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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. -
CHINA 1.0 CHINA 2.0 CHINA 3.0 Edited by Mark Leonard Afterword by François Godement and Jonas Parello-Plesner ABOUT ECFR ABOUT ECFR’S CHINA PROGRAMME
CHINA 1.0 CHINA 2.0 CHINA 3.0 edited by Mark Leonard Afterword by François Godement and Jonas Parello-Plesner ABOUT ECFR ABOUT ECFR’S CHINA PROGRAMME The European Council on Foreign Relations (ECFR) is ECFR’s China programme aims to develop a smarter the first pan-European think-tank. Launched in October European strategy towards China. It provides 2007, its objective is to conduct research and promote information about China and raises awareness about informed debate across Europe on the development the increasing power imbalance between China and of coherent, effective and values-based European Europe and the lack of prioritisation, consistency and foreign policy. co-ordination in EU China policy. ECFR has developed a strategy with three distinctive The report A Power Audit of EU-China relations elements that define its activities: (April 2009) has become a reference on the issue of European China policy. Since then, ECFR has also •A pan-European Council. ECFR has brought together published several policy briefs such as A Global China a distinguished Council of over one hundred and Policy (June 2010), The Scramble for Europe (April 2011) seventy Members – politicians, decision makers, and China and Germany: Why the emerging special thinkers and business people from the EU’s member relationship matters for Europe (May 2012) and the states and candidate countries – which meets once essay China at the Crossroads (April 2012). a year as a full body. Through geographical and thematic task forces, members provide ECFR staff Together with Asia Centre, ECFR also publishes China with advice and feedback on policy ideas and help Analysis, a quarterly review of Chinese sources that with ECFR’s activities within their own countries. -
Eleadership for the 21 Century: Coping with New Challenges
E-Leader Budapest 2010 eLeadership for the 21 st century: coping with new challenges Frank Owarish, PhD Executive Director, International Institute for Strategic Research Training and Keller Graduate School of Management, New York, New York, USA Introduction Leadership has always been a crucial factor in the advancement of society as a whole and of specific segments thereof such as government organizations or business companies. No entities can progress without leadership. Studies have been undertaken over time to capture the essence of leadership and much has been written about the subject which is even taught in several universities. Leadership can be exercised by a single person or by a group (collective leadership such as that of a university senate) depending on the context. There are also different expectations from leaders depending on the particular socio-political context. As society has evolved and become more complex, leadership has become more demanding. Leadership which may have been successful in a prior era may not be suited to a new era. Leadership may also have to be adapted to specific circumstances. While there is much to the credit of the so-called democratic leadership, there may be situations which require a strong hand such as autocratic leadership. Also, leadership which may be suitable for a traditional society may not be suitable for a modern technological society. The so called advanced, developed, societies are facing leadership challenges. The context has changed drastically over th years, yet leaders with style which may have worked in the previous era often do not realize that a new leadership approach may be needed. -
Chapter 4: Theatricality
The performance of identity in Chinese popular music Groenewegen, J.W.P. Citation Groenewegen, J. W. P. (2011, June 15). The performance of identity in Chinese popular music. Retrieved from https://hdl.handle.net/1887/17706 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/17706 Note: To cite this publication please use the final published version (if applicable). Chapter 4: Theatricality §1 Boundaries In Imagination and Power: The Ideological Analysis of Theatre 想象與權力: 戲劇意識形態研 究 (2003), Zhou Ning is “concerned with the theatricality in the deep layers of the psychological structure of Chinese cultural character,” arguing that “the function of both [ritual and thought] lies in transcending the boundaries between reality 現實 and the fabricated 虛構, or confusing the two, through illusion.”1 During the Boxer Uprising peasants believed they were immune to bullets, which shows that getting carried away can have dire consequences: The Boxer Uprising (1900-1901) has many ties with theater; it didn’t distinguish the real 真 from the illusory 幻 . [The Boxers] gathered and rebelled while singing arias, they practiced martial arts as if playacting, they were possessed by characters from plays and their spreading of fire, going into battle, tricks and moves were all just like those staged in plays.2 “Popular music creates alternative universes, echoey soundscapes allowing the listener to drift outside the often-stressful realities of everyday life,” argues Witzleben in his article on Anita Mui.3 Throughout this study, the term performance has been instrumental in conceptualizing seemingly stable concepts, such as Chineseness, rock and femininity, as constantly renegotiated creations or articulations of normative or alternative universes. -
China: Grain to Pixel
Inga Walton China: Grain to Pixel n May 2015, the Shanghai Centre of Photography (SCôP), the first institutional space in Shanghai dedicated to photography, was founded Iby photojournalist Liu Heung Shing, who also serves as the SCôP’s Director. The touring exhibition China: Grain to Pixel was curated by Karen Smith for SCôP, where it premiered in 2015 under the slightly different title of Grain to Pixel: A Story of Photography in China.1 The exhibition’s host venue in Australia, Monash Gallery of Art (MGA), Melbourne, is a purpose-built exhibition venue and storage facility that opened in June 1990. Designed by the Austrian-born Australian architect Harry Seidler (1923–2006), it houses a nationally significant collection of Australian photography—over 2,400 works spanning the nineteenth century to contemporary practice. MGA is the only cultural institution in the country—regional, state, or national—whose collection is focused solely on Australian photographic works.2 Weng Naiqiang, Red Guards in Tiananmen Square Gathered to See Chairman Mao, 1966, archival inkjet print, 50 x 50 cm. Courtesy of the artist. The Australian showing of China: Grain to Pixel (June 5–August 28, 2016) included a diverse selection of 139 works; a further seven were excised by Chinese authorities prior to being freighted. These works, Xiao Zhuang’s Vol. 16 No. 2 73 Jiang Shaowu, Big Character Posters Created by Red Guards in Shenyang, Liaoning Province, 1967, archival inkjet print, 50 x 74 cm. Courtesy of the artist. Left: Xiao Zhuang, The Irrational Times 39, Nanjing, 1966, archival inkjet print, 40 x 40 cm. -
Two of Zhao Benshan's Comic Skits
Concentric: Literary and Cultural Studies 30.2 (July 2004): 3-34. Two of Zhao Benshan’s Comic Skits:1 Their Critical Implications in Contemporary China Aili Mu Iowa State University Abstract This paper explores the critical significance of two of Zhao Benshan’s comic skits Selling Crutches and Selling a Wheelchair in the context of contemporary China. Through a close analysis of the commercial mode of deception, this paper establishes the critical potential of Zhao’s skits to expose the art of influence and the paradigm of power in the general practice of hegemony. In so doing, this paper proves its central claim: Zhao’s skits, by way of showing how the desired customer is constructed, point to the inherent problems of market ideology and the danger of modernization as homogenization. In the skits’ aesthetic engagement of the audience and in the plurality of meaning that the audience’s responses manifest, this paper locates Zhao’s critical power—posing a forceful critique of the promotion of any absolute (concept, perspective, or mode of life) and cultivating a critical consciousness for the continuing creation of democratic sensibility. Keywords Zhao Benshan, comic skits (xiaopin), market ideology, popular culture, art of influence, modernization, practice of hegemony, “Three Represents,” legitimacy, audience reception 1 Zhao Benshan (趙本山, 1958- ), born of a peasant family in northern China, started his career as a comedian in the 1980s. He had been performing in local art forms in his native area until he was “discovered” by a celebrity comedian from the nation’s capital, Beijing, and was invited to perform at the most competitive Chinese New Year Gala show in 1990. -
Performing Chinese Contemporary Art Song
Performing Chinese Contemporary Art Song: A Portfolio of Recordings and Exegesis Qing (Lily) Chang Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Elder Conservatorium of Music Faculty of Arts The University of Adelaide July 2017 Table of contents Abstract Declaration Acknowledgements List of tables and figures Part A: Sound recordings Contents of CD 1 Contents of CD 2 Contents of CD 3 Contents of CD 4 Part B: Exegesis Introduction Chapter 1 Historical context 1.1 History of Chinese art song 1.2 Definitions of Chinese contemporary art song Chapter 2 Performing Chinese contemporary art song 2.1 Singing Chinese contemporary art song 2.2 Vocal techniques for performing Chinese contemporary art song 2.3 Various vocal styles for performing Chinese contemporary art song 2.4 Techniques for staging presentations of Chinese contemporary art song i Chapter 3 Exploring how to interpret ornamentations 3.1 Types of frequently used ornaments and their use in Chinese contemporary art song 3.2 How to use ornamentation to match the four tones of Chinese pronunciation Chapter 4 Four case studies 4.1 The Hunchback of Notre Dame by Shang Deyi 4.2 I Love This Land by Lu Zaiyi 4.3 Lullaby by Shi Guangnan 4.4 Autumn, Pamir, How Beautiful My Hometown Is! by Zheng Qiufeng Conclusion References Appendices Appendix A: Romanized Chinese and English translations of 56 Chinese contemporary art songs Appendix B: Text of commentary for 56 Chinese contemporary art songs Appendix C: Performing Chinese contemporary art song: Scores of repertoire for examination Appendix D: University of Adelaide Ethics Approval Number H-2014-184 ii NOTE: 4 CDs containing 'Recorded Performances' are included with the print copy of the thesis held in the University of Adelaide Library. -
Review of Operations
REVIEW OF OPERATIONS production fee. Exploitation of the associated rights On 11 December 2017, we launched a premier TVB are allocated between the respective online partners Anywhere service with the cooperation of Companhia (taking the PRC rights) and TVB (taking all of the non- de Telecomunicações de Macau S.A.R.L., the largest PRC rights including Hong Kong and Macau). A number telecommunication company in Macau. Remarkable of new productions are currently in various stages sales performance was achieved during the first of preparation which included Deep In the Realm of month after launch. This proves the effectiveness Conscience, Another Era. We anticipate that at least two in recruiting subscribers by bundling our service new titles, subject to governmental vetting, can be with telecommunications companies. The extended released in 2018. exposure of TVB to Macau is perceived as significant in consolidating subscription and advertising revenue. Licensing of TVB home-produced titles to traditional media platforms in Mainland China remains a tough Further to the launch of premier service in Macau, business. Difficult operational environment faced localisation of TVB Anywhere services in the Southeast by the national satellite television platforms; stricter Asian markets will be our focus in 2018. While the controls imposed by the State Administration of Press, Chinese-speaking communities are targeted as our key Publication, Radio, Film and Television over imported audiences, we saw a breakthrough in the tradition in programme titles; and prolonged delays in improving 2017. Vietnamese-dubbed versions of our programmes the licensing arrangements in the Guangdong were offered to non-Chinese local subscribers in Ho Chi Province, are restricting TVB’s ability to license TVB Minh City. -
Co Ve R Sto Ry
Cover Story The stage is set for another dramatic transformation of the Pearl River Delta in Guangdong Province, next to Hong Kong. Mainland Chinese authorities have resolved to create an ultra-modern megalopolis that once again will lead the nation in innovation and progress. Hutchison Whampoa Limited, notably with its newly listed port trust, is playing a leading role in unlocking the region’s greater potential as a new era dawns for the Delta. IMAGINE A MEGA REGION covering hundreds of Among the outcomes are the 2008 Outline of the Plan kilometres, larger than any other urban area, with some for the Reform and Development of the Pearl River Delta, 120 million residents – equivalent, nearly, to the entire a 2009 Study on the Action Plan for Bay Area of the Pearl population of Japan. Imagine the scale of infrastruc- River Estuary and more recently, the much-anticipated ture connecting the different parts of this urban cluster, 12th Five-Year Plan, for 2011 to 2015, which – as with stretching from the provincial capital Guangzhou to Hong Beijing’s previous 11 five-year plans - maps the Chinese Kong, and the enormity of its combined economic output. Government’s strategies and detailed guidelines for the The existence of such a mega region is not tomorrow’s nation’s further economic development. fantasy but today’s reality according to Habitat, the United The bland titles of these official documents hardly do Nations agency for human settlements. justice to the dazzling visions within. Their ambitious au- Now, the foundations for an even more integrated thors envisage the Pearl River Delta as a hyper-connected, Pearl River Delta are being laid, where residents of an highly urbanised, modernised region, enjoying first-world interlocking chain of impressive cities will pursue the standards in quality of life. -
Modernization As Ideology and the Reinvention of Tradition in Reform-Era China
IAR Journal of Humanities and Social Science ISSN Print : 2708-6259 | ISSN Online : 2708-6267 Frequency: Bi-Monthly Language: Multilingual Origin: KENYA Website : https://www.iarconsortium.org/journal-info/IARJHSS Research Article From River to Sea: Modernization as Ideology and the Reinvention of Tradition in Reform-Era China Article History Abstract: This article examines two television documentary series, River Elegy Received: 28.11.2020 (1988) and To the Sea (2011), which provoked wide-spread reaction in Chinese society at different key historical moments. Underlying their seemingly Accepted: 13.12.2020 oppositional stands is the uninterrupted dominance of modernization ideology, Revision: 23.12.2020 according to whose criteria the Chinese diagnose or even invent traditions as Published: 29.12.2020 causes of China’s “backwardness” or “advance” in relation to the Western world Author Details set up as universal norms. A comparison of the two shows also allows for tracing Meng Yuqiu the evolution of knowledge and meaning production mechanisms in China from the onset of the Reform in the late 1970s till the end of the first decade of the new Authors Affiliations century, a three-decade period during which the core of cultural elite changed Department of French, School of European from literati to technocrats. To call into question the uncritical embracing of Languages and Cultures, Zhejiang modernization ideology as well as the utilitarian interpretive scheme of the past International Studies University will be a first step toward thinking about alternatives for the future of China and Corresponding Author* the world. Meng Yuqiu Keywords: China, ideology, modernization, reform, maritime, tradition How to Cite the Article: Meng Yuqiu (2020); From River to Sea: Modernization as Ideology and the INTRODUCTION Reinvention of Tradition in Reform-Era China’s Reform has been going on for over forty years since the late 1970s. -
Popularizing Propaganda Under Party Politics (1927-1937) ---A Case Study of Shenbao Free Talk Lei Qin Washington University in St
Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Summer 8-15-2017 Between Political Tendentiousness and Mass Media: Popularizing Propaganda under Party Politics (1927-1937) ---A Case Study of Shenbao Free Talk Lei Qin Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the Comparative Literature Commons, and the Mass Communication Commons Recommended Citation Qin, Lei, "Between Political Tendentiousness and Mass Media: Popularizing Propaganda under Party Politics (1927-1937) ---A Case Study of Shenbao Free Talk" (2017). Arts & Sciences Electronic Theses and Dissertations. 1243. https://openscholarship.wustl.edu/art_sci_etds/1243 This Dissertation is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Committee on Comparative Literature Dissertation Examination Committee: Robert E. Hegel, Chair Paul Michael Lützeler, Co-Chair Lingchei Letty Chen Zhao Ma Marvin Marcus Between Political Tendentiousness and Mass Media: Popularizing Propaganda under Party Politics (1927-1937) ---A Case Study of Shenbao Free Talk by Lei Qin A dissertation presented to The Graduate School -
China Media Bulletin
CHINA MEDIA BULLETIN A weekly update of press freedom and censorship news related to the People’s Republic of China Issue No. 44: January 26, 2012 Headlines State broadcaster’s investigative journalism questioned Writers receive long prison terms during holiday season Microblog real-name registration to expand nationwide Taiwan elections stir envy, irony in Chinese blogosphere Leaked ’07 cable shows pressure on NASDAQ to bar NTDTV BROADCAST / PRINT MEDIA NEWS State TV’s New Year show loses fans amid censorship The annual Spring Festival Gala, a four-hour variety program of dance, song, magic, and comedy that one Shanghai film critic called the “most censored show on Chinese television,” was aired on January 22, Lunar New Year’s Eve, on China Central Television (CCTV). The show has been part of many Chinese families’ New Year traditions since its inception in 1983, but it has declined in popularity in recent years. The latest gala was marred by claims of censorship and top Chinese entertainers’ refusal to participate. Actor Zhao Benshan was absent despite being invited to appear for the past 21 years, with observers speculating that his skit had failed to pass the three-round approval process. Comedian Jiang Kun was also off the program, possibly because his script mentioned a deadly 2011 train crash in Wenzhou, Zhejiang Province, that had sparked public outrage. Popular female comic Song Dandan said she would not participate “unless they arrest me.” Instead, several entertainers appeared on a rival show that aired a few days earlier on Hunan’s provincial television network, which is popular nationwide and less rigorously controlled than CCTV.