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Performing Shakespeare in Contemporary Taiwan
Performing Shakespeare in Contemporary Taiwan by Ya-hui Huang A thesis submitted in partial fulfilment for the requirements of the degree of Doctor of Philosophy at the University of Central Lancashire Jan 2012 Abstract Since the 1980s, Taiwan has been subjected to heavy foreign and global influences, leading to a marked erosion of its traditional cultural forms. Indigenous traditions have had to struggle to hold their own and to strike out into new territory, adopt or adapt to Western models. For most theatres in Taiwan, Shakespeare has inevitably served as a model to be imitated and a touchstone of quality. Such Taiwanese Shakespeare performances prove to be much more than merely a combination of Shakespeare and Taiwan, constituting a new fusion which shows Taiwan as hospitable to foreign influences and unafraid to modify them for its own purposes. Nonetheless, Shakespeare performances in contemporary Taiwan are not only a demonstration of hybridity of Westernisation but also Sinification influences. Since the 1945 Kuomintang (Chinese Nationalist Party, or KMT) takeover of Taiwan, the KMT’s one-party state has established Chinese identity over a Taiwan identity by imposing cultural assimilation through such practices as the Mandarin-only policy during the Chinese Cultural Renaissance in Taiwan. Both Taiwan and Mainland China are on the margin of a “metropolitan bank of Shakespeare knowledge” (Orkin, 2005, p. 1), but it is this negotiation of identity that makes the Taiwanese interpretation of Shakespeare much different from that of a Mainlanders’ approach, while they share certain commonalities that inextricably link them. This study thus examines the interrelation between Taiwan and Mainland China operatic cultural forms and how negotiation of their different identities constitutes a singular different Taiwanese Shakespeare from Chinese Shakespeare. -
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Acknowledgements Publisher AN Cheongsook, Chairperson of KOFIC 206-46, Cheongnyangni-dong, Dongdaemun-gu. Seoul, Korea (130-010) Editor in Chief Daniel D. H. PARK, Director of International Promotion Department Editors KIM YeonSoo, Hyun-chang JUNG English Translators KIM YeonSoo, Darcy PAQUET Collaborators HUH Kyoung, KANG Byeong-woon, Darcy PAQUET Contributing Writer MOON Seok Cover and Book Design Design KongKam Film image and still photographs are provided by directors, producers, production & sales companies, JIFF (Jeonju International Film Festival), GIFF (Gwangju International Film Festival) and KIFV (The Association of Korean Independent Film & Video). Korean Film Council (KOFIC), December 2005 Korean Cinema 2005 Contents Foreword 04 A Review of Korean Cinema in 2005 06 Korean Film Council 12 Feature Films 20 Fiction 22 Animation 218 Documentary 224 Feature / Middle Length 226 Short 248 Short Films 258 Fiction 260 Animation 320 Films in Production 356 Appendix 386 Statistics 388 Index of 2005 Films 402 Addresses 412 Foreword The year 2005 saw the continued solid and sound prosperity of Korean films, both in terms of the domestic and international arenas, as well as industrial and artistic aspects. As of November, the market share for Korean films in the domestic market stood at 55 percent, which indicates that the yearly market share of Korean films will be over 50 percent for the third year in a row. In the international arena as well, Korean films were invited to major international film festivals including Cannes, Berlin, Venice, Locarno, and San Sebastian and received a warm reception from critics and audiences. It is often said that the current prosperity of Korean cinema is due to the strong commitment and policies introduced by the KIM Dae-joong government in 1999 to promote Korean films. -
K O R E a N C in E M a 2 0
KOREAN CINEMA 2006 www.kofic.or.kr/english Korean Cinema 2006 Contents FOREWORD 04 KOREAN FILMS IN 2006 AND 2007 05 Acknowledgements KOREAN FILM COUNCIL 12 PUBLISHER FEATURE FILMS AN Cheong-sook Fiction 22 Chairperson Korean Film Council Documentary 294 206-46, Cheongnyangni-dong, Dongdaemun-gu, Seoul, Korea 130-010 Animation 336 EDITOR-IN-CHIEF Daniel D. H. PARK Director of International Promotion SHORT FILMS Fiction 344 EDITORS Documentary 431 JUNG Hyun-chang, YANG You-jeong Animation 436 COLLABORATORS Darcy Paquet, Earl Jackson, KANG Byung-woon FILMS IN PRODUCTION CONTRIBUTING WRITER Fiction 470 LEE Jong-do Film image, stills and part of film information are provided by directors, producers, production & sales companies, and Film Festivals in Korea including JIFF (Jeonju International Film Festival), PIFF APPENDIX (Pusan International Film Festival), SIFF (Seoul Independent Film Festival), Women’s Film Festival Statistics 494 in Seoul, Puchon International Fantastic Film Festival, Seoul International Youth Film Festival, Index of 2006 films 502 Asiana International Short Film Festival, and Experimental Film and Video Festival in Seoul. KOFIC appreciates their help and cooperation. Contacts 517 © Korean Film Council 2006 Foreword For the Korean film industry, the year 2006 began with LEE Joon-ik's <King and the Clown> - The Korean Film Council is striving to secure the continuous growth of Korean cinema and to released at the end of 2005 - and expanded with BONG Joon-ho's <The Host> in July. First, <King provide steadfast support to Korean filmmakers. This year, new projects of note include new and the Clown> broke the all-time box office record set by <Taegukgi> in 2004, attracting a record international support programs such as the ‘Filmmakers Development Lab’ and the ‘Business R&D breaking 12 million viewers at the box office over a three month run. -
Dowthwaite, Liz (2018) Crowdfunding Webcomics
CROWDFUNDING WEBCOMICS: THE ROLE OF INCENTIVES AND RECIPROCITY IN MONETISING FREE CONTENT Liz Dowthwaite Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy September 2017 Liz Dowthwaite Crowdfunding Webcomics: The Role of Incentives and Reciprocity in Monetising Free Content Thesis submitted to the School of Engineering, University of Nottingham, in partial fulfilment of the requirements for the degree of Doctor of Philosophy. © September 2017 Supervisors: Robert J Houghton Alexa Spence Richard Mortier i To my parents, and James. ii Doug Savage, 2007 http://www.savagechickens.com/2007/05/morgan-freeman.html “They’re not paying for the content. They’re paying for the people.” Jack Conte, founder of Patreon “We ascribe to the idealistic notion that audiences don’t pay for things because they’re forced to, but because they care about the stuff that they love and want it to continue to grow.” Hank Green, founder of Subbable iii CROWDFUNDING WEBCOMICS – LIZ DOWTHWAITE – AUGUST 2017 ABSTRACT The recent phenomenon of internet-based crowdfunding has enabled the creators of new products and media to share and finance their work via networks of fans and similarly-minded people instead of having to rely on established corporate intermediaries and traditional business models. This thesis examines how the creators of free content, specifically webcomics, are able to monetise their work and find financial success through crowdfunding and what factors, social and psychological, support this process. Consistent with crowdfunding being both a large-scale social process yet based on the interactions of individuals (albeit en mass), this topic was explored at both micro- and macro-level combining methods from individual interviews through to mass scraping of data and large-scale questionnaires. -
EASC Newsletter: Print-Ready Version
EASC Newsletter: October 2006 EASC Newsletter: January 2007 A Letter from the Director Heidi Ross Dear EASC Friends and Colleagues, “Lights! Camera! China!” This title of a recent article in IU Home Pages captures for me the seemingly inexhaustible interest in East Asia around campus. The article describes a documentary on U.S. higher education featuring three IU undergrads and EALC Professor Scott Kennedy that is being aired to millions of families in the P.R.C. Scott, who was interviewed for the film in Chinese, described the initiative as “terrific … because it allowed us to speak directly to potential Chinese students without any intermediaries…. We're a global university, and hence, it's critical to have students from around the world in Bloomington.” The film is just one among a number of initiatives that cast a spotlight on the importance of faculty and student exchange between IU and East Asian institutions. Counting China, Korea, Taiwan and Japan as among IU’s most strategically important countries, several IU administrators, including Provost Michael McRobbie, have recently traveled to East Asia to strengthen IU’s strategic partnerships and enhance collaborative research and teaching capacities. How far IU has come since its first international student—from Japan—graduated in 1890! I invite you to share in our excitement about these developments by attending this semester’s East Asian Studies Center Colloquium series. IU Professors Jean Robinson and Sue Tuohy open the series with reflections on the 50 th anniversary of the build up to China’s Great Leap Forward. We also look forward to a special presentation in February on “The International Language of Science and Technology” by Provost McRobbie. -
Newsletter 14/07 DIGITAL EDITION Nr
ISSN 1610-2606 ISSN 1610-2606 newsletter 14/07 DIGITAL EDITION Nr. 211 - Juli 2007 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 3 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 14/07 (Nr. 211) Juli 2007 editorial Hallo Laserdisc- und DVD-Fans, beruhigen, denn sein Eindruck war richtig. liebe Filmfreunde! Denn leider werden in den Stuttgarter Wieder einmal lassen wir unseren neuen Festivalkinos 35mm-Filme nach wie vor Newsletter mit etwas Verspätung vom Sta- mit einer falschen Geschwindigkeit vorge- pel. Doch terminlich ging es einfach nicht führt: Mit 25 Bildern pro Sekunde und anders. Nicht nur, dass wir in der vergan- nicht mit den genormten 24 Bildern pro genen Woche ausgiebigst richtige Sekunde! Dadurch läuft der Film schneller Bollywood-Luft schnuppern konnten, son- und die Tonhöhenlage wird höher. Eine dern darüber hinaus auch noch nicht weni- Korrektur wäre hier sehr wünschenswert. ger als drei Pressevorführungen kommen- Auch erfuhren wir von John, dass ein ame- der Kinoattraktionen besucht haben. Ein rikanischer TV-Sender Interesse daran hat, Übriges steuerte dann auch noch das ex- OUTSOURCED in eine TV-Serie umzu- trem heisse Sommerwetter bei, das es ei- wandeln. Und sein nächstes Projekt? Ein nem nicht gerade leicht macht, einen kla- Thriller im Stil von DIE DREI TAGE ren Gedanken zu fassen. Aber genug der DES CONDORS. Na, da sind wir ja mal Entschuldigungen - lassen Sie uns ein we- gespannt. Übrigens hatte John Jeffcoat nig über Bollywood plaudern.