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After the Livestock Revolution Free-Grazing Ducks and Influenza Uncertainties in South China
ARTICLE After the livestock revolution Free-grazing ducks and influenza uncertainties in South China Lyle Fearnley Abstract Since the 1970s, virologists have pointed to South China as a hypothetical ‘epicenter’ of influenza pandemics. In particular, several key studies highlighted the farming practice of ‘free-grazing’ ducks (fangyang) as the crucial ecological factor driving the emergence of new flu viruses. Following the emergence of highly pathogenic avian influenza viruses in 1997 and 2004, free-grazing ducks became a primary target of biosecurity interventions from global health agencies and China’s national government. This article compares the global health ‘problematization’ of free-grazing ducks as a pandemic threat with the manner in which duck farmers around Poyang Lake, China, engage with the dangers of disease in their flocks. Showing how both global health experts and duck farmers configure the uncertainty of disease against ideal modes of ordering the relations among species, I conclude by examining how these two problematizations interact in ways that mutually intensify – rather than moderate – uncertainty. Keywords pandemics, influenza, agrarian change, multispecies, human-animal relations, uncertainty Medicine Anthropology Theory 5 (3): 72–98; https://doi.org/10.17157/mat.5.3.378. © Lyle Fearnley, 2018. Published under a Creative Commons Attribution 4.0 International license. Medicine Anthropology Theory 73 Out in the rice fields and waterways that surround China’s enormous Poyang Lake, located in southern Jiangxi Province, ducks are a common sight. The lowland environment of the lake region, filled with canals and small ponds, is certainly suitable for the husbandry of waterfowl. Provincial planning reports from the 1980s called for the lake region to be developed as a ‘production base’ for commercial waterfowl (Studies on Poyang Lake Editorial Committee 1988). -
Gender and the Family in Contemporary Chinese-Language Film Remakes
Gender and the family in contemporary Chinese-language film remakes Sarah Woodland BBusMan., BA (Hons) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2016 School of Languages and Cultures 1 Abstract This thesis argues that cinematic remakes in the Chinese cultural context are a far more complex phenomenon than adaptive translation between disparate cultures. While early work conducted on French cinema and recent work on Chinese-language remakes by scholars including Li, Chan and Wang focused primarily on issues of intercultural difference, this thesis looks not only at remaking across cultures, but also at intracultural remakes. In doing so, it moves beyond questions of cultural politics, taking full advantage of the unique opportunity provided by remakes to compare and contrast two versions of the same narrative, and investigates more broadly at the many reasons why changes between a source film and remake might occur. Using gender as a lens through which these changes can be observed, this thesis conducts a comparative analysis of two pairs of intercultural and two pairs of intracultural films, each chapter highlighting a different dimension of remakes, and illustrating how changes in gender representations can be reflective not just of differences in attitudes towards gender across cultures, but also of broader concerns relating to culture, genre, auteurism, politics and temporality. The thesis endeavours to investigate the complexities of remaking processes in a Chinese-language cinematic context, with a view to exploring the ways in which remakes might reflect different perspectives on Chinese society more broadly, through their ability to compel the viewer to reflect not only on the past, by virtue of the relationship with a source text, but also on the present, through the way in which the remake reshapes this text to address its audience. -
New Macau Association Wants to Keep Hotel Estoril Façade P7
TOURISM ‘MASTER PLAN’ TRIBUTE TO MANUEL VERIZON CONSULTATION CONCLUDED VICENTE MGTO gathered over 1,100 The work of Portuguese BUYS opinions on the plan to develop the architect Manuel Vicente YAHOO tourism industry during the two- is the theme of “Macau: FOR month public consultation period Reading the Hybrid City” USD4.83B P2 P5 MDT REPORT P8 TUE.26 Jul 2016 T. 27º/ 32º C H. 65/ 95% Blackberry email service powered by CTM MOP 7.50 2607 N.º HKD 9.50 FOUNDER & PUBLISHER Kowie Geldenhuys EDITOR-IN-CHIEF Paulo Coutinho “ THE TIMES THEY ARE A-CHANGIN’ ” WORLD BRIEFS CHINA | CORRUPTION CHINA The International Champions Cup match between Premier League rivals Manchester United and Manchester City has been canceled after Former top PLA recent extreme weather made the playing surface at Beijing’s National Stadium unfit for play. general jailed for life P11 AP PHOTO PHILIPPINES President New Macau Association wants Rodrigo Duterte declared a unilateral cease- fire with communist guerrillas effective to keep Hotel Estoril façade P7 immediately yesterday and asked the rebels to do the same to end decades of deadly violence and foster the resumption of peace talks. More on p.13 VIETNAM An Australian woman has been arrested in Vietnam for allegedly trafficking heroin, state media reported. The Thanh Nien newspaper said the 37-year old woman of Vietnamese origin was detained Sunday at Tan Son Nhat airport in the southern hub of Ho Chi Minh City after authorities found nearly 5 kilograms of heroin hidden in her luggage. AP PHOTO US-BRUNEI U.S. -
Western Criticism, Labelling Practice and Self-Orientalised East Asian Films
Travelling Films: Western Criticism, Labelling Practice and Self-Orientalised East Asian Films Goldsmiths College University of London PhD thesis (Cultural Studies) Ji Yeon Lee Abstract This thesis analyses western criticism, labelling practices and the politics of European international film festivals. In particular, this thesis focuses on the impact of western criticism on East Asian films as they attempt to travel to the west and when they travel back to their home countries. This thesis draws on the critical arguments by Edward Said's Orientalism: Western Conceptions of the Orient (1978) and self-Orientalism, as articulated by Rey Chow, which is developed upon Mary Louise Pratt's conceptual tools such as 'contact zone' and 'autoethnography'. This thesis deals with three East Asian directors: Kitano Takeshi (Japanese director), Zhang Yimou (Chinese director) and 1m Kwon-Taek (Korean director). Dealing with Japanese, Chinese and Korean cinema is designed to show different historical and cultural configurations in which each cinema draws western attention. This thesis also illuminates different ways each cinema is appropriated and articulated in the west. This thesis scrutinises how three directors from the region have responded to this Orientalist discourse and investigates the unequal power relationship that controls the international circulation of films. Each director's response largely depends on the particular national and historical contexts of each country and each national cinema. The processes that characterise films' travelling are interrelated: the western conception of Japanese, Chinese or Korean cinema draws upon western Orientalism, but is at the same time corroborated by directors' responses. Through self-Orientalism, these directors, as 'Orientals', participate in forming and confirming the premises of western Orientalism. -
Art, Politics, and Commerce in Chinese Cinema
Art, Politics, and Commerce in Chinese Cinema edited by Ying Zhu and Stanley Rosen Hong Kong University Press 14/F Hing Wai Centre, 7 Tin Wan Praya Road, Aberdeen, Hong Kong www.hkupress.org © Hong Kong University Press 2010 Hardcover ISBN 978-962-209-175-7 Paperback ISBN 978-962-209-176-4 All rights reserved. Copyright of extracts and photographs belongs to the original sources. No part of this publication may be reproduced or transmitted, in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the copyright owners. Printed and bound by XXXXX, Hong Kong, China Contents List of Tables vii Acknowledgements ix List of Contributors xiii Introduction 1 Ying Zhu and Stanley Rosen Part 1 Film Industry: Local and Global Markets 15 1. The Evolution of Chinese Film as an Industry 17 Ying Zhu and Seio Nakajima 2. Chinese Cinema’s International Market 35 Stanley Rosen 3. American Films in China Prior to 1950 55 Zhiwei Xiao 4. Piracy and the DVD/VCD Market: Contradictions and Paradoxes 71 Shujen Wang Part 2 Film Politics: Genre and Reception 85 5. The Triumph of Cinema: Chinese Film Culture 87 from the 1960s to the 1980s Paul Clark vi Contents 6. The Martial Arts Film in Chinese Cinema: Historicism and the National 99 Stephen Teo 7. Chinese Animation Film: From Experimentation to Digitalization 111 John A. Lent and Ying Xu 8. Of Institutional Supervision and Individual Subjectivity: 127 The History and Current State of Chinese Documentary Yingjin Zhang Part 3 Film Art: Style and Authorship 143 9. -
10883-APG-Portland Place School-Strive Year 9 V4.Indd
STRIVE YEAR 9 WHY? FOSTER YOUR PASSION STRETCH AND ENTHUSIASM YOUR FOR THE SUBJECTS LEARNING YOU LOVE IN FUN OUTSIDE THE AND EXCITING CLASSROOM. WAYS. BEGIN THINKING AND EXPERIMENTING DEVELOP WITH DIFFERENT STRATEGIES FOR WAYS OF INDEPENDENT LEARNING. LEARNING WHICH WILL BE ESSENTIAL FOR SUCCESS. Portland Place | Strive | Year 9 | Why? 3 We will give you recommendations based on what you can: STRIVE READ WATCH At Portland Place we want to provide you with the opportunity to: CONTENTS • Excite and broaden your mind on your favourite topics and subjects. ART 6 Stretch your learning far beyond the classroom. • COMPUTER SCIENCE 7 • Empower you to set your own learning direction. DRAMA 8 • Inspire and motivate you. DESIGN TECHNOLOGY 9 We want to provide you with the opportunity to explore topics ENGLISH 10 and issues further, to develop a sense of questioning and GEOGRAPHY 11 curiosity. When we are curious, we see things differently, making HISTORY WWI 12 connections and experiencing moments of insight and meaning — all of which provide the foundation for rich and satisfying HISTORY WWII 13 life experiences. HISTORY HOLOCAUST 14 This booklet outlines The Strive Programme, allowing you to HISTORY THE COLD WAR 14 harness your curiosity and deepen your interest and engagement HISTORY CIVIL RIGHTS 15 of a particular subject through closer study. Each subject has MATHEMATICS 16 suggestions about things you can,WATCH, READ, LISTEN, SEE LISTEN SEE MATHS & ARTS 17 AND DO to foster your passion and enthusiasm for the subjects you love and develop strategies for independent learning. The MUSIC 18 - 19 tasks are designed to be done at your pace and in your own time. -
Written & Directed by and Starring Stephen Chow
CJ7 Written & Directed by and Starring Stephen Chow East Coast Publicity West Coast Publicity Distributor IHOP Public Relations Block Korenbrot PR Sony Pictures Classics Jeff Hill Melody Korenbrot Carmelo Pirrone Jessica Uzzan Judy Chang Leila Guenancia 853 7th Ave, 3C 110 S. Fairfax Ave, #310 550 Madison Ave New York, NY 10019 Los Angeles, CA 90036 New York, NY 10022 212-265-4373 tel 323-634-7001 tel 212-833-8833 tel 212-247-2948 fax 323-634-7030 fax 212-833-8844 fax 1 Short Synopsis: From Stephen Chow, the director and star of Kung Fu Hustle, comes CJ7, a new comedy featuring Chow’s trademark slapstick antics. Ti (Stephen Chow) is a poor father who works all day, everyday at a construction site to make sure his son Dicky Chow (Xu Jian) can attend an elite private school. Despite his father’s good intentions to give his son the opportunities he never had, Dicky, with his dirty and tattered clothes and none of the “cool” toys stands out from his schoolmates like a sore thumb. Ti can’t afford to buy Dicky any expensive toys and goes to the best place he knows to get new stuff for Dicky – the junk yard! While out “shopping” for a new toy for his son, Ti finds a mysterious orb and brings it home for Dicky to play with. To his surprise and disbelief, the orb reveals itself to Dicky as a bizarre “pet” with extraordinary powers. Armed with his “CJ7” Dicky seizes this chance to overcome his poor background and shabby clothes and impress his fellow schoolmates for the first time in his life. -
Skills Volume 2: Skills
Research Concepts & Skills Volume 2: Skills Text with self-test questions D G Rossiter Version 3.5 April 29, 2014 Copyright © 2009–2014 University of Twente, Faculty of Geo-information Science & Earth Observation (ITC) All rights reserved. Reproduction and dissemination of the work as a whole (not parts) freely permitted if this original copyright notice is included. Sale or placement on a web site where payment must be made to access this document is strictly prohibited. To adapt or translate please contact the author (http://www.itc.nl/personal/rossiter). Contents 1 Literature review, Citations, and List of references2 1.1 Information..............................2 1.1.1 Information literacy.....................3 1.1.2 Personal information infrastructure...........5 1.1.3 Answers to self-test questions..............5 1.2 Literature review...........................6 1.2.1 Purpose of a literature review...............6 1.2.2 Answers to self-test questions..............8 1.3 Types of sources...........................9 1.3.1 Journal Articles.......................9 ISI journals.......................... 10 Non-ISI journals....................... 12 Open Access journals.................... 13 History of OA..................... 13 Implementing OA.................. 14 Using OA sources.................. 16 1.3.2 Conference Papers...................... 16 1.3.3 Book chapters........................ 18 1.3.4 Textbooks........................... 19 1.3.5 Technical Reports...................... 20 1.3.6 Peer-reviewed non-printed sources........... 20 1.3.7 Web access to printed sources.............. 21 1.3.8 Web pages........................... 22 1.3.9 Answers to self-test questions.............. 23 1.4 Quality of information sources.................. 24 1.4.1 Peer review for quality control.............. 24 1.4.2 Choosing among sources................ -
WORLD CINEMA Streaming Video Collection
WORLD CINEMA Streaming Video Collection More than 485 classic and contemporary feature films from Africa, Asia, Europe, Latin America, the Caribbean, the Middle East, and the United States. This unique collection includes the best of the silent • Unlimited access from any location— era, groundbreaking international directors, American on campus or off and European masterpieces from the mid-20th century, • Easily embed videos into Canvas, award-winning contemporary films from Global Lens, Blackboard, Moodle, or other CMS and films from Africa and the African diaspora from ArtMattan Productions. The collection shines a light • Public performance rights and no on the history of cinema while also providing a glimpse copyright infringement worries into the cultures and issues of countries around the • Includes masterpieces and award world—making it useful beyond film studies departments winners directed by: by bringing value to programs in area studies, political science, history, world languages, and more. Fritz Lang Ousmane Sembène All foreign language films Georges Méliès Federico Fellini are accompanied by English Jean Renoir Roberto Rossellini subtitles. Using Films On Luis Buñuel Zhang Yimou Demand’s Custom Segment Akira Kurosawa King Hu tool, faculty and students Yasujiro Ozu Glauber Rocha may create customized segments of specific Sergei Eisenstein Yilmaz Güney scenes from a film, which Alfred Hitchcock Satyajit Ray can be embedded, shared, Ida Lupino …and many more! and saved. Some World Cinema titles contain mature themes or content; viewer discretion is advised. CALL: (800) 322-8755 [email protected] FREE TRIAL: www.Infobase.com/Trial FAX: (646) 349-9687 www.Films.com • www.Infobase.com 0517 More than 485 feature films from around the globe. -
“China Factor” in Contemporary Hong Kong Genre Cinema
Concentric: Literary and Cultural Studies 46.1 March 2020: 11-37 DOI: 10.6240/concentric.lit.202003_46(1).0002 Re-Negotiations of the “China Factor” in Contemporary Hong Kong Genre Cinema Ting-Ying Lin Department of Information and Communication Tamkang University, Taiwan Abstract Given the long-existing and multifaceted negotiations of the “China factor” in Hong Kong film history, this article centers on the political function of genre films by exploring how contemporary Hong Kong filmmakers utilize filmmaking as a flexible strategy to re-negotiate and reflect on the China factor concerning current post-handover political dynamics. By focusing on several recent Hong Kong genre films as case studies, it examines how the China factor is negotiated in Vulgaria (低俗喜劇 Disu xiju, 2012) and The Midnight After (那夜凌晨,我坐上了旺角開往大埔的紅 VAN Naye lingchen, wo zuoshang le Wangjiao kaiwang Dapu de hong van, 2014), considering the politics of languages alongside the imaginary of the disappearance of Hong Kong’s local cultures in the post-handover era. It also highlights two post-Umbrella- Revolution films, Trivisa ( 樹大招風 Shuda zhaofeng, 2016) and The Mobfathers (選老頂 Xuan lao ding, 2016), to explore how the China factor is negotiated in light of the collective anxieties of Hongkongers regarding the handover and controversies in the current electoral system of Hong Kong. By doing so, this article argues that the re-negotiations of the China factor in contemporary Hong Kong genre cinema have become more and more politically reflexive given the increasingly severe political interference of the Beijing sovereignty that has violated the autonomy of Hong Kong, while forming a discourse of resistance of Hongkongers against possible neo- colonialism from the Chinese authorities in the postcolonial city. -
“Our Time Will Come” Wins 5 Trophies at Hong Kong Film Awards The
“Our Time Will Come” Wins 5 Trophies at Hong Kong Film Awards The 37th Hong Kong Film Awards ceremony took place on 15 April at the Hong Kong Cultural Centre. The star-studded event this year was broadcast live on ViuTV, which had produced a series of film awards-themed programmes to usher in the big day, including reality shows on the nominees of Best New Director and Best New Performer. Ann Hui’s wartime epic “Our Time Will Come”, based on the heroics of a resistance group fighting Japanese occupation in Hong Kong, was the big winner bagging five awards. Wilson Yip’s action film “Paradox” received three nods while upcoming director Chan Tai Lee’s “Tomorrow Is Another Day” snatched two. “Tomorrow is Another Day” is a social drama that puts autism on the big screen. Veteran actor Louis Koo continued his awards-winning streak by picking up his first Best Actor honour at the Hong Kong Film Awards. Koo also won Best Actor, the first major acting prize in his career, at the Asian Film Awards in March this year. “I have been thinking how we can all make Hong Kong film thrive,” Koo said in a heartfelt speech. “Hongkongers must be united… the industry needs your support.” Reflecting on inspirational moments encountered in the industry over the last 20 years, Koo paid tribute to the Lifetime Achievement Award winner Chor Yuen, “When I was filming with Uncle Chor Yuen years ago on the set of a TVB show, his advice influenced me until today. He said that we should never give up on any scene, and any line of dialogue. -
Game Set in the Past Makes History
18 | Wednesday, November 13, 2019 HONG KONG EDITION | CHINA DAILY YOUTH Greener Report approach Game set in the highlights to paper women’s recycling past makes history interests takes root By LI YINGXUE The Invisible Guardian designer wins A key annual report on women and the workplace was released By LI YINGXUE leading international award in major in Beijing on Oct 22. Lean In China, a platform that A partnership between an breakthrough, Li Yingxue reports. supports the goals and aspira Australian university and a com tions of women, together with pany in Guangdong province is Deloitte China, released Women, paving the way for a greener Work and Happiness in the capi approach to business. tal last month. The University of Sydney’s The report is based on 5,469 Waste Transformation Research questionnaires collected from all Hub announced a tieup with over China with more than 80 Dongguan Jianhui Paper Co, a percent of the interviewees being paper recycling and manufac women and 18.7 percent men, turing company, at the end of Rachel Tong, secretarygeneral October. of Lean In China, says. “Paper recycling plants use a lot About 60 percent of the ques of water, which they require to Chineselanguage game, linear stories for films, the game tionnaires were collected from treat the wastepaper during the attracting a worldwide needs multiple scenarios. companies, including those in the recycling process,’’ says University audience, has scooped up “We have over 100 endings for Fortune 500 and unicorns (start of Sydney associate professor Ali a prestigious internation game players, but because the role is ups with a net value of over $1 bil Abbas.