DOCSLIB.ORG

The 2Nd International Film Festival & Awards • Macao Honours Udo Kier with Career Achievement Award Additional Attending F

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The 2Nd International Film Festival & Awards • Macao Honours Udo Kier with Career Achievement Award Additional Attending F The 2nd International Film Festival & Awards • Macao Honours Udo Kier with Career Achievement Award Additional attending filmmakers and guests announced Macao, 27 November, 2017 The 2nd International Film Festival & Awards • Macao (IFFAM) today announced that Udo Kier will be the recipient of this year’s Career Achievement Award. Kier will be in Macao to receive the award and will also attend a Flying Daggers presentation of Brawl in Cell Block 99. The German born actor’s career has spanned over 50 years and more than 300 films. He has worked with some of the most acclaimed and controversial directors of the last five decades, including Rainer Werner Fassbinder, Gus Van Sant, Lars Von Trier, Werner Herzog, Alexander Payne and Dario Argento. Alongside roles in many US independent and world cinema classics, he has appeared in Hollywood blockbusters including Ace Ventura: Pet Detective, Blade and Armageddon. He is also an icon of the horror world, having played Dracula, Frankenstein and Dr Jekyll amongst many other genre roles. He continues to work with directors around the world and since filming Brawl in Cell Block 99 he has shot 11 films including the third in the Iron Sky series in China. Mike Goodridge, Artistic Director of the IFFAM, comments “With his high profile roles in Brawl In Cell Block 99 and Downsizing, we are reminded once again how unique and brilliant Udo Kier is, so there is no better time than to acknowledge that here in Macao with our career achievement award. He has many more films to make, so we are over the moon that he is visiting us for a few days to celebrate with us.” The IFFAM today also announced more filmmakers and stars attending this year’s Festival, bringing talent from East and West together in a celebration of world cinema. The updated and confirmed line-up includes: Competition: Wrath of Silence: Director Xin Yukun, producer Gao Yitian and actor Song Yang; The Hungry: Director Bornila Chatterjee and producer Kurban Kassam; Hunting Season: Director Natalia Garagolia, producers Benjamin Domenech, Matías Roveda, editor Gonzalo Tobal and actor Lautaro Bettoni; Three Peaks: producer Philipp Moravetz; The Cakemaker: Director Ofir Raul Graizer and cast members Roy Miller and Sarah Adler – Adler will also present Foxtrot with director Samuel Maoz and producer Cedomir Kolar; Beast: Director Michael Pearce; Borg McEnroe: Producer Fredrick Wikström Nicastro; My Pure Land: Director Sarmad Masud, production designer Caroline Bailey and actress Suhaee Abro; Custody: Director Xavier Legrand, producer Alexandre Gavras and actor Denis Ménochet. Galas: Journey’s End: Actor Asa Butterfield, producer Guy de Beaujeu and producer and screenwriter Simon Reade; Okja: Producer Choi Dooho and cast members An Seo Hyun; Samui Song: Director Pen-ek Ratanaruang (who also curates in the Crossfire strand), producer Raymond Phathanavirangoon and cast members Vithaya Pansringram and Chermarn “Ploy” Boonsyasak. Best of Fest: Angels Wear White: Director Vivian Qu and producer Sean Chen; Sweet Country: Producers David Jowsey and Greer Simpkin; Goodbye Grandpa!: Director Yukihiro Morigaki and actress Yukino Kishii; Zama: Producers Benjamin Domenech and Santiago Gallelli and actress Lola Dueñas; Shuttle Life: Director Tan Seng Kiat, producer Ong Lay Jin and actor Jack Tan; Oh Lucy!: actress Shioli Kutsuna and producer, Yukie Kito. Special Presentations: My Generation: Director David Batty; The Last Emperor: Actresses Joan Chen (also a Jury member); Stained: Director Patrick Kong and cast members Kara Wai, Tse Kwan Ho, Jumbo Tsang and Hedwig Tam, Passing Rain: Director Chan Ka Keong (Lorence Chan), Co-production Wang Hongwei, cast members Doug Chan, Dicky Tsang, Wang Ping and Kayden Lei. As previously announced, Jury president Laurent Cantet will present L’Atelier. Flying Daggers: A Day; Director Cho Sun-ho and actor Byeon Yo-Han; A Prayer Before Dawn: Director Jean-Stéphane Sauvaire and actor Joe Cole; Good Manners: Director Juliana Rojas. NETPAC (Network for the Promotion of Asia Pacific Cinema) Jury: BFI London Film Festival Director Clare Stewart (Jury President),director Johnny Ma (Old Stone) and director and film critic Hassan Muthalib. The above join previously announced guests including: Michelle Yeoh, Pang Ho Cheung, Im Sang Soo, Martin Koolhoven, Ivan Sen, Shekhar Kapur, Jessica Hausner, Lawrence Osborne, Royston Chan, Donnie Yen, Jeremy Renner, Miriam Yeung and Doh Kyung-soo (aka D.O.) For more information, please visit the official website: http://www.iffamacao.com Press contacts: International press: PREMIER +44 20 7292 8330 [email protected] Notes to editors: ORGANISING COMMITTEE The 2nd IFFAM Organizing Committee comprises governmental representatives and film professionals. MGTO Director Maria Helena de Senna Fernandes takes up the role of President, while President of Cultural Affairs Bureau Leung Hio Ming, President of Management Committee of Civic and Municipal Affairs Bureau José Tavares and President of Macau Films & Television Productions and Culture Association Alvin Chau are the Executive Vice Presidents of the IFFAM Organizing Committee. INTERNATIONAL PROFESSIONAL TEAM The International Professional Team for IFFAM includes Festival Director, Head of Festival Management, Ambassadors, an International Advisory Board as well as International Consultants. Mike Goodridge and Lorna Tee are Artistic Director and Head of Festival Management respectively. The International Advisory Board consists of five film experts from the East and the West, including Chinese film director and producer Huang Jianxin, veteran Asia-Pacific based producer Michael J. Werner; Korean producer Oh Jungwan; Hong Kong producer and distribution expert Nansun Shi, French producer Philippe Carcossone, Chinese producer and film critic San Mu and renowned producer Luís Urbano from Portugal. Ambassadors for the 2nd IFFAM include renowned Hong Kong director John Woo, last year’s jury president Shekhar Kapur, Hong Kong writer/director Pang Ho-cheung, Italian producer Gianni Nunnari, and South Korean director Choi Dong-hoon. Talent Ambassadors are Asian actress and singer Miriam Yeung, Hollywood star Jeremy Renner, action movie star Donnie Yen and Korean actor and singer Doh Kyung-Soo (aka D.O.). The team of International Consultants in charge of film selection includes Giovanna Fulvi for China, Hong Kong and Taiwan; Aseem Chhabra for India; Violeta Bava for Latin America; Fionnuala Halligan for the United Kingdom and Europe; and Hiromi Aihara for Japan. June Wu will also be returning as the Head of Industry for the 2nd IFFAM. The Team of Honorary Advisors includes Maggie Ma, Chief Officer, Corporate Communications and Corporate Affairs, Melco Resorts & Entertainment; Jorge Neto Valente, Group Advisor, Galaxy Entertainment Group; Linda Chen, President and Executive Director, Wynn Resorts (Macau) S.A UDO KIER BIOGRAPHY Udo Kier was born October 14, 1944 in Cologne, Germany, during World War II. His entrance was just as dramatic as some of his roles. On the evening of his birth Udo's mother requested extra time with her new baby. The nurses had gathered all of the other babies and returned them to the nursery when the hospital was bombed. He and his mother were rescued from underneath the rubble. Udo didn't know much about his father. When Udo was 18 he moved to Britain in order to learn the English language. While there he took a few acting courses. He was eventually offered a role by director Michael Sarne as a gigolo in the film Road to Saint Tropez. While the role was small, it was the beginning of his career in films. His first "hit" film was Mark of the Devil. The film was rated "V" for violence and ticket buyers were offered vomit bags before the film started. It was banned in 31 countries but spawned two sequels (both without Kier). The film is notorious for its exploitation of sex and violence (the uncut version was remastered and re-released on video in 1997). Kier met director Paul Morrissey on an airplane trip. Morrissey offered him the lead role in the 3-D Flesh for Frankenstein. It was this film, along with its sister film Blood for Dracula, that made Udo a cult figure. Both Morrissey films are also known as Andy Warhol's Frankenstein and Dracula; however, Andy Warhol was not involved in the production or creation of the films. Both were rated X when released. One of Kier's most vivid memories from Flesh for Frankenstein was the infamous "internal organ" scene. Real animal organs were used that were left unrefrigerated on the set for several hours. Udo had to pull the organs out of a prop dummy with his bare hands and hold them up to his face. He has said he will never forget that smell. When this film was finished the cast and crew began immediately filming Blood for Dracula. Udo remembers both of these films fondly and regards "Dracula" over "Frankenstein" as his favourite of the two (in 1996 both films were released by Criterion on DVD totally uncut). In the 1970s some of Kier's work included The Salzburg Connection, The Story of O, Spermula and Trauma (House on Straw Hill). Much of his work has been dubbed with someone else's voice. In Suspiria there were some technical difficulties with the sound while his scene was shot. In the 1980s some of his work included Lulu, The Strange Case of Dr. Jekyll and Miss Osbourne (The Blood of Dr Jekyll), The Island of the Bloody Plantation (Escape from Blood Plantation) and Seduction: The Cruel Woman. In the 1980s Kier did very little work outside of Europe. In the 1990s he had a lot more visibility in America and his breakthrough role was as Hans in My Own Private Idaho (the soundtrack includes the song that Udo performs in the film). Even Cowgirls Get the Blues reunited Kier with his friend Keanu Reeves yet again. Udo was cast as Pamela Anderson's sidekick in Barb Wire and played Ron Camp in Ace Ventura: Pet Detective opposite Jim Carrey.
Load more

Recommended publications
  • Les Meilleurs Films De 24 Images De 2005
    Document generated on 09/28/2021 7:05 a.m. 24 images Les meilleurs films de 24 images de 2005 Jean Pierre Lefebvre Number 126, March–April 2006 URI: https://id.erudit.org/iderudit/8904ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this document (2006). Les meilleurs films de 24 images de 2005. 24 images, (126), 48–49. Tous droits réservés © 24/30 I/S, 2006 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Pouvaient être retenus les longs métrages présentés au Québec pour la première fois en de 2005, que ce soit à l'occasion d'une présentation lors d'un festival, d'une rétrospective ou d'une sortie en salles. Veuillez noter qu'une exception a été faite pour Sarabandqui 2005 avait bénéficié d'une unique projection en 2004 avant sa sortie en salles en 2005. La neuvaîne de Bernard Émond Plus tranquille et assuré que lent et austère, La neuvaine s'inscrit parfaitement dans le cinéma de la déflation qui a tant marqué les oeuvres de 2005 : récit flottant fait de microcellules de densité, rythme languide créant une nouvelle pulsion, images occupées uniquement à dire vrai, proposition de mise en scène aussi élégante que modeste.
    [Show full text]
  • Contemporary China: a Book List
    PRINCETON UNIVERSITY: Woodrow Wilson School, Politics Department, East Asian Studies Program CONTEMPORARY CHINA: A BOOK LIST by Lubna Malik and Lynn White Winter 2007-2008 Edition This list is available on the web at: http://www.princeton.edu/~lynn/chinabib.pdf which can be viewed and printed with an Adobe Acrobat Reader. Variation of font sizes may cause pagination to differ slightly in the web and paper editions. No list of books can be totally up-to-date. Please surf to find further items. Also consult http://www.princeton.edu/~lynn/chinawebs.doc for clicable URLs. This list of items in English has several purposes: --to help advise students' course essays, junior papers, policy workshops, and senior theses about contemporary China; --to supplement the required reading lists of courses on "Chinese Development" and "Chinese Politics," for which students may find books to review in this list; --to provide graduate students with a list that may suggest books for paper topics and may slightly help their study for exams in Chinese politics; a few of the compiler's favorite books are starred on the list, but not much should be made of this because such books may be old or the subjects may not meet present interests; --to supplement a bibliography of all Asian serials in the Princeton Libraries that was compiled long ago by Frances Chen and Maureen Donovan; many of these are now available on the web,e.g., from “J-Stor”; --to suggest to book selectors in the Princeton libraries items that are suitable for acquisition; to provide a computerized list on which researchers can search for keywords of interests; and to provide a resource that many teachers at various other universities have also used.
    [Show full text]
  • CELEBRATING FORTY YEARS of FILMS WORTH TALKING ABOUT 39 Years, 2 Months, and Counting…
    5 JAN 18 1 FEB 18 1 | 5 JAN 18 - 1 FEB 18 88 LOTHIAN ROAD | FILMHOUSECinema.COM CELEBRATING FORTY YEARS OF FILMS WORTH TALKING ABOUT 39 Years, 2 Months, and counting… As you’ll spot deep within this programme (and hinted at on the front cover) January 2018 sees the start of a series of films that lead up to celebrations in October marking the 40th birthday of Filmhouse as a public cinema on Lothian Road. We’ve chosen to screen a film from every year we’ve been bringing the very best cinema to the good people of Edinburgh, and while it is tremendous fun looking back through the history of what has shown here, it was quite an undertaking going through all the old programmes and choosing what to show, and a bit of a personal journey for me as one who started coming here as a customer in the mid-80s (I know, I must have started very young...). At that time, I’d no idea that Filmhouse had only been in existence for less than 10 years – it seemed like such an established, essential institution and impossible to imagine it not existing in a city such as Edinburgh. My only hope is that the cinema is as important today as I felt it was then, and that the giants on whose shoulders we currently stand feel we’re worthy of their legacy. I hope you can join us for at least some of the screenings on this trip down memory lane... And now, back to the now.
    [Show full text]
  • Sight & Sound Films of 2007
    Sight & Sound Films of 2007 Each year we ask a selection of our contributors - reviewers and critics from around the world - for their five films of the year. It's a very loosely policed subjective selection, based on films the writer has seen and enjoyed that year, and we don't deny them the choice of films that haven't yet reached the UK. And we don't give them much time to ponder, either - just about a week. So below you'll find the familiar and the obscure, the new and the old. From this we put together the top ten you see here. What distinguishes this particular list is that it's been drawn up from one of the best years for all-round quality I can remember. 2007 has seen some extraordinary films. So all of the films in the ten are must-sees and so are many more. Enjoy. - Nick James, Editor. 1 4 Months, 3 Weeks and 2 Days (Cristian Mungiu) 2 Inland Empire (David Lynch) 3 Zodiac (David Fincher) = 4 I’m Not There (Todd Haynes) The Lives of Others (Florian Henckel von Donnersmarck) 6 Silent Light (Carlos Reygadas) = 7 The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik) Syndromes and a Century (Apichatpong Weerasethakul) No Country for Old Men (Ethan and Joel Coen) Eastern Promises (David Cronenberg) 1 Table of Contents – alphabetical by critic Gilbert Adair (Critic and author, UK)............................................................................................4 Kaleem Aftab (Critic, The Independent, UK)...............................................................................4 Geoff Andrew (Critic
    [Show full text]
  • The Dissipating Aura of Cinema by Kristen Daly
    2/18/2016 TRANSFORMATIONS Journal of Media & Culture ISSN 1444­3775 2007 Issue No. 15 — Walter Benjamin and the Virtual The Dissipating Aura of Cinema By Kristen Daly For over one hundred years, moving images have been recorded onto frames on expensive celluloid tape and projected by fairly simple machines. This has been a remarkably reliable way of recording and exhibiting, but also a remarkably static media technology. Films cannot easily be reproduced, delivered or manipulated. The film print costs between two and three thousand dollars and can be over a mile long. In many ways, the film reel had resisted the characteristics attributed to it in Walter Benjamin’s “The Work of Art in the Age of Mechanical Reproduction.” Robert Flaherty dropped a cigarette on his original edited version of Nanook of the North (1922) destroying his only print. He had to organize an entire second expedition north to gather footage and again edit it into the version we know today (Canudo). Film ages and degrades, so it is estimated that less than ten percent of the earliest films currently exist. Only with the introduction of digital and computer technologies have Benjamin’s expectations of cinema been brought to fruition. Reproducibility, or as William J. Mitchell terms it “digital replication” of cinema, has brought about a diminishing aura, and a “tremendous shattering of tradition” as movies have morphed from ritual art objects into “fragments of information that circulate in the high-speed networks now ringing the globe and that can be received, transformed, and recombined like DNA to produce new intellectual structures having their own dynamics and value” (52).
    [Show full text]
  • Theeditor-Epk.Pdf
    Directed by Adam Brooks and Matthew Kennedy Written by Adam Brooks, Matthew Kennedy and Conor Sweeney Produced by Social Media sales Adam Brooks and Matthew Kennedy Twitter Producer’s Reps @theeditormovie Starring @astron6 Nate Bolotin Paz de la Huerta [email protected] Adam Brooks Facebook 310 909 9318 Facebook.com/editormovie Laurence R. Harvey Facebook.com/astron6 Mette-Marie Katz Samantha Hill [email protected] Udo Kier INTERWeb 323 983 1201 Jerry Wasserman www.theeditormovie.com Matthew Kennedy International Sales www.astron-6.com Conor Sweeney Dan Bern Paul Howell Tristan Risk CONTACT [email protected] Brett Donahue Kennedy/Brooks Inc. +44 (0)207 434 4176 738-3085 Pembina Hwy. Brent Neale Winnipeg MB R3T4R6 Sheila E. Campbell Kevin Anderson Matthew Kennedy Jasmine Mae [email protected] Tech Details Adam Brooks 99 min | Color | DCP | 2.39:1 | 5.1 | Canada | 2014 [email protected] LOGLINE A once-prolific film editor finds himself the prime suspect in a series of murders haunting a seedy 1970s film studio in this absurdist throwback to the Italian Giallo. SYNOPSIS Rey Ciso was once the greatest editor the world had ever seen. Since a horrific accident left him with four wooden fingers on his right hand, he’s had to resort to cutting pulp films and trash pictures. When the lead actors from the film he’s been editing turn up murdered at the studio, Rey is fingered as the number one suspect. The bodies continue to pile up in this absurdist giallo-thriller as Rey struggles to prove his innocence and learn the sinister truth lurking behind the scenes.
    [Show full text]
  • The 2Nd International Film Festival & Awards • Macao Unveils Festival
    The 2nd International Film Festival & Awards • Macao unveils festival programme, announces Laurent Cantet as head of jury Macao, 3 November, 2017 The 2nd International Film Festival & Awards • Macao (IFFAM) today announced its programme at a press conference in Macao. The Hong Kong/Macao premiere of Paul King’s Paddington 2 will open the IFFAM on Friday 8 December with the festival running until Thursday 14. The programme includes 10 competition films including the Asian premieres of Venice Film Festival prize winners Foxtrot by Samuel Maoz, and Custody, by Xavier Legrand, as well as Toronto Film Festival breakout Beast, by Michael Pearce and the London Film Festival hit Wrath of Silence, directed by Xin Yukun. For its second edition the IFFAM has exclusively dedicated the feature film competition to films by first and second time film makers with a $60,000 USD prize being awarded to the best feature. The prestigious competition jury comprises of: Laurent Cantet – Director (Jury President) Jessica Hausner - Director Lawrence Osborne - Novelist Joan Chen – Actress / Director Royston Tan – Director Representing the latest style of genre cinema to Asian audiences, highlights from the Flying Daggers strand features Cannes Film Festival smash A Prayer Before Dawn by Jean-Stéphane Sauvaire and Brian Taylor’s Toronto sensation Mom and Dad. The Asian premiere of Saul Dibb’s Journey’s End is screening as an Out-Of-Competition gala alongside Bong Joon-ho’s Okja, showing on the big screen for the first time in the region, and Pen-ek Ratanaruang’s latest movie Samui Song which will be screened with director and cast in attendance.
    [Show full text]
  • News Release. the World in Brief: Toronto
    August 1, 2017 NEWS RELEASE. THE WORLD IN BRIEF: TORONTO INTERNATIONAL FILM FESTIVAL ANNOUNCES INTERNATIONAL SHORT CUTS TITLES TORONTO — The Toronto International Film Festival® has unveiled the 35 exceptional short films that make up the International portion of this year’s Short Cuts programme. A lineup that stands out for its diversity of voices and backgrounds, the International selection for 2017 includes works from over 30 countries in 16 different languages, with a strong presence from the Middle East and South America. Of the 35 selected films, 17 were directed by women. The International lineup also includes seven stunning short animations, including Niki Lindroth von Bahr’s The Burden (Min börda), winner of the Cristal for a Short Film award at the 2017 Annecy International Animation Film Festival, and The Death, Dad & Son by Denis Walgenwitz and Winshluss, the renowned French comic book artist whose film credits include co-writing and co-directing the Oscar-nominated Persepolis (07). Another well-known name featured in the lineup is Justine Bateman; the former Family Ties star’s short film directorial debut, FIVE MINUTES, will be premiering at the Festival. Programme highlights also include Ifunanya Maduka’s heartbreaking Waiting for Hassana, which shares a brave teenager’s devastating account of the 2014 Boko Haram kidnapping; Mahdi Fleifel’s A Drowning Man, the dramatic story of a young immigrant trying to survive in a new and strange city; and Yang Qiu’s A Gentle Night (Xiao Cheng Er Yue), which will be screening fresh off its Short Film Palme d'Or win at Cannes.
    [Show full text]
  • Writing a Code of Universal Empathy
    GBA4 | GBAFOCUS Friday, June 11, 2021 HONG KONG EDITION | CHINA DAILY Jun Li’s first feature film, Tracey (2017), follows a middle-aged man transitioning into a woman. The film won multiple acting awards. Supporting actors Ben Yuen and Kara Wai won in their respective categories Cinema at the 37th Hong Kong Film Awards. Hong Kong director Jun Li turns his camera on the city’s homeless in his second feature, Drifting. Elizabeth Kerr reports. Jun Li’s directorial venture, Drifting (2021), features an ensemble cast of experienced theater Cinema veteran Francis Ng delivers a powerful performance as the dispossessed central professionals and emerging talents such as Cecilia Choi, Tse Kwan-ho and Will Or. character Fai in Drifting. meet Hong Kong writer- but by 2017, “I realized the whole he says. “Something that hits you fi nd a home. He runs into a friend, vision, what I wanted to do, right superfi cial. People fi ght because they director Jun Li in a vaguely atmosphere had changed. Before, hard then doesn’t now. I’ll admit I Master (Tse Kwan-ho), scores some away. He read the script and never feel compelled to, and in the end, my industrial shared workspace everyone was sleeping in the open, wasn’t prepared for the drug scene. heroin, shoots up on the street and asked ‘Why?’ when it came to the producer respected that. The collec- in Kennedy Town. He looks and then because of the clear- When I went back I wasn’t a jour- passes out. This is Fai’s life until the street sleepers.” tive action is the fi lm.
    [Show full text]
  • 7015 B Program P.Indd
    From the Queen to the Chief Executive: May 4–6 Hong Kong Films 2007 10 Years After the Handover 香港電影縱橫﹕ 展與談 1 I am absolutely thrilled to welcome you to our fi rst Hong Kong fi lm Schedule at a glance festival, From the Queen to the Chief Executive: Hong Kong Films Ten Years After the Handover. This important event fi rst and foremost celebrates the friday, may 4 2:30 pm–4:15 pm achievements of Hong Kong fi lm and its impact on a new and ever- Banana Bruises; Royal Ontario Museum changing global culture. From the Queen to the Chief Executive also provides Dumplings Theatre, 100 Queen’s Park a forum to contemplate developments on Hong Kong since its historic 4:15 pm–5:15 pm 6:15 pm–7:15 pm return to China in 1997. Film is a lens through which to understand the Horror Panel VIP Reception dynamics of a changing society and the world around it. Film provides 5:15 pm–6:30 pm Royal Ontario Museum – an important platform, a medium, for telling peoples’ stories. In this Dinner Break Glass Room on the respect, fi lm is both critical and celebratory, it challenges and re- 4th Floor 6:30 pm–8:35 pm affi rms. Its impact is political, social, economic, cultural and often Venues 7:00 pm Eastbound; Welcome leaves legacies of historical import. Doors Open Lost in Time to the First 7:30 pm–7:40 pm 8:35 pm–9:00 pm The Asian Institute is an inter-disciplinary home to scholars working iiX iiX iiX iiX Break Waddg Waddg Welcoming Remarks University on Asia, comprising leading scholars in the humanities and social VkZcjZgY YZdch]^gZea 7:40 pm–9:30 pm 9:00 pm–11:00 pm sciences.
    [Show full text]
  • Cosmopolitan Cinema: Cross-Cultural Encounters in East Asian Film
    Chan, Felicia. "Index." Cosmopolitan Cinema: Cross-Cultural Encounters in East Asian Film. London • New York: I.B.Tauris, 2017. 193–204. Bloomsbury Collections. Web. 30 Sep. 2021. <>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 30 September 2021, 22:31 UTC. Copyright © Felicia Chan 2017. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 193 Index Note: Page numbers in italics refer to images. 2.28 incident, 48 audiences, 94 – 5 , 122 – 3 , 145 15 , 110 , 111 Austin, J. L., 70 24 City , 59 – 68 Austin, Th omas, 60 – 1 , 63 – 4 2046 , 30 , 33 , 36 , 50 auteur cinema, 8 , 40 – 1 , 111 autoethnographer- performer, 133 Abbas, Ackbar, 30 a w a r d s , 2 5 – 6 a ff ect, 17 , 94 , 95 – 6 , 97 , 101 , 118 a ff ective encounter, 94 Bachelard, Gaston, 104 , 105 a ffi rmative criticality, 142 Baecker, Angie, 124 , 139 Aft er Chinatown , 130 – 1 Bal, Le , 26 Ahmad, Yasmin, 111 Balfour, Ian, 40 , 52 Ahmed, Sara, 123 , 136 banned fi lms, 58 – 9 , 110 Allen, Richard, 120 – 1 Bauman, Zygmunt, 7 – 8 , 9 Allen, Woody, 10 Be With Me , 2 5 – 6 Almodóvar, Pedro, 39 Béhar, Henri, 39 Always in My Heart / Kimi no Behind the Forbidden City , 110 nawa , 81 , 83 ‘Bengawan Solo’, 32 Ampo demonstrations, 83 Benjamin, Walter, 10 , 133 Andersen, Joseph, 22 – 3 benshi narrators, 21 – 4 Anderson, Benedict, 100 Bergfelder, Tim, 11 Anderson, Kay, 130 Bergman, Ingrid, 73 , 75 , 125 animation Berlant, Laurent, 109 ,
    [Show full text]
  • Chapter 1 Chapter 2
    Notes Chapter 1 1. Jeffrey Mirel, “The Traditional High School: Historical Debates over Its Nature and Function,” Education Next 6 (2006): 14–21. 2. US Census Bureau, “Education Summary––High School Gradu- ates, and College Enrollment and Degrees: 1900 to 2001,” His- torical Statistics Table HS-21, http://www.census.gov/statab/ hist/HS-21.pdf. 3. Andrew Monument, dir., Nightmares in Red, White, and Blue: The Evolution of American Horror Film (Lux Digital Pictures, 2009). 4. Monument, Nightmares in Red. Chapter 2 1. David J. Skal, Screams of Reason: Mad Science and Modern Cul- ture (New York: Norton, 1998), 18–19. For a discussion of this more complex image of the mad scientist within the context of postwar film science fiction comedies, see also Sevan Terzian and Andrew Grunzke, “Scrambled Eggheads: Ambivalent Represen- tations of Scientists in Six Hollywood Film Comedies from 1961 to 1965,” Public Understanding of Science 16 (October 2007): 407–419. 2. Esther Schor, “Frankenstein and Film,” in The Cambridge Com- panion to Mary Shelley (Cambridge: Cambridge University Press, 2003), 63; James A. W. Heffernan, “Looking at the Monster: Frankenstein and Film,” Critical Inquiry 24, no. 1 (Autumn 1997): 136. 3. Russell Jacoby, The Last Intellectuals: American Culture in the Age of Academe (New York: Basic Books, 1987). 4. Richard Hofstadter, Anti-Intellectualism and American Life (New York: Knopf, 1963); Craig Howley, Aimee Howley, and Edwine D. Pendarvis, Out of Our Minds: Anti-Intellectualism and Talent 178 Notes Development in American Schooling (New York: Teachers Col- lege Press: 1995); Merle Curti, “Intellectuals and Other People,” American Historical Review 60 (1955): 259–282.
    [Show full text]