Novemer/December 2011 Volume 10, Number 6 10Th
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Cinema, New Media, and Higher Education
Educational Perspectives Journal of the College of Education/University of Hawai‘i at Ma¯noa CONTENTS Dean Christine Sorensen 2 Contributors Editor Hunter McEwan 3 Cinema, New Media, and Higher Education Managing Editor Lori Ward Guest Editor Konrad Ng Konrad Ng and Hunter McEwan Graphic Designer Darrell Asato 5 Film Form and Pedagogy: Beyond Perception College of Education Editorial Board Michael J. Shapiro Linda Johnsrud, Professor Kathryn Au, Professor Emeritus 10 Asian Cinema and the Social Imaginary Curtis Ho, Professor Wimal Dissanayake Mary Jo Noonan, Professor Robert Potter, Professor Emeritus 15 Apparatus, Genre, and Spectatorship in the Classroom COEDSA President Glenn Man The Journal and the College of Education assume no responsibility 24 Made in Hawai‘i: Critical Studies and the Academy for the opinion or facts in signed articles, except to the for Creative Media extent of expressing the view, by the fact of publication, that the subject matter is one which merits attention. Konrad Ng Published twice each year by the College of Education, 29 Engaging a “Truly Foreign” Language and Culture: University of Hawai‘i at Mänoa China through Chinese film Individual copies $25.00 To purchase single copies of this issue contact Cynthia Ning Marketing and Publication Services, Curriculum & Research Development Group 36 Thinking Images: Doing Philosophy in Film and Video Phone: 800-799-8111 (toll-free), 808-956-4969 Graham Parkes Fax: 808-956-6730 Email: [email protected] 47 Coffy, YouTube, and Uncle Ben: The Use of Film and New Address all communications regarding single copies, Media in the Teaching of African American Studies at subscriptions, manuscripts, and correspondence the University of Hawai‘i about editorial material to Editor, Elisa Joy White Educational Perspectives, College of Education, University of Hawai‘i at Mänoa, Wist Hall 54 Digital Storytelling in Teacher Education: Creating Room 113, 1776 University Avenue, Transformations through Narrative Honolulu, HI 96822 James R. -
![New York / New York Film Festival, September 23 - October 9, 1994]](https://docslib.b-cdn.net/cover/9802/new-york-new-york-film-festival-september-23-october-9-1994-29802.webp)
New York / New York Film Festival, September 23 - October 9, 1994]
Document generated on 09/29/2021 7:21 p.m. ETC New York New York Film Festival, September 23 - October 9, 1994 Steven Kaplan La critique d’art : enjeux actuels 1 Number 29, February–May 1995 URI: https://id.erudit.org/iderudit/35725ac See table of contents Publisher(s) Revue d'art contemporain ETC inc. ISSN 0835-7641 (print) 1923-3205 (digital) Explore this journal Cite this review Kaplan, S. (1995). Review of [New York / New York Film Festival, September 23 - October 9, 1994]. ETC, (29), 23–27. Tous droits réservés © Revue d'art contemporain ETC inc., 1995 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/ nm/AiMiiEi NEW YORK New York Film Festival, September 23 - October 9,1994 ike the universe at large, film festivals often find the invidious structure of white overseer (coach, recruiter) it reassuring to start up with a big bang. The recent feeding off the talents and aspirations of a black underclass. 32nd edition of the New York Film Festival opened As Arthur Agee and William Gates progress from the with the explosive Pulp Fiction, fresh from its hood to a lily white suburban Catholic school (a basketball success at Cannes, continuing the virtual powerhouse which graduated Isiah Thomas) and hence to Ldeification of writer-director Quentin Tarantino among college, we are aware of the sacrifices they and their the hip media establishment, and poising him for entry families make, the difficulties of growing up black and into a wider marketplace. -
Annual Report 2018–2019 Artmuseum.Princeton.Edu
Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb. -
Fragmented Memories and Screening Nostalgia for the Cultural Revolution
Fragmented Memories and Screening Nostalgia for the Cultural Revolution Jing Meng Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong https://hkupress.hku.hk © 2020 Hong Kong University Press ISBN 978-988-8528-46-2 (Hardback) All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. Cover image courtesy of Dongchun Films Co., Ltd. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Paramount Printing Co., Ltd. in Hong Kong, China Contents List of Illustrations vi Acknowledgements vii Introduction 1 1. Janus-Faced Nostalgia: Moral Critique, Sentimentalism, and Gender 16 2. Post-revolution Nostalgia: Memory as Performance 47 3. Beyond Nostalgia: Agency and Auteuristic Expressivity in Fragmented Memories 66 4. Post-trauma Narrative: Fragmented Past Flows into the Present 93 5. A Collective ‘I’ and Its Contending Readings: Personal Memories in Sent-Down Youth 111 6. Conclusion: Contingent Memories, Contested Modernities 139 Filmography 147 Bibliography 149 Illustrations Figure 1.1: Poster for Under the Hawthorn Tree 30 Figure 2.1: Still from Youth: The opening dancing rehearsal 51 Figure 2.2: Still from Youth: The shower scene 52 Figure 2.3: Still from Youth: The transitional scene of the -
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. -
Critique of Anthropology
Critique of Anthropology http://coa.sagepub.com/ The state of irony in China Hans Steinmüller Critique of Anthropology 2011 31: 21 DOI: 10.1177/0308275X10393434 The online version of this article can be found at: http://coa.sagepub.com/content/31/1/21 Published by: http://www.sagepublications.com Additional services and information for Critique of Anthropology can be found at: Email Alerts: http://coa.sagepub.com/cgi/alerts Subscriptions: http://coa.sagepub.com/subscriptions Reprints: http://www.sagepub.com/journalsReprints.nav Permissions: http://www.sagepub.com/journalsPermissions.nav Citations: http://coa.sagepub.com/content/31/1/21.refs.html >> Version of Record - Mar 30, 2011 What is This? Downloaded from coa.sagepub.com at NATIONAL CHENGCHI UNIV LIB on February 23, 2012 Article Critique of Anthropology 31(1) 21–42 The state of irony ! The Author(s) 2011 Reprints and permissions: in China sagepub.co.uk/journalsPermissions.nav DOI: 10.1177/0308275X10393434 coa.sagepub.com Hans Steinmu¨ller Department of Anthropology, London School of Economics Abstract In everyday life, people in China as elsewhere have to confront large-scale incongruities between different representations of history and state. They do so frequently by way of indirection, that is, by taking ironic, cynical or embarrassed positions. Those who understand such indirect expressions based on a shared experiential horizon form what I call a ‘community of complicity’. In examples drawn from everyday politics of memory, the representation of local development programmes and a dystopic novel, I distinguish cynicism and ‘true’ irony as two different ways to form such communities. This distinction proposes a renewed attempt at understanding social inclusion and exclusion. -
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. -
Chinese Literature in the Second Half of a Modern Century: a Critical Survey
CHINESE LITERATURE IN THE SECOND HALF OF A MODERN CENTURY A CRITICAL SURVEY Edited by PANG-YUAN CHI and DAVID DER-WEI WANG INDIANA UNIVERSITY PRESS • BLOOMINGTON AND INDIANAPOLIS William Tay’s “Colonialism, the Cold War Era, and Marginal Space: The Existential Condition of Five Decades of Hong Kong Literature,” Li Tuo’s “Resistance to Modernity: Reflections on Mainland Chinese Literary Criticism in the 1980s,” and Michelle Yeh’s “Death of the Poet: Poetry and Society in Contemporary China and Taiwan” first ap- peared in the special issue “Contemporary Chinese Literature: Crossing the Bound- aries” (edited by Yvonne Chang) of Literature East and West (1995). Jeffrey Kinkley’s “A Bibliographic Survey of Publications on Chinese Literature in Translation from 1949 to 1999” first appeared in Choice (April 1994; copyright by the American Library Associ- ation). All of the essays have been revised for this volume. This book is a publication of Indiana University Press 601 North Morton Street Bloomington, IN 47404-3797 USA http://www.indiana.edu/~iupress Telephone orders 800-842-6796 Fax orders 812-855-7931 Orders by e-mail [email protected] © 2000 by David D. W. Wang All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses’ Resolution on Permissions constitutes the only exception to this prohibition. The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences— Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984. -
Cinematic Reconstruction of Historical Trauma in Twenty-First Century China
Does Time Heal?: Cinematic Reconstruction of Historical Trauma in Twenty-first Century China By Shiya Zhang B.A., Jilin University, 2004 A Thesis Submitted in Partial Fulfillment of the Requirement for the Degree of MASTER OF ARTS in the Department of Pacific and Asian Studies ©Shiya Zhang, 2018 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee Does Time Heal?: Cinematic Reconstruction of Historical Trauma in Twenty-first Century China By Shiya Zhang Bachelor of Arts., Jilin University, 2004 Supervisory Committee Dr. Richard King, Supervisor (Department of Pacific and Asian Studies) Dr. Katsuhiko Endo, Departmental Member (Department of Pacific and Asian Studies) iii Supervisory Committee Dr. Richard King, Supervisor (Department of Pacific and Asian Studies) Dr. Katsuhiko Endo, Departmental Member (Department of Pacific and Asian Studies) Abstract While the whole world is talking about China’s rise in wealth and power, most focus has been placed on understanding China’s present policies and future orientations. However, very little attention is devoted to examining how historical consciousness affects present China. People take for granted that the past—particularly the landmark traumas of the communist decades— is a far-reaching historical discontinuity, and that China’s profound changes in every aspect of society have rendered the past increasingly irrelevant. However, this thesis argues that this assumption is wrong. This thesis explores the ways that Chinese filmmakers rearticulate the historical traumas which continue to affect Chinese society in the post-WTO era. -
Censorship in Cyberspace: Accommodation and Resistance Among Chinese Netizens
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by CUHK Digital Repository Censorship in Cyberspace: Accommodation and Resistance Among Chinese Netizens CHANG, Xinyue A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Philosophy in Anthropology The Chinese University of Hong Kong September 2012 Table of Contents Abstract .................................................................................................................. i Chapter 1. Introduction ....................................................................................... 1 Introduction: “The Google-China Affair” ...................................................... 2 Chinese Returnees .......................................................................................... 4 The Nascent Public Sphere, Censorship, and the Google-China Affair ........ 5 An Historical Perspective ............................................................................. 13 Methodology ................................................................................................ 21 Chapter Breakdown ...................................................................................... 24 Chapter 2. Literature Review ........................................................................... 26 The Anthropology of Cyberspace ................................................................ 26 China’s Cyberspace ...................................................................................... 36 -
YANG YONGLIANG Born 1980; Shanghai
YANG YONGLIANG Born 1980; Shanghai, China Lives and works in Shanghai, China EDUCATION 2003 Bachelor of Visual Communication, China Academy of Art, Shanghai, China COLLECTIONS AiLing Foundation, Shanghai, China Allen Memorial Art Museum, Ohio, USA Arendt Art Collection, Arendt & Medernach, Luxembourg Art Gallery of New South Wales, Sydney, Australia Bates College Museum of Art, Maine, USA Brooklyn Museum, New York, USA Deutsche Bank, Hong Kong DSL Collection, Paris, France Fidelity Investment Corp Collection, USA Franks-Suss Collection, London, UK How Art Museum, Shanghai, China HSBC Hong Kong Jordan Schnitzer Museum of Art, University of Oregon, Oregon, USA M+ Sigg Collection, Hong Kong, China Metropolitan Museum of Art, New York, USA Middlebury College Museum of Art, Vermont, USA Musée de L'homme, Paris, France Museum of Fine Arts, Boston, USA Nevada Art Museum, USA PAE ART Collection, Switzerland Samuel P. Harn Museum of Art, Florida, USA San Francisco Asian Art Museum, USA Ulrich Museum of Art, Wichita State University, Kansas, USA The British Museum, London, UK The National Gallery of Victoria, Melbourne, Australia The Saatchi Gallery, London, UK White Rabbit Contemporary Chinese Art Collection, Sydney, Australia SOLO EXHIBITIONS 2019 Artificial Wonderland, Dunedin Public Art Gallery, New Zealand 2018 Salt 14 Utah Museum of Fine Arts, Salt Lake City, USA (forthcoming) 2018 Journey to the Dark, Sullivsn+Strumpf Sydney, Australia 2017 Time Immemorial, Galerie Paris-Beijing, Paris, France 2017 Time Immemorial, Matthew Liu Fine Arts, -
Humour in Chinese Life and Culture Resistance and Control in Modern Times
Humour in Chinese Life and Culture Resistance and Control in Modern Times Edited by Jessica Milner Davis and Jocelyn Chey A Companion Volume to H umour in Chinese Life and Letters: Classical and Traditional Approaches Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © Hong Kong University Press 2013 ISBN 978-988-8139-23-1 (Hardback) ISBN 978-988-8139-24-8 (Paperback) All rights reserved. No portion 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 permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Condor Production Limited, Hong Kong, China Contents List of illustrations and tables vii Contributors xi Editors’ note xix Preface xxi 1. Humour and its cultural context: Introduction and overview 1 Jessica Milner Davis 2. The phantom of the clock: Laughter and the time of life in the 23 writings of Qian Zhongshu and his contemporaries Diran John Sohigian 3. Unwarranted attention: The image of Japan in twentieth-century 47 Chinese humour Barak Kushner 4 Chinese cartoons and humour: The views of fi rst- and second- 81 generation cartoonists John A. Lent and Xu Ying 5. “Love you to the bone” and other songs: Humour and rusheng 103 rhymes in early Cantopop Marjorie K. M. Chan and Jocelyn Chey 6.