The Bombay the Terrorist Ti Koun .
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Development of the Global Film Industry The global film industry has witnessed significant transformations in the past few years. Regions outside the USA have begun to prosper while non-traditional produc- tion companies such as Netflix have assumed a larger market share and online movies adapted from literature have continued to gain in popularity. How have these trends shaped the global film industry? This book answers this question by analyzing an increasingly globalized business through a global lens. Development of the Global Film Industry examines the recent history and current state of the business in all parts of the world. While many existing studies focus on the internal workings of the industry, such as production, distribution and screening, this study takes a “big picture” view, encompassing the transnational integration of the cultural and entertainment industry as a whole, and pays more attention to the coordinated develop- ment of the film industry in the light of influence from literature, television, animation, games and other sectors. This volume is a critical reference for students, scholars and the public to help them understand the major trends facing the global film industry in today’s world. Qiao Li is Associate Professor at Taylor’s University, Selangor, Malaysia, and Visiting Professor at the Université Paris 1 Panthéon- Sorbonne. He has a PhD in Film Studies from the University of Gloucestershire, UK, with expertise in Chinese- language cinema. He is a PhD supervisor, a film festival jury member, and an enthusiast of digital filmmaking with award- winning short films. He is the editor ofMigration and Memory: Arts and Cinemas of the Chinese Diaspora (Maison des Sciences et de l’Homme du Pacifique, 2019). -
Contemporary China: a Book List
PRINCETON UNIVERSITY: Woodrow Wilson School, Politics Department, East Asian Studies Program CONTEMPORARY CHINA: A BOOK LIST by Lubna Malik and Lynn White Winter 2007-2008 Edition This list is available on the web at: http://www.princeton.edu/~lynn/chinabib.pdf which can be viewed and printed with an Adobe Acrobat Reader. Variation of font sizes may cause pagination to differ slightly in the web and paper editions. No list of books can be totally up-to-date. Please surf to find further items. Also consult http://www.princeton.edu/~lynn/chinawebs.doc for clicable URLs. This list of items in English has several purposes: --to help advise students' course essays, junior papers, policy workshops, and senior theses about contemporary China; --to supplement the required reading lists of courses on "Chinese Development" and "Chinese Politics," for which students may find books to review in this list; --to provide graduate students with a list that may suggest books for paper topics and may slightly help their study for exams in Chinese politics; a few of the compiler's favorite books are starred on the list, but not much should be made of this because such books may be old or the subjects may not meet present interests; --to supplement a bibliography of all Asian serials in the Princeton Libraries that was compiled long ago by Frances Chen and Maureen Donovan; many of these are now available on the web,e.g., from “J-Stor”; --to suggest to book selectors in the Princeton libraries items that are suitable for acquisition; to provide a computerized list on which researchers can search for keywords of interests; and to provide a resource that many teachers at various other universities have also used. -
EASC Newsletter: October 2006
EASC Newsletter: October 2006 EASC Newsletter: October 2006 A Letter from the Director Heidi Ross Dear Friends and Colleagues, Remember summer? (Relatively) uninterrupted days dedicated to research, special training programs, travel, writing, renewal? At the mid-point of the semester, those days seem like distant memories. Nevertheless, let me take a moment to celebrate with you once again the happy news we received in July when EASC, with our consortium partner University of Illinois Urbana- Champaign’s Center for East Asian and Pacific Studies (EAPS), received Title VI funding to become one of 17 U.S. National Resource Centers for the study of East Asia. As a member of this impressive nationwide group, our consortium brings together 140 faculty specialists in East Asia, making us a Midwest powerhouse. In addition to supporting outreach activities and cross-campus teaching, our joint projects include language pedagogy workshops; national dissertation workshops on East Asian ethnology, education, sexuality and gender, and culture and society; and summer seminars on transnational and cross-regional cinemas, varieties of capitalism, culture and cognition, and Daoism and folk beliefs in Chinese religion. We are now in the planning stages of a special consortium initiative, Science and Technology in the Pacific Century (STIP), which will bring together East Asian and U.S. scholars, students, and policy makers to consider the impact of science and technology on business and society on both sides of the Pacific. To date, our colloquium series has brought Professor Ted Bestor (Harvard University) to talk about “Global Sushi” and Professor Julia Andrews (Ohio State University) to discuss “Ink Painting in the Art World of Contemporary China.” The Unforgiven, by first-time film director and writer YOON Jong-bin, kicked off this semester’s film series. -
Electric Shadows PK
ELECTRIC SHADOWS A Film by Xiao Jiang 95 Minutes, Color, 2004 35mm, 1:1.85, Dolby SR In Mandarin w/English Subtitles FIRST RUN FEATURES The Film Center Building 630 Ninth Ave. #1213 New York, NY 10036 (212) 243-0600 Fax (212) 989-7649 Website: www.firstrunfeatures.com Email: [email protected] ELECTRIC SHADOWS A film by Xiao Jiang Short Synopsis: From one of China's newest voices in cinema and new wave of young female directors comes this charming and heartwarming tale of a small town cinema and the lifelong influence it had on a young boy and young girl who grew up with the big screen in that small town...and years later meet by chance under unusual circumstances in Beijing. Long Synopsis: Beijing, present. Mao Dabing (‘Great Soldier’ Mao) has a job delivering bottled water but lives for his nights at the movies. One sunny evening after work he’s racing to the movie theatre on his bike when he crashes into a pile of bricks in an alleyway. As he’s picking himself up, a young woman who saw the incident picks up a brick and hits him on the head... He awakens in the hospital with his head bandaged. The police tell him that he’s lost his job, and that his ex-boss expects him to pay for the wrecked bicycle. By chance he sees the young woman who hit him and angrily remonstrates with her. But she seems not to hear him, and hands him her apartment keys and a note asking him to feed her fish. -
Thirteen Feature Films by Kon Ichikawa to Be Presented
'he Museum of Modem Art %'^ Vest 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart Wo. 20 FOR IM^'TEDIATE RELEASE Friday, February 10, 1967 Thirteen feature films by the Japanese director Kon Ichikawa will be presented by the Department of Film of The Museum of Modem Art from February 12 through February 27• The films range from Ichikawa's satirical comedies of the early *50*s to the more recent tragedies attempting to show the "pain of our age»" All of the films are in Japanese with English subtitles. Describing his work, Ichikawa says, "I try to visualize everything...I'm the kind of person who has to see something — even in my own imagination «•- before I understand it. I started as a painter and I think like one. That is wl:^ the camera is so important to me« I plan all the set-ups and I always check the framing, and I usually try to work with (a cameraman) I know.•••I design the sets too, usually... and I'd probably do the music too if I could." Film critic Donald Richie describes the resulting "Ichikawa look": "The angular pattern is usually bold, the balance is almost always asymmetrical, the framing is precise, and yet the composition rarely calls attention to itself*" At 18 after graduation from an Osaka commercial school Ichikawa began studying animation and in 19h6 completed a puppet-film based on a famous Kabuki dance. (The Occupation authorities, concerned with discovering "feudal remnants," seized the neg ative and it has never been found.) After that, Ichikawa joined Toho Production Company and began making satirical comedies until 1955 when he switched to more serious subject matter with The Burmese Harp* He says, "I had become aware that men are unhappy. -
Critical Tax Policy: a Pathway to Reform? Nancy J
Northwestern Journal of Law & Social Policy Volume 9 | Issue 2 Article 2 2014 Critical Tax Policy: a Pathway to Reform? Nancy J. Knauer Recommended Citation Nancy J. Knauer, Critical Tax Policy: a Pathway to Reform?, 9 Nw. J. L. & Soc. Pol'y. 206 (2014). http://scholarlycommons.law.northwestern.edu/njlsp/vol9/iss2/2 This Article is brought to you for free and open access by Northwestern University School of Law Scholarly Commons. It has been accepted for inclusion in Northwestern Journal of Law & Social Policy by an authorized administrator of Northwestern University School of Law Scholarly Commons. Copyright 2014 by Northwestern University School of Law Vol. 9, Issue 2 (2014) Northwestern Journal of Law and Social Policy CRITICAL TAX POLICY : A PATHWAY TO REFORM ? ∗ Nancy J. Knauer TABLE OF CONTENTS INTRODUCTION .................................................................................................... 207 I. THE COSTS OF FALSE NEUTRALITY ............................................................... 214 A. All Part of a Larger “Blueprint” ............................................................ 215 B. Hidden Choices and Embedded Values .................................................. 218 Taxpayer neutrality ..................................................................................... 219 Equity and efficiency .................................................................................. 221 C. Critical Tax Theory and Scholarship ...................................................... 223 II. CHOOSING A CRITICAL -
Download the Monthly Film & Event Calendar
SAT 2:00 Film SAT 7:00 Film SAT 7:00 Film 4:00 Film Hale County Ugetsu. T3 Suzakumon. T2 The Devil’s Temple. Film & Event Calendar 7 This Morning, This 14 21 T2 Events & Programs 7:00 Film 10:20 Family Evening. T1 10:20 Family 10:20 Family WED An Evening with 6:30 Film Gallery Sessions Explore This! Activity Stations Tours for Fours. Tours for Fours. Tours for Fours. 4:30 Film Shannon Plumb. T2 Gonza the Spearman. Daily, 11:30 a.m. & 1:30 p.m. Sat, Apr 7 & Sun, Apr 8, Education & Education & Education & 25 The Nothing Factory. T2 Museum galleries 1:00–3:00 p.m. Floor 5 Research Building Research Building Research Building 1:30 Film T2 Mr. Blandings Builds 7:00 Film Join us for conversations and Explore art through fun and 10:20 Family 10:20 Family 10:20 Family His Dream House. T2 In the Last Days of activities that offer insightful and engaging activities for all ages. A Closer Look for MON A Closer Look for A Closer Look for SUN WED the City. T1 unusual ways to engage with art. Kids. Education & Kids. Education & Kids. Education & 4:30 Film Free with admission 1 4 Research Building 9 Research Building Research Building Gonza the Spearman. Limited to 25 participants SUN See moma.org for TUE T2 Family Films: Yum! Films 10:20 Family 7:30 Event 1:00 Family 1:30 Film 12:00 Family up-to-date listings. 29 Art Lab: Nature About Food Tours for Fours. -
100 Ans De Cinéma Japonais Cinéma Ans De 100 Programmation
100 ANS DE CINÉMA JAPONAIS CINÉMA ANS DE 100 PROGRAMMATION 100 ANS DE CINÉMA JAPONAIS (2E PARTIE) UNE HISTOIRE INSOLITE DU CINÉMA JAPONAIS RÉTROSPECTIVE 23 JANVIER – 17 FÉVRIER Dans le cadre de Japonismes 2018 Avec le soutien de l’Alliance Renault-Nissan-Mitsubishi Pistol Opera 79 Matango PERLES RARES DU JAPON Une histoire insolite du cinéma japonais, suite… Plus d’une trentaine de titres rares de l’immense production nippone (du cinéma de studio aux productions indépendantes), de la fin des années 1940 jusqu’aux années 2000. L’évènement « Japonismes 2018 », non content de marquer d’une pierre blanche plus de 100 ans de cinéma japonais, à sa manière mettra aussi à l’honneur un siècle de cinéphilie française ; depuis les années 1910, quand Louis Delluc ne cachait pas son émotion devant la modernité du jeu de Sessue Hayakawa dans le Forfaiture de Cecil B. DeMille, la production du Soleil levant est devenue le fantasme inta- rissable d’un certain public qui, déjà au XIXe siècle, s’extasiait devant le nouveau vocabulaire plastique que proposaient les estampes orientales. PETITE HISTOIRE D’UNE PERCEPTION FRANÇAISE Il a fallu attendre les années 1920 pour que cette production commence à s’expor- ter épisodiquement. Si l’on excepte quelques pantomimes filmées anonymement, c’est pour la première fois en mars 1926 qu’est présenté au public un film japo- nais dans le mythique Studio des Ursulines, vieux théâtre de quartier reconverti depuis peu en salle d’art et d’essai. Musume (Ai no Himitsu) de Frank Tokunaga fut donc projeté entre un court métrage de René Clair et un autre de Louis Feuillade lors d’une de ces matinées réservées aux membres. -
Bibliography
BIBLIOGRAPHY An Jingfu (1994) The Pain of a Half Taoist: Taoist Principles, Chinese Landscape Painting, and King of the Children . In Linda C. Ehrlich and David Desser (eds.). Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan . Austin: University of Texas Press, 117–25. Anderson, Marston (1990) The Limits of Realism: Chinese Fiction in the Revolutionary Period . Berkeley: University of California Press. Anon (1937) “Yueyu pian zhengming yundong” [“Jyutpin zingming wandung” or Cantonese fi lm rectifi cation movement]. Lingxing [ Ling Sing ] 7, no. 15 (June 27, 1937): no page. Appelo, Tim (2014) ‘Wong Kar Wai Says His 108-Minute “The Grandmaster” Is Not “A Watered-Down Version”’, The Hollywood Reporter (6 January), http:// www.hollywoodreporter.com/news/wong-kar-wai-says-his-668633 . Aristotle (1996) Poetics , trans. Malcolm Heath (London: Penguin Books). Arroyo, José (2000) Introduction by José Arroyo (ed.) Action/Spectacle: A Sight and Sound Reader (London: BFI Publishing), vii-xv. Astruc, Alexandre (2009) ‘The Birth of a New Avant-Garde: La Caméra-Stylo ’ in Peter Graham with Ginette Vincendeau (eds.) The French New Wave: Critical Landmarks (London: BFI and Palgrave Macmillan), 31–7. Bao, Weihong (2015) Fiery Cinema: The Emergence of an Affective Medium in China, 1915–1945 (Minneapolis: University of Minnesota Press). Barthes, Roland (1968a) Elements of Semiology (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1968b) Writing Degree Zero (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1972) Mythologies (trans. Annette Lavers), New York: Hill and Wang. © The Editor(s) (if applicable) and The Author(s) 2016 203 G. -
Destination Japan Japan Is a World Apart – a Wonderful Little Planet Floating Off the Coast of Mainland China
© Lonely Planet 22 Destination Japan Japan is a world apart – a wonderful little planet floating off the coast of mainland China. It is a kind of cultural Galapagos, a place where a unique civilisation was allowed to grow and unfold on its own, unmolested by in- vading powers. And while there has been a lot of input from both Western and Eastern cultures over the millennia, these have always been turned into something distinctly Japanese once they arrived on the archipelago. FAST FACTS Even today, the world struggles to categorise Japan: is it the world’s Population: 127 million most advanced technological civilisation, or a bastion of traditional Asian culture? Has the country become just another outpost of the West, or is Female life expectancy: there something decidedly Eastern lurking under the veneer of its familiar 84.5 years modernity? There are no easy answers, but there is plenty of pleasure to be Literacy rate: 99% had in looking for them. GDP: US$3.7 trillion First and foremost, Japan is a place of delicious contrasts: ancient temples (estimated) and futuristic cities; mist-shrouded hills and lightning-fast bullet trains; kimono-clad geisha and suit-clad businesspeople; quaint thatch-roofed Latitude of Tokyo: 35.4°N, villages and pulsating neon urban jungles. This peculiar synthesis of the the same as modern and the traditional is one of the things that makes travel in Japan Tehran, and about the such a fascinating experience. same as Los Angeles For all its uniqueness, Japan shares a lot with the wider world, and this (34.05°N) and Crete includes the state of the economy. -
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. -
JAPAN CUTS: Festival of New Japanese Film (August 20 - September 2, 2021)
H-Japan JAPAN CUTS: Festival of New Japanese Film (August 20 - September 2, 2021) Discussion published by Joel Neville Anderson on Friday, August 13, 2021 Dear H-Japan subscribers, The programming team behind JAPAN CUTS: Festival of New Japanese Film is proud to share the full lineup for the hybrid 15th edition of the festival, slated for August 20 - September 2, 2021: https://www.japansociety.org/arts-and-culture/films/japan-cuts-festival-of-new-japanese-film Films will again be available to rent via video streaming (across the U.S., with some titles accessible worldwide), in addition to select in-person screenings at Japan Society in NYC following health and safety policies. Expanding the festival’s reach beyond New York, the lineup includes 27 features and 12 short films. The exclusive selection will be supplemented with recorded introductions from filmmakers and live video discussions via social media channels to maintain the festival’s sense of community and dedication to intercultural communication. The Centerpiece Presentation is WIFE OF A SPY (dir. Kiyoshi Kurosawa), awarding the 2021 CUT ABOVE Award for Outstanding Achievement in Film to Yu Aoi. Along with the Feature Slate, Classics, Documentary Focus, Experimental Spotlight, and Shorts Showcase, the second edition of the Next Generation section highlighting independently produced narrative feature films by emerging directors will be juried by film scholar Kyoko Hirano; Brian Hu, Artistic Director of Pacific Arts Movement; and Japanese film subtitler and translator Don Brown, awarding the Obayashi Prize. Please browse the entire dynamic lineup on the website, listed below by program section: FEATURE SLATE - Aristocrats (dir.