Gong Li 1990
Paula Shuffleburg
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Endometrial cancer (EC) is the most common malignancy affecting women in developed countries. Recently, the EC disease burden has changed; therefore, the Global Burden of Disease (GBD) 2017 was used to comprehensively analyze the global, regional, and national burden of EC between 1990 and 2017. General GBD cancer estimation methods were used with the data input from vital registration systems and cancer registries. Annual percent changes were calculated to quantify the trends of EC burden estimates during the study period. Furthermore, the sociodemographic index (SDI) was used to assess the relationship between the EC burden estimates and development level. From 1990 to 2017, the age-standardized incidence and prevalence rate of EC increased globally by 0.58 and 0.89% per year, respectively. In contrast, the age-standardized death rate and disability-adjusted-life years (DALYs) decreased by 1.19 and 1.21% per year, respectively. Increasing trends in both the incidence and prevalence were observed in all SDI quintiles, except for the low SDI quintiles, whereas decreasing trends were observed in all SDI quintiles for mortality and DALYs. Additionally, a non-linear association existed for the level of mortality rate, DALYs, and SDI. Of note, there was a strong positive association between a high body mass index and DALYs across all SDI quintiles. In conclusion, EC incidence and prevalence rates are growing globally, whereas the death rate and DALYs decreased between 1990 and 2017. Greater efforts, particularly detailed prevention strategies for reducing obesity, should be performed to reverse this phenomenon.
To provide comprehensive estimates of the global, regional, and national burden of infertility from 1990 to 2017, using findings from a 2017 study on the global burden of disease (GBD), we assessed the burden of infertility in 195 countries and territories from 1990 to 2017. DisMod-MR 2.1 is a Bayesian meta-regression method that estimates non-fatal outcomes using sparse and heterogeneous epidemiological data. Globally, the age-standardized prevalence rate of infertility increased by 0.370% per year for females and 0.291% per year for males from 1990 to 2017. Additionally, age-standardized disability-adjusted life-years (DALYs) of infertility increased by 0.396% per year for females and 0.293% per year for males during the observational period. An increasing trend to these burden estimates was observed throughout the all socio-demographic index (SDI) countries. Interestingly, we found that high SDI countries had the lowest level of prevalence and DALYs in both genders. However, the largest increasing trend was observed in high-SDI countries for females. By contrast, low-SDI countries had the largest increasing trend in males. Negative associations were observed between these burden estimates and the SDI level. The global disease burden of infertility has been increasing throughout the period from 1990 to 2017.
Gong Li (simplified Chinese: 巩俐; traditional Chinese: 鞏俐; born 31 December 1965) is a Chinese actress. Regarded as one of the best actresses in China today, she is known for her versatility and naturalistic performance.[4] She starred in three of the four Chinese-language films that have been nominated for the Academy Award for Best International Feature Film.
Gong was born in Shenyang, Liaoning, and grew up in Jinan, Shandong. She enrolled at the Central Academy of Drama in Beijing, from where she graduated in 1989. While a student at the Academy, she was spotted by director Zhang Yimou and debuted in Zhang's Red Sorghum in 1987. Gong and Zhang's professional and personal relationship received much media attention in the Chinese-speaking world, as they continued to collaborate on a string of critically acclaimed movies, including the Oscar-nominated features Ju Dou (1990) and Raise the Red Lantern (1991). For her role in the Zhang-directed The Story of Qiu Ju (1992), Gong won the Volpi Cup for Best Actress at the Venice Film Festival.
Gong was head of jury at the 2000 Berlin Film Festival and the 2002 Venice Film Festival, the first Asian person to hold such position at both events. Over the course of her career, Gong has won three Hundred Flowers Awards, two Golden Rooster Awards, a Hong Kong Film Award, and honorary awards at the Berlin and Cannes film festivals. She was appointed as a Commander (Commandeur) of the Ordre des Arts et des Lettres by the government of France in 2010.[5]
Gong Li was born in Shenyang, Liaoning, China, she is the youngest of five children. Her father was a professor of economics and her mother was a teacher.[6] She grew up in Jinan, the capital of Shandong. She has been fond of singing and dancing since childhood, and dreamt of becoming a singer.
She studied in Jinan Sanhe Street Primary School. When she was in grade two, she was recommended by the school to sing children's songs at Jinan People's Broadcasting Station. In Jinan No.2 Middle School, Gong spent six years in high school, when she was a member of the school's literature and art team.
In 1985, she was accepted to study at the Central Academy of Drama in Beijing; she graduated in 1989.[7] While a student at the Central Academy of Drama, she was discovered by Zhang Yimou, who chose her for the lead role in Red Sorghum, his first film as a director.[8]
In 1987, Gong was first chosen by director Zhang Yimou to act in the anti-Japanese war romance Red Sorghum, which officially launched her 15-year cooperation with China's fifth-generation directors. The film won the Golden Bear at the 38th Berlin International Film Festival, becoming the first Chinese film to win this award.[9] It also won the Golden Rooster Awards and the Hundred Flowers Awards for Best Picture in 1988.
In 1990, Gong Continued to cooperate with Zhang Yimou and starred in his family ethics movie Ju Dou, which won the Luis Buuel Special Award at the 1990 Cannes Film Festival,[13] and was nominated for the Best Foreign Language Film at the 63rd Academy Awards, becoming the first Chinese film to be nominated for an Academy Award for Best Foreign Language Film.[14] Gong also won the Best Actress award at the Varna International Film Festival.
In 1991, Gong starred in Zhang Yimou's film Raise the Red Lantern, which won the Silver Lion award at the 48th Venice Film Festival,[15] and was nominated for the Best Foreign Language Film at the 64th Academy Awards. Gong, playing a rebellious mistress in the film, won the Hundred Flowers Awards for Best Actress and was nominated for the David di Donatello Awards and the NSFC for Best Actress.[16] Her performance in the Raise the Red Lantern (1991) put her in the international spotlight again.[8]
In 1992, Gong starred in the rural drama The Story of Qiu Ju, which won the Golden Lion award at the 49th Venice International Film Festival.[17] Gong's portrayal of rural woman Qiu Ju not only won the Golden Rooster Awards and the Japanese Movie Critics Awards for Best Actress, but also helped her named Best Actress at the 49th Venice Film Festival.
In 1993, she received a New York Film Critics Circle award for her role in Farewell My Concubine (1993).[18] Directed by Chen Kaige, the film was her first major role with a director other than Zhang Yimou.[12] In the same year, she was awarded with the Berlinale Camera at the 43rd Berlin International Film Festival.[19] Premiere ranked her performance in Farewell My Concubine as the 89th greatest performance of all time. She also worked with renowned director Stephen Chow in comedy films God of Gamblers III: Back to Shanghai (1991) and Flirting Scholar (1993).[20][21]
Immune to political repercussions because of her fame, Gong Li began criticizing the censorship policy in China. Her films Farewell My Concubine and The Story of Qiu Ju were initially banned in China for being thinly-veiled critiques of the Chinese government.[22] Regarding the sexual content in Ju Dou, Chinese censorship deemed the film "a bad influence on the physical and spiritual health of young people."[11]
In 1994, Gong played Jia Zhen, the wife of Xu Fugui, in the drama To Live, which won the Grand Prix at the 1994 Cannes Film Festival.[23] She was also nominated for the Chlotrudis Awards for Best Actress.
In 1995, Gong starred in Shanghai Triad, during her breakup with Zhang Yimou, in which she played a seductive stage queen. The film won the Technical Grand Prize of Cannes Film Festival, the National Board of Review for Best Foreign Language film, and was nominated for the Golden Globe Award for Best Foreign Language Film.[24]
In 1996, Gong and Chen Kaige collaborated again in the romantic film Temptress Moon, which was in competition for the Palme d'Or at the 1996 Cannes Film Festival. Gong has been nominated for her second best Actress at the Hong Kong Film Awards for her role as rebellious teenage girl Ru Yi. She also appeared on the cover of Time.
In 1997, Gong worked with Jeremy Irons on the romantic drama Chinese Box, which won the Best Original Music award at the Venice Film Festival. In the same year, Gong was invited to be a jury at the 1997 Cannes Film Festival, becoming the first Chinese to be a jury at the festival.[25]
In many of her early movies, Gong represents a tragic victim and an abused soul (physically or emotionally), trying to release herself from an impossible maze of corruption, violence and suppression. In Raise the Red Lantern and Shanghai Triad, an additional tragic element is added to her being as she unintentionally becomes the executioner of new innocent victims, making her realize that she has assisted the dark cynical system.[27]
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