Chinese Filmmakers Move to Put Better Systems in Place
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I CHINESE INVESTMENT in the UNITED STATES: IMPACTS AND
i CHINESE INVESTMENT IN THE UNITED STATES: IMPACTS AND ISSUES FOR POLICYMAKERS HEARING BEFORE THE U.S.-CHINA ECONOMIC AND SECURITY REVIEW COMMISSION ONE HUNDRED FIFTEENTH CONGRESS FIRST SESSION THURSDAY, JANUARY 26, 2017 Printed for use of the United States-China Economic and Security Review Commission Available via the World Wide Web: www.uscc.gov UNITED STATES-CHINA ECONOMIC AND SECURITY REVIEW COMMISSION WASHINGTON: 2017 ii U.S.-CHINA ECONOMIC AND SECURITY REVIEW COMMISSION CAROLYN BARTHOLOMEW, CHAIRMAN HON. DENNIS C. SHEA, VICE CHAIRMAN Commissioners: ROBIN CLEVELAND HON. JONATHAN STIVERS HON. BYRON L. DORGAN HON. JAMES TALENT HON. CARTE P. GOODWIN DR. KATHERINE C. TOBIN DANIEL M. SLANE MICHAEL R. WESSEL MICHAEL R. DANIS, Executive Director The Commission was created on October 30, 2000 by the Floyd D. Spence National Defense Authorization Act for 2001 § 1238, Public Law No. 106-398, 114 STAT. 1654A-334 (2000) (codified at 22 U.S.C. § 7002 (2001), as amended by the Treasury and General Government Appropriations Act for 2002 § 645 (regarding employment status of staff) & § 648 (regarding changing annual report due date from March to June), Public Law No. 107-67, 115 STAT. 514 (Nov. 12, 2001); as amended by Division P of the “Consolidated Appropriations Resolution, 2003,” Pub L. No. 108-7 (Feb. 20, 2003) (regarding Commission name change, terms of Commissioners, and responsibilities of the Commission); as amended by Public Law No. 109- 108 (H.R. 2862) (Nov. 22, 2005) (regarding responsibilities of Commission and applicability of FACA); as amended by Division J of the “Consolidated Appropriations Act, 2008,” Public Law Nol. -
Absolutely Fabulous, 世均) Offer an Example of a Dreamy Celebrity Mar- Sodagreen (蘇打綠) Is That Rare Indie Band Riage Gone Sour
14 發光的城市 A R O U N D T O W N FRIDAY, JANUARY 1, 2010 • TAIPEI TIMES BY AndreW C.C. HuanG MUSIC STOP COMPILED BY HO YI Chen (陳泰銘) held last Saturday? Never hap- Absolutely pened? And anyway, Chen was still married last time local paparazzi checked. As for Hong Kong’s former diva Cherie Chung (鍾楚紅), the 49-year-old widow personally denied the speculation about fabulous her upcoming wedding with a certain wealthy Jolin Tsai, below, businessman from Singapore. is moving on While Hou has found her Mr Right, Jolin from pretty-faced Tsai (蔡依林) is getting cozy with fast-rising idol Eddie Peng model Godfrey Kao (高以翔), whose previous to model Godfrey claim to fame was his pair of delectable pinkish Kao, right. nipples, which he flagrantly exposed in his photo PHOTOS: TAIPEI TIMES book. It’s only a matter of time before intimate comparisons will be made between Kao and Tsai’s old flame Jay Chou (周杰倫). So what is the Mando-pop king, self-made film director and occasional actor doing with his love life? Not much. Unless you count the banter and teasing exchanges between him and supermodel-turned-actress Lin Chi-ling (林志玲) during the promotions for the fantasy adventure The Treasure Hunter (刺陵). The way Pop Stop sees it, the real-life flirting between the two is more convincing that the on-screen romance that they share in the movie, which was killed by the embarrassingly coy lines and dumb jokes that filled the clunky script. Finally, model-turned-housewife Hung Hsiao-lei (洪曉蕾) and her CEO-husband Wang Shih-chun (王 ndisputedly talented and absolutely fabulous, 世均) offer an example of a dreamy celebrity mar- Sodagreen (蘇打綠) is that rare indie band riage gone sour. -
My Life in My Country Pong Zhi Chan My Life I Lived in Guangzhou. I
Class 2P: My Life in My Country Pong Zhi Chan My Life I lived in Guangzhou. I spent my childhood in Guangzhou. When I was seven years old, I went to Kwen Sin Elementary School and after that I went to No. 38 Middle School in 1968. I went to the countryside to be a farmer in 1980. Later I came back to Guangzhou to work in Nan Fong Hotel. In my free time, I went to the movies with my mother and father because I liked movies very much. Later my family immigrated to the U.S.A. My life is very simple because I don’t like to go anywhere. Xiu Jie Cui My Life in China I was born in Jilin, China. I have two brothers and two sisters. My family was big, but I was not happy because when I was twelve years old, my father passed away. So I didn’t have a happy childhood. I went to school for a total of ten years. I was a teacher. I worked hard. My classes had lots of students, so I had lots of stress. I didn’t have good health. Every day I felt tired. I worked for twenty-five years. I had a big home. My husband was a teacher too. He was a patient man. We had one son. I had a happy home. When I had free time, I cooked lots of food. I made some dumplings and put them in the freezer, so we could eat them anytime. It was convenient. -
Shanghai and Beijing Travel Report 2010
Shanghai International Film Festival and Market, Shanghai and Beijing meetings Report by Chris Oliver and Ross Matthews To report that the China screen landscape is undergoing change is not new news. All facets of the screen industry development, production, distribution, exhibition and broadcasting are going through change – a change that is in a positive direction. The change in the way the Chinese industry is engaging with the rest of world’s screen industries, including the way Government instrumentalities are relating to other countries (eg treaties) will be of real benefit to the Chinese and the international screen industry. Australia is well placed to benefit from those changes if (that’s capital IF) Australian producers/players understand the rules of engagement with Chinese producers, broadcasters and exhibitors and the Chinese government departments involved in implementing government policy. Why should Australia engage with China? There are obvious commercial reasons. Firstly, the Chinese gross box office (GBO) has increased by at least 30 per cent in the last year to US$909 million – and has now surpassed Australia to be number six in the world. According to those we had discussions with in China and what can be gleaned from the screen press, the China GBO will grow by at least a further 40 per cent in the 2010 calendar year! Secondly, China’s population has an ever-increasing level of Abbreviations disposable income to underpin AIDC Australian International Documentary Conference the cinema ticket price of $6–10: CCTV China Central Television TRAVELREPORT it’s been reported that middle CFCC China Film Co-production Corporation class numbers will exceed those CFGC China Film Group Corporation in the US by 2020. -
Dong Fotios Lin 2015 Facial Recognition Luminance and Duration WHITE
This is a repository copy of The influence of luminance, observation duration and procedure on the recognition of pedestrians faces. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/90743/ Version: Accepted Version Article: Dong, M., Fotios, S. and Lin, Y. (2015) The influence of luminance, observation duration and procedure on the recognition of pedestrians faces. Lighting Research and Technology, 47 (6). 693 - 704. ISSN 1477-1535 https://doi.org/10.1177/1477153514539781 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ The Influence of Observation Duration and Procedure on Luminance Required for Recognition P F Mengdi Dong 1, Steve Fotios 2, Yandan Lin 1* 1 Institute for Electric Light Sources, Fudan University; Engineering Research Center of Advanced Lighting Technology, Ministry of Education; Shanghai 200433, P.R. -
Heep Yunn School
Heep Yunn School EE1418`Q12.22mbohvbhf/joee!!!21418`Q12.22mbohvbhf/joee!!!2 440803118!!!26;66;260803118!!!26;66;26 2 Language Arts 58th Hong Kong Schools Speech Festival Solo Verse Speaking Bible Reading Jasmine Wong 1A 1st Jenny Chan 5B 1st Steffi Ng 1B 1st Emily Chan 5E 1st Eden Tsang 1D 1st Tiff any Chu L6S 1st Suki Cheuk 2E 1st Iris Ng 3D 1st Sabrina Yiu U6A 2nd Jenny Chan 5B 1st Sandy Leung 5C 1st Samantha Cheung 2A 3rd Victoria Yeung 5B 3rd Ruby Lee 1B 2nd Maisie Tsang 5D 3rd Gillian Yu 1C 2nd Tina Yuen 5E 3rd Janice Yuen 1D 2nd Anna Chan L6A 3rd Rhody Chan 4D 2nd Vanessa Tse L6B 3rd Venetia Wan 4D 2nd Shirley Chau L6S 3rd Carolyn Chong U6A 3rd Vanessa Mok 2B 3rd Jennifer Chuen 3A 3rd Janice Nam 3D 3rd Public Speaking Solo Jessica Ip 4B 3rd Yolanda Liu 5E 1st Judy Yeung 4B 3rd Abigail Tam 4C 3rd Clare Huang L6S 3rd Jade Chan 4E 3rd Dramatic Duologue Prose Reading Christie Lin 2A Enid Lau 2A 1st & Rachel Li 2A 3rd Jasmine Leung 2C 1st Teresa Li 5D Tiff any Lee L6B 1st & Gwendolin Sze 5D 3rd Joyce Szeto L6A Elena Kwong 4D 2nd & Kayla Ha L6S 3rd Charmaine Chow 5B 2nd Jessica Poon 5D 3rd EE1418`Q12.22mbohvbhf/joee!!!31418`Q12.22mbohvbhf/joee!!!3 440803118!!!26;66;270803118!!!26;66;27 3 Public Speaking Team Sadie Lau U6A 1st Tiff any Cheung 5D 3rd Jessy Lee U6A Angel Kong 5D Angie Leung U6A Vivian Mak 5D Eunice Chu U6B 1st Crystal Ho L6B 3rd Vanessa Mok U6B Tiff any Lee L6B Cecilia Poon U6B Grace Kwok L6S Mandy Chan 3A 2nd Esther Chu 3A Th ematic Group Speaking Jennifer Chuen 3A 4D 1st Stephanie Cheng 3A 2nd Helen Cheng 3A Rehearsed Original -
Huayi Brothers: Setting Strategy for a Chinese Entertainment Conglomerate
Huayi Brothers: Setting Strategy for a Chinese Entertainment Conglomerate Sheena Walters Drury University Robin Sronce Drury University Christopher Salicky Drury University Josh Hreha Drury University Brianne Schuchmann Drury University Brad Schmidt Drury University This case is intended for the use in both undergraduate and graduate courses with an international business and/or marketing focus. It explores the challenges faced by Huayi Brothers, a private entertainment company in China. This case is helpful for global business and marketing courses, because it allows students to deal with the complexities of a company operating within the Chinese entertainment industry. Students can learn about the industry and then use course material to analyze the current situation and relevant issues to develop solutions to the challenges faced by this Huayi Brothers. OVERVIEW Huayi Brothers began in 1994 as a film company in the growing Chinese entertainment industry. In the last 16 years, brothers and founders Wang Zhongjun and Wang Zhonglei grew their business into the most influential and largest private entertainment media company in China. Initially created as a film production company, it was not long before Huayi Brothers expanded into other sectors of the entertainment industry. Throughout the company’s brief existence, they have gradually ventured into sectors such as television, talent, music, and other entertainment marketing fields. In 2011, Huayi Brothers plans to create the largest television and film studio complex in East Asia and continue to expand its operations. With the addition of its new studio, Huayi Brothers is aiming to earn $1.5 billion in box office revenue by 2016. From the company’s actions and expectations, it appears that Huayi Brothers 58 American Journal of Management vol. -
AGTA 2017 Handbook
HANDBOOK www.agtaconference.org CONTENTS Welcome 5 General Information 6 Conference Program 10 Social Program 24 Abstracts and Biographies 28 Poster Presentations 82 Sponsorship & Exhibition 126 Delegate List 140 Image credit: Tourism Tasmania & Rob Burnett Cover images: Tourism Tasmania & Rob Burnett (Top right & bottom left), Daniel Tran (bottom right) Discover robust tools to advance your genome research Alt-R™ CRISPR-Cas9 System • Higher on-target potency than other CRISPR systems • Easier transfection with nucleic acids and a size-optimized plasmid • Consistently reliable results—no toxicity or activation of innate immune response as observed with in vitro transcribed Cas9 mRNA and sgRNAs • Safe, fast protocol with no lengthy and hazardous viral particle preparation See the data at www.idtdna.com/CRISPR-Cas9. For Research Use Only. Not for use in diagnostic procedures. © 2017 Integrated DNA Technologies, Inc. All rights reserved. Trademarks contained herein are the property of Integrated DNA Technologies, Inc. or their respective owners. For specifi c trademark and licensing information, see www.idtdna.com/trademarks. 2017 AGTA Conference Page: 3 AGTA17 ORGANISING AGTA EXECUTIVE TEAM COMMITTEE Dr Jac Charlesworth (AGTA17 Convenor) University of Tasmania Dr Jac Charlesworth (Convenor) University of Tasmania Associate Professor Nicole Cloonan (Resigned) The University of Auckland Dr Kathryn Burdon University of Tasmania Dr Rob Day University of Otago Associate Professor Ruby Lin University of New South Wales Associate Professor Marcel Dinger Garvan Institute of Medical Research Ms Vikki Marshall Dr Kate Howell (Resigned) The University of Melbourne University of Western Australia Dr Carsten Kulheim ' (Vice-President, Resigned) CONFERENCE MANAGERS Australian National University Associate Professor Ruby CY Lin Leishman Associates University of New South Wales 227 Collins Street, Prof Ryan Lister Hobart TAS 7000 University of Western Australia 170 Elgin Street, Carlton VIC 3053 Ms Vikki Marshall (Secretary) The University of Melbourne P. -
52Nd Annual Commencement
52ND ANNUAL COMMENCEMENT 52 ND Bright Past | Brilliant Future Juris Doctor Degrees MAY 13 Doctor of Medicine Degrees JUNE 3 Master of Fine Arts and Doctoral Degrees JUNE 17 Master’s and Baccalaureate Degrees JUNE 16, 17, 18, 19 Table of Contents 2017 Commencement Schedule of Ceremonies . 3 Chancellor's Award of Distinction . 4 Message from the Chancellor . 5 About the UCI Mace . 6 Message from the Vice Chancellor, Student Affairs . 7 Deans’ Messages and Ceremony Schedules Claire Trevor School of the Arts. 8 Francisco J . Ayala School of Biological Sciences . 10 The Paul Merage School of Business . 12 School of Education . 14 The Henry Samueli School of Engineering . 16 School of Humanities . 18 Donald Bren School of Information and Computer Sciences . .20 School of Law . 22 School of Medicine . 24 Sue & Bill Gross School of Nursing . 26 Department of Pharmaceutical Sciences . 28 School of Physical Sciences . .30 Program in Public Health . 32 School of Social Ecology . 34 School of Social Sciences . 36 Graduate Division . 38 List of Graduates Advanced Degree Candidates . .40 Undergraduate Degree Candidates Claire Trevor School of the Arts. 50 Francisco J . Ayala School of Biological Sciences . 51 The Paul Merage School of Business . 55 School of Education . 56 The Henry Samueli School of Engineering . 58 School of Humanities . 62 Donald Bren School of Information and Computer Sciences . 65 Sue & Bill Gross School of Nursing . 69 Department of Pharmaceutical Sciences . 69 School of Physical Sciences . 70 Program in Public Health . 72 School of Social Ecology . 76 School of Social Sciences . 83 Honors and Awards . 96 UCI Alumni Association . -
Hofstra University Film Library Holdings
Hofstra University Film Library Holdings TITLE PUBLICATION INFORMATION NUMBER DATE LANG 1-800-INDIA Mitra Films and Thirteen/WNET New York producer, Anna Cater director, Safina Uberoi. VD-1181 c2006. eng 1 giant leap Palm Pictures. VD-825 2001 und 1 on 1 V-5489 c2002. eng 3 films by Louis Malle Nouvelles Editions de Films written and directed by Louis Malle. VD-1340 2006 fre produced by Argosy Pictures Corporation, a Metro-Goldwyn-Mayer picture [presented by] 3 godfathers John Ford and Merian C. Cooper produced by John Ford and Merian C. Cooper screenplay VD-1348 [2006] eng by Laurence Stallings and Frank S. Nugent directed by John Ford. Lions Gate Films, Inc. producer, Robert Altman writer, Robert Altman director, Robert 3 women VD-1333 [2004] eng Altman. Filmocom Productions with participation of the Russian Federation Ministry of Culture and financial support of the Hubert Balls Fund of the International Filmfestival Rotterdam 4 VD-1704 2006 rus produced by Yelena Yatsura concept and story by Vladimir Sorokin, Ilya Khrzhanovsky screenplay by Vladimir Sorokin directed by Ilya Khrzhanovsky. a film by Kartemquin Educational Films CPB producer/director, Maria Finitzo co- 5 girls V-5767 2001 eng producer/editor, David E. Simpson. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. ita Flaiano, Brunello Rondi. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. -
Order and Law in China
CORE Metadata, citation and similar papers at core.ac.uk Provided by George Washington University Law School GW Law Faculty Publications & Other Works Faculty Scholarship 2020 Order and Law in China Donald C. Clarke George Washington University Law School, [email protected] Follow this and additional works at: https://scholarship.law.gwu.edu/faculty_publications Part of the Law Commons Recommended Citation Clarke, Donald C., "Order and Law in China" (2020). GW Law Faculty Publications & Other Works. 1506. https://scholarship.law.gwu.edu/faculty_publications/1506 This Article is brought to you for free and open access by the Faculty Scholarship at Scholarly Commons. It has been accepted for inclusion in GW Law Faculty Publications & Other Works by an authorized administrator of Scholarly Commons. For more information, please contact [email protected]. ORDER AND LAW IN CHINA Donald Clarke* Aug. 25, 2020 I. Introduction Does China have a legal system? The question might seem obtuse, even offensive. However one characterizes the institutions of the first thirty years of the People’s Republic, the near half- century of the post-Mao era1 has almost universally been called one of construction of China’s legal system.2 Certainly great changes have taken place in China’s public order and dispute resolution institutions. At the same time, however, other things have changed little or not at all. Most commentary focuses on the changes; this article, by contrast, will look at what has not changed—the important continuities that have persisted for over four decades. These continuities and other important features of China’s institutions of public order and dispute resolution suggest that legality is not the best paradigm for understanding them. -
Global Cities, Local Knowledge
Formatting and Change in East Asian Television Industries: Media Globalization and Regional Dynamics Lim, Wei Ling Tania Patricia BSocSc (Hons), MSc (Media & Comms) Creative Industries Research and Applications Centre Queensland University of Technology Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy 2005 Keywords Circuit of cultural production, East Asian popular culture, Television industries, Field of broadcasting, Formatting, Local knowledge, Media capitals, Neo-networks, Regional dynamics, TV Formats, martial arts dramas, teenage idol soap operas, game-shows. ii Abstract Television is increasingly both global and local. Those television industries discussed in this thesis transact in an extensive neo-network of flows in talents, financing, and the latest forms of popular culture. These cities attempt to become media capitals but their status waxes and wanes, depending on their success in exporting their Asian media productions. What do marital arts dramas, interactive game-shows, children’s animation and teenage idol soap operas from East Asian television industries have in common? Through the systematic use of TV formatting strategies, these television genres have become the focus for indigenous cultural entrepreneurs located in the East Asian cities of Hong Kong, Singapore and Taipei to turn their local TV programmes into tradable culture. This thesis is a re-consideration of the impact of media globalisation on Asian television that re-imagines a new global media order. It suggests that there is a growing shift in perception and trade among once-peripheral television industries that they may be slowly de-centring Hollywood’s dominance by inserting East Asian popular entertainment into familiar formats or cultural spaces through embracing global yet local cultures of production.