Heavenly Peace is a dense film packed with people, events, and ideology surrounding China’s Tiananmen Square episode of 1989. As with any documentary dealing with such an explosive set of events, the question must be asked: “Who does this film portray as ‘right’?”

Well, the filmmakers clearly empathize more with the protesters, but that is not to say that the all government officials are vilified, and all students are seen as heroes. At its heart, The Gate of Heavenly Peace is a documentary of the destructive forces of extremism, and there was a mix of moderates and extremists on both sides of the protest. In some ways, the film can actually been seen as a sounding board for the moderates whose voices were drowned or ignored as events at Tiananmen escalated. As would be expected this includes teachers and students, but the camera even meets moderate government officials, such as Zhao Ziyang, with a degree of compassion.

Though it is done very gradually during the film, The Gate of Heavenly Peace also draws out a repeating cycle of behavior, reasserting itself among each new generation. Reaching back as far as 1919, a particular historical pattern is shown in which those people, usually youth, feeling frustrated and left out of the system revolt. These revolutionaries incite change and become the leaders of the latest movement, only to go on to censure and repress others in order to maintain the new status quo. As the film states, ” More than once, Deng [Xiaoping] had suffered from the absolute power wielded by top leaders in China, but his reforms stopped short of limiting his own power… faced with a crisis he reached for the old weapons”. The communist party is depicted as the main stage on which this pattern is played out, but several incidents of students intimidating their less powerful peers are the film’s attempt to show the seeds of this pattern beginning to bloom among the student movement.

Again, who does this film portray as in the right? The answer is this: though The Gate of Heavenly Peace’s sympathies lean toward the students, the main culprit of the movie is not necessarily the government itself, but the influence of extremists on either side of the square, and China’s self-defeating pattern of political behavior.

Event proceeds will be donated to help the earthquake victims in Sichuan, China.

In the wake of the catastrophic earthquake in Sichuan province and on the eve of the Beijing Olympics, Discovery Channel Managing Editor Ted Koppel presents Koppel on Discovery: “The People’s Republic of Capitalism.”

This sweeping, four-part series — what Koppel himself calls “the most extensive project I’ve ever undertaken” — centers on the southwestern city of Chongqing in Sichuan province. A city whose population has quadrupled in the last decade to 13.5 million people, Chongqing could be the most populous city that most Americans have never heard of.

In each hour-long program, Koppel and his team of producers explore America’s economic relationship with China as well as capitalism’s effect on the Chinese people. The series premieres on Discovery Channel over four nights beginning July 9 at 10 PM (ET/PT).

On July 1st, please join the Asia Society as we host a preview screening of part two of the series, “From Maoism to Me-ism,” which considers religion, sexuality, political freedom, and the role of the nuclear family as Koppel profiles a cast of characters in and around Chongqing. Associate Producer Alissa Shapiro and Executive Producer Tom Bettag will be on hand to discuss the project.

Seating is limited; please RSVP early
To register online, please visit https://secure.acceptiva.com/?cst=162a1d
or call 415.421.8707

Tom Bettag is Executive Producer of Koppel on Discovery. Previously, he spent five years as executive producer of the CBS Evening News With Dan Rather and 14 years as executive producer of ABC News Nightline With Ted Koppel. Bettag is the recipient of six duPont-Columbia University Silver Batons, three Overseas Press Club Awards and 30 Emmys. In 2004, he was awarded Quinnipiac University’s Fred Friendly Award, which honors journalists who have shown courage and forthrightness in preserving the rights set forth in the First Amendment.

Alissa Shapiro is an Associate Producer for the Koppel Group. Alissa joined the team in June 2006 after graduating from Northwestern University. She has assisted with all of the Koppel on Discovery productions, including Iran, The Most Dangerous Nation which received an Emmy in 2007 for Best Long Documentary. Shapiro spent three months in Chongqing, China working on The People’s Republic of Capitalism.

Co-sponsored by Chinese Culture Center

C4 is pleased to present “Summer Palace” (2006), a film by Lou Ye, for its next installment. This film will be played in Mandarin with English subtitles.

Banned by the Chinese government, this powerful drama follows rebellious young Yu Hong as she leaves her small village and her family behind to attend Beijing University in the late 1980s. As her tumultuous relationships with two different men reflects the turmoil gripping her country, she begins to become overwhelmed by chaos. (Note: Due to its graphic nature, this film is suggested for mature audiences only.)

For more information about C4, and a listing of the entire year’s program, visit our 2008 Film Series page.

Here are some excerpts from A. O. Scott’s review of the movie from the New York Times:

“Summer Palace,” which was first shown in competition at the 2006 Cannes Film Festival, is remarkable for its candor about politics and sex. Perhaps unsurprisingly, its honesty has not been appreciated by Chinese authorities, who banned Mr. Lou from making movies for five years after he brought it to Cannes without their permission. But the film’s ardent, unsentimental embrace of youthful idealism is likely to strike a chord with anyone who can recall — or imagine — such feelings overtaking his or her own life.

Mr. Lou, however, is not interested only in reconstructing a vanished moment of high, intoxicating promise in his heroine’s (and his generation’s) youth. He is equally concerned with what comes after, with the drift, disappointment and compromise that seem, for his characters, to constitute both the legacy of Tiananmen and the mundane facts of postgraduate life. He follows Yu Hong and Zhou Wei as they make their way across the splintered landscape of adulthood, and takes note, via television clips, of the changing world around them.

In the end Mr. Lou is not trying to reflect on the recent Chinese past so much as he is trying to communicate its texture. Perhaps inevitably, this effort leaves some loose ends and blurred impressions. But in “Summer Palace” he nonetheless succeeds in finding a cinematic language that does more than summarize the important events of a confusing decade. He distills the inner confusion — the swirl of moods, whims and needs — that is the lived and living essence of history.

For the entire review, click here.

時間：2008年6月20日，下午5點30分開始
地點：舊金山中華文化中心，kearny 街750號，3樓
票價：會員3美元，非會員5美元

C4將于下一季榮幸為各位朋友帶來由婁燁拍攝的電影《頤和園》(2006)。 此片將以國語對白，英文字幕放映。

影片講述了在1989年的中國，當時社會政治複雜，身處其中的兩個年輕人的愛恨糾葛。漂亮的虞紅離開了她的村莊，家庭和男友去北京學習，在那裡她發現了一個展新的世界。並愛上了周偉。兩個人的關係變得危險起來。(注意:介於電影情結的需要, 只允許成人觀看)

了解更多有關C4信息，以及整年的節目安排表，請登陸我們的網頁查詢2008 Film Series page.
頤和園 摘自紐約時報A.O.Scott的評論

“颐和园”第一次亮相是在2006年的戛纳电影节，对于性和政治的坦率让人印象深刻。不出意料地，它的真诚并不没有得到赞赏，因为没得到许可就把电影拿去戛纳参展，娄烨被禁止5年内不能拍电影。但是影片对年轻时理想主义的殷切的拥抱，拨响了那些有类似经历的人们心中的琴弦。

婁燁不僅僅滿足於重構那些從女主角（以及他們那一代人）的青春里消失的微醺的瞬間。他同樣關心接下來的那些失望、妥協、顛沛流離，這些共同構成了電影角色的天安門傳奇以及畢業後的平凡生活。他跟隨餘紅和周偉支離破碎的成長，用錄像帶記錄他們周圍變化的世界。

婁燁更願意梳理中國最近幾十年的歷史紋路而不是反思。也許正是這樣，影片不可避免地留下了些許不了了之的模糊的表達。不過在電影“頤和園”中，婁燁不僅僅是記錄了這十年的重大事件，他更是找到了一種電影語言。他從那些感情的漩渦與狂想中提煉出的，正是栩栩如生的歷史的精華。

點擊查看全文這裡.

Grassroots Filmmaking and its impact on contemporary Chinese culture: Grassroots filmmaking is becoming increasingly significant to Chinese and Chinese American communities as many up and coming social movements are being spearheaded, explored, and grounded through this medium. Acknowledging the growing importance of the grassroots genre, the June 7th launching of 2008’s Chinese Culture Center Cinema program showcases two unique independent short films, Red Thread, and Have Food Will Travel.

Red Thread (2008); 19 minutes
Jim Choi’s Red Thread chronicles the installation of artist Beili Liu’s “Lure惑” exhibit, currently on display at the Chinese Culture Center gallery. While the physical set up of the exhibition is a part of Red Thread, the film tells a much larger story. Born in China, and currently living and working in America, Beili Liu creates work colored by diverse cultural influences, and Red Thread examines the way in which these cultural dynamics embedded in the exhibit speak to viewers from a variety of backgrounds. Art of this nature, the film seems to suggest, is not a solo endeavor, but a truly a communal affair.

Have Food Will Travel (2008); 12 minutes
In Have Food Will Travel, Leonard Shek, an intern from the Chinese Culture Center’s In Search of Roots program, shows how the everyday act of eating can easily transform into an assertion, or exploration, of one’s cultural identity. Starting in the kitchens of San Francisco’s Chinatown, Shek eats his way to China, and through the villages once inhabited by his and his fellow intern’s ancestors. Just like the customs and people he encounters, the food is sometimes familiar, sometimes foreign, and sometimes merely reminiscent of what he is acquainted with back in America. Throughout it all, the consumption of food represents an opportunity to reassert connections: to one’s family, to one’s community, and to one’s own identity.

Have Food Will Travel: Pearl River Delta from Leonard .

Documentary by Felicia Lowe; 10 minutes

After the screenings, the Chinese Culture Center will be hosting a panel discussion of the films. Panel members include filmmakers Felicia Lowe, Leonard Shek, Chinese Culture Center Program Director Abby Chen, and moderated by renowned TV host Jay Stone Shih.

For more information about C4, please visit our 2008 Film Series page.

2008年6月7日——C-4開幕放映式和討論會

電影放映式和專題討論會
地點：中華文化中心，希爾頓飯店三樓
舊金山Kearny街750號
時間：2008年6月7日，下午2點30分
票價：會員3元，非會員5元

草根電影製作對於中國人以及美國華人來說，已經變得越來越顯著。因為有很多正在發生和即將發生的社會變革正在通過這一媒介被銳化和發現。借助這一草根群體越來越重要的地位，2008年6月7日，中華文化中心放映廳將推出2部獨特的獨立製作的電影：《紅線》和《民以食為根》。

《紅線》（2008）；19分鐘
藝術家劉北立的裝置展“Lure惑”，由Jim Choi製作, 以中國的紅線傳說為主線，目前在中華文化中心畫廊展出。儘管製作過程也是《紅線》裝置展的一部分，但是影片為我們講述一個更完整生動的故事。劉北立出生於中國，如今生活並工作在美國，她所創作的作品帶有多種文化融合的色彩， 《紅線》裝置展詮釋了這一方式，通過將不同的文化深深地匯入作品中，並將其展示給來自不同國家的參觀者。影片所反映出來的這一原生態藝術，不僅僅是孤立的活動，而是一項真正意義上的公共事業。

《民以食為根》 （2008）；12分鐘
石樹勛是中華文化中心籌劃的“尋根”項目中一個實習生，在《民以食為根》中向人們展示了每日飲食是如何轉化為文化特性的一種表現和探索方式。 石樹勛起初是在舊金山中國城各個大小廚房中開始，嚐到有中國特色的食物，再去探訪他及其同伴的先人繁衍生息的村莊。正像他所感受的風俗和接觸的人一樣， 石樹勛在那裡所嚐到的食物對於他來說，有時熟悉，有時陌生，有時讓他感覺彷彿回到了美國。經歷了這一切之後，飲食營造了一個良好的氛圍，重新促進了某個家庭，某個社會和某個文化特性的聯繫。

在《紅線》和《民以食為根》首映之後，文化中心將就電影舉行辯論會。與會人員包括電影製作人Felicia Lowe，石樹勛和中華文化中心項目主任Abby Chen，並由知名主持人史東主持進行。

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