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Total Drama World Tour - A Chinese Lesson - Theme Song

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The following is a list of Total Drama World Tour songs , listed chronologically.  It should be noted that, while the lyrics of each song are created from the imagination of the story's author and a loyal reviewer , the songs are all parodies from the works of other artists.  Any information regarding the songs' original artists can be found in the disclaimer at the beginning of each chapter of the story, or on the table below.

(Note: Not all chapters have songs, as listed below.)

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The life and music of Amy Winehouse, through the journey of adolescence to adulthood and the creation of one of the best-selling albums of our time. The life and music of Amy Winehouse, through the journey of adolescence to adulthood and the creation of one of the best-selling albums of our time. The life and music of Amy Winehouse, through the journey of adolescence to adulthood and the creation of one of the best-selling albums of our time.

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• Trivia Marisa Abela had done most of the singing in this film herself. She trained extensively to mimic Amy Winehouse 's vocals.

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China returns to cannes in a big way.

"It feels like I’m finally making my return to the cinema world,” says Jia Zhangke.

By Patrick Brzeski

Patrick Brzeski

Asia Bureau Chief

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After a partial comeback in 2023, Chinese cinema is returning to this year’s 77th Cannes Film Festival in a major way. While unveiling his 2024 lineup in April, festival chief Thierry Frémaux noted that “it’s been three or four years that China has been less present in world cinema,” but he emphasized that his team now can enjoy “the satisfaction of having China — a major cinema country — back in the selection.” 

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But Chinese cinema began inching its way back toward Cannes last year, with the inclusion of indie titles like Singaporean filmmaker Anthony Chen’s Chinese drama  The Breaking Ice  and Wei Shujun’s  Only the River Flows  in the Un Certain Regard section, along with Geng Zihan’s  A Song Sung Blue  in Directors’ Fortnight (Chinese documentarian Wang Bing also had two films in the selection, although the director resides outside of China and his recent work is co-produced by European countries).

“For me, coming back to show my first film at Cannes in six years — especially after the hard years of the pandemic times — it feels like I’m finally making my return to the cinema world,” says Jia, who was last in Cannes in 2018 with competition entry  Ash Is Purest White . 

The bumper crop of Chinese titles in the selection, as well as the Chinese box office’s ongoing post-pandemic recovery — total theatrical revenue is currently up 2.5 percent compared to 2023 and many analysts believe China has a shot of unseating North America as the world’s biggest box office territory in 2024 — will provide a boost to international sales of Chinese titles at Cannes’ Marché du Film. Chinese buyers of foreign films, however, are expected to remain far fewer and choosier than they were during the country’s box office boom period of the 2010s. 

From Hollywood tentpoles to European festival titles, Western filmmaking’s share of China’s box office pie remains at a generational low, and few in the industry anticipate a return to the 30-40 percent market share international movies claimed during the pre-pandemic era. Last year, international film releases comprised just 16 percent of China’s $7.73 billion annual box office total — and many of the biggest imported hits were Japanese anime releases. 

“We’ve decided to switch to acquiring rights and remaking them as Chinese films because we believe releasing foreign films will be challenging for a long time to come,” she says, noting the recent $479 million (RMB 3.4 billion) box office success of Chinese director and star Jia Ling’s  Yolo , a remake of the 2014 Japanese film  100 Yen Love . 

A select set of experienced Chinese buyers still believe some Western films can thread the needle of China’s regulatory and commercial landscape. 

“The Chinese public is getting increasingly more demanding in terms of quality. This is good for distributors like us who are focusing on high-end cinema,” notes Julien Favre, vp of Chinese distributor Road Pictures, which acquired last year’s Cannes Palme d’Or winner  Anatomy of a Fall . Road Pictures released the film in March and saw it earn just shy of $4 million (RMB 28.3 million), which makes China the title’s third biggest box office territory behind France ($14.6 million) and North America ($5 million). 

Favre adds: “As far as Western content is concerned, the challenge is to find international films which have universal appeal, can cross the cultural divide and resonate with the Chinese audience by focusing on topics that are organically relevant to Chinese society. For the films that manage to hit this target, the potential is huge.” 

“For the past few years, there were not many Chinese films showcased in Cannes, but this year I’m coming back with my latest film, and several other Chinese filmmakers are coming, too,” he says. “Together, we are telling the world that we never stopped — we never stopped shooting and we never stopped telling our story. Most importantly, we never lost our courage.”

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