Eclipse Phase: After the Fall
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Bullet in the Head
JOHN WOO’S Bullet in the Head Tony Williams Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © Tony Williams 2009 ISBN 978-962-209-968-5 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 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. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Condor Production Ltd., Hong Kong, China Contents Series Preface ix Acknowledgements xiii 1 The Apocalyptic Moment of Bullet in the Head 1 2 Bullet in the Head 23 3 Aftermath 99 Appendix 109 Notes 113 Credits 127 Filmography 129 1 The Apocalyptic Moment of Bullet in the Head Like many Hong Kong films of the 1980s and 90s, John Woo’s Bullet in the Head contains grim forebodings then held by the former colony concerning its return to Mainland China in 1997. Despite the break from Maoism following the fall of the Gang of Four and Deng Xiaoping’s movement towards capitalist modernization, the brutal events of Tiananmen Square caused great concern for a territory facing many changes in the near future. Even before these disturbing events Hong Kong’s imminent return to a motherland with a different dialect and social customs evoked insecurity on the part of a population still remembering the violent events of the Cultural Revolution as well as the Maoist- inspired riots that affected the colony in 1967. -
SESSION: Archaeology of the Future (Time Keeps on Slipping…)
SESSION: Archaeology of the future (time keeps on slipping…) North American Theoretical Archaeology Group (TAG) New York University May 22-24, 2015 Organizer: Karen Holmberg (NYU, Environmental Studies) Recent interest in deep time from historical perspectives is intellectually welcome (e.g., Guldi and Armitage, 2014), though the deep past has long been the remit of archaeology so is not novel in archaeological vantages. Rather, a major shift of interest in time scale for archaeology came from historical archaeology and its relatively recent focus and adamant refusal to be the handmaiden of history. Foci on the archaeology of ‘now’ (e.g., Harrison, 2010) further refreshed and expanded the temporal playing field for archaeological thought, challenging and extending the preeminence of the deep past as the sole focus of archaeological practice. If there is a novel or intellectually challenging time frame to consider in the early 21st century, it is that of the deep future (Schellenberg, 2014). Marilyn Strathern’s (1992: 190) statement in After Nature is accurate, certainly: ‘An epoch is experienced as a now that gathers perceptions of the past into itself. An epoch will thus always will be what I have called post-eventual, that is, on the brink of collapse.’ What change of tone comes from envisioning archaeology’s role and place in a very deep future? This session invites papers that imaginatively consider the movement of time, the movement of archaeological ideas, the movement of objects, the movement of data, or any other form of movement the author would like to consider in relation to a future that only a few years ago might have been seen as a realm of science and cyborgs (per Haraway, 1991) but is increasingly fraught with dystopic environmental anxiety regarding the advent of the Anthropocene (e.g., Scranton, 2013). -
Die Filme John Woos Und Die Entwicklung Des Hongkong-Kinos
Die Filme John Woos und die Entwicklung des Hongkong-Kinos. Mit einer annotierten Mediographie. Diplomarbeit im Fach Medienwissenschaft Studiengang Öffentliche Bibliotheken der Fachhochschule Stuttgart – Hochschule für Bibliotheks- und Informationswesen Petra Peuker Erstprüfer: Dr. Manfred Nagl Zweitprüfer: Dr. Horst Heidtmann Angefertigt in der Zeit vom 09. Juli 1999 bis 11. Oktober 1999 Stuttgart, Oktober 1999 Schlagwörter und Abstract John Woo John Woo Hongkong Hong Kong Kino Cinema Kungfu Martial Arts Der Citywolf A Better Tomorrow Blast Killer The Killer Im Körper des Feindes Face/Off Die vorliegende Arbeit befaßt sich mit dem chinesischen Regisseur John Woo. Anhand seiner Werke sollen die wichtigsten Strömungen und Ent- wicklungen im Hongkong-Kino dargestellt werden, wie zum Beispiel die Martial-Arts-Filme in den Siebziger Jahren, die Regisseure der „Neuen Welle“ Anfang der Achtziger Jahre und besonders Woos eigene Leistung, die Neuorientierung des Gangsterfilms. Außerdem beinhaltet diese Arbeit eine annotierte Mediographie, mit aus- gewählten Medien zum Thema Hongkong-Kino und John Woo. This paper reports on the Chinese director John Woo. The most important developments in Hong Kong Cinema are shown by means of his movies, such as the martial arts movies in the seventies, the directors of the „New Wave“ at the beginning of the eighties and especially Woos own achieve- ment, the re-orientation of the gangstermovie. This paper also contains an annotated listing of media dealing with the Hong Kong Cinema and John Woo. 2 Inhaltsverzeichnis -
Journal of Asian Studies Contemporary Chinese Cinema Special Edition
the iafor journal of asian studies Contemporary Chinese Cinema Special Edition Volume 2 – Issue 1 – Spring 2016 Editor: Seiko Yasumoto ISSN: 2187-6037 The IAFOR Journal of Asian Studies Volume 2 – Issue – I IAFOR Publications Executive Editor: Joseph Haldane The International Academic Forum The IAFOR Journal of Asian Studies Editor: Seiko Yasumoto, University of Sydney, Australia Associate Editor: Jason Bainbridge, Swinburne University, Australia Published by The International Academic Forum (IAFOR), Japan Executive Editor: Joseph Haldane Editorial Assistance: Rachel Dyer IAFOR Publications. Sakae 1-16-26-201, Naka-ward, Aichi, Japan 460-0008 Journal of Asian Studies Volume 2 – Issue 1 – Spring 2016 IAFOR Publications © Copyright 2016 ISSN: 2187-6037 Online: joas.iafor.org Cover image: Flickr Creative Commons/Guy Gorek The IAFOR Journal of Asian Studies Volume 2 – Issue I – Spring 2016 Edited by Seiko Yasumoto Table of Contents Notes on contributors 1 Welcome and Introduction 4 From Recording to Ritual: Weimar Villa and 24 City 10 Dr. Jinhee Choi Contested identities: exploring the cultural, historical and 25 political complexities of the ‘three Chinas’ Dr. Qiao Li & Prof. Ros Jennings Sounds, Swords and Forests: An Exploration into the Representations 41 of Music and Martial Arts in Contemporary Kung Fu Films Brent Keogh Sentimentalism in Under the Hawthorn Tree 53 Jing Meng Changes Manifest: Time, Memory, and a Changing Hong Kong 65 Emma Tipson The Taste of Ice Kacang: Xiaoqingxin Film as the Possible 74 Prospect of Taiwan Popular Cinema Panpan Yang Subtitling Chinese Humour: the English Version of A Woman, a 85 Gun and a Noodle Shop (2009) Yilei Yuan The IAFOR Journal of Asian Studies Volume 2 – Issue 1 – Spring 2016 Notes on Contributers Dr. -
A Companion to Wong Kar-Wai
WILEY-BLACKWELL COMPANIONS TO FILM DIRECTORS A Companion to Wong Kar-wai Edited by Martha P. Nochimson A Companion to Wong Kar-wai Wiley Blackwell Companions to Film Directors The Wiley Blackwell Companions to Film Directors survey key directors whose work together constitutes what we refer to as the Hollywood and world cin- ema canons. Whether Haneke or Hitchcock, Bigelow or Bergman, Capra or the Coen brothers, each volume, comprising 25 or more newly commissioned essays written by leading experts, explores a canonical, contemporary, and/or controversial auteur in a sophisticated, authoritative, and multi-dimensional capacity.Individual volumes interrogate any number of subjects – the director’s oeuvre; dominant themes, well-known, worthy,and under-rated films; stars, col- laborators, and key influences; reception, reputation, and above all, the direc- tor’s intellectual currency in the scholarly world. A Companion to Michael Haneke, edited by Roy Grundmann A Companion to Alfred Hitchcock, edited by Thomas Leitch and Leland Poague A Companion to Rainer Werner Fassbinder, edited by Brigitte Peucker A Companion to Werner Herzog, edited by Brad Prager A Companion to Pedro Almodovar´ , edited by Marvin D’Lugo and Kathleen Vernon A Companion to Woody Allen, edited by Peter J. Bailey and Sam B. Girgus A Companion to Jean Renoir, edited by Alastair Phillips and Ginette Vincendeau A Companion to Franc¸ois Truffaut, edited by Dudley Andrew and Anne Gillain A Companion to Luis Bunuel˜ , edited by Robert Stone and Julian´ Daniel Gutierrez-´ Albilla A Companion to Jean-Luc Godard, edited by Tom Conley and T. Jefferson Kline A Companion to Martin Scorsese, edited by Aaron Baker A Companion to Fritz Lang, edited by Joseph McElhaney A Companion to Robert Altman, edited by Adrian Danks A Companion to Wong Kar-wai, edited by Martha P. -
Martial Arts Cinema and Hong Kong Modernity
Martial Arts Cinema and Hong Kong Modernity Aesthetics, Representation, Circulation Man-Fung Yip Hong Kong University Press Th e University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2017 Hong Kong University Press ISBN 978-988-8390-71-7 (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 photocopy, recording, or any infor- mation storage or retrieval system, without prior permission in writing from the publisher. An earlier version of Chapter 2 “In the Realm of the Senses” was published as “In the Realm of the Senses: Sensory Realism, Speed, and Hong Kong Martial Arts Cinema,” Cinema Journal 53 (4): 76–97. Copyright © 2014 by the University of Texas Press. All rights reserved. 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 Paramount Printing Co., Ltd. in Hong Kong, China Contents Acknowledgments viii Notes on Transliteration x Introduction: Martial Arts Cinema and Hong Kong Modernity 1 1. Body Semiotics 24 2. In the Realm of the Senses 56 3. Myth and Masculinity 85 4. Th e Diffi culty of Diff erence 115 5. Marginal Cinema, Minor Transnationalism 145 Epilogue 186 Filmography 197 Bibliography 203 Index 215 Introduction Martial Arts Cinema and Hong Kong Modernity Made at a time when confi dence was dwindling in Hong Kong due to a battered economy and in the aft ermath of the SARS epidemic outbreak,1 Kung Fu Hustle (Gongfu, 2004), the highly acclaimed action comedy by Stephen Chow, can be seen as an attempt to revitalize the positive energy and tenacious resolve—what is commonly referred to as the “Hong Kong spirit” (Xianggang jingshen)—that has allegedly pro- pelled the city’s amazing socioeconomic growth. -
Artificial Intelligence for Interstellar Travel
Artificial Intelligence for Interstellar Travel Andreas M. Hein1 and Stephen Baxter2 1Initiative for Interstellar Studies, Bone Mill, New Street, Charfield, GL12 8ES, United Kingdom 2c/o Christopher Schelling, Selectric Artists, 9 Union Square 123, Southbury, CT 06488, USA. November 20, 2018 Abstract The large distances involved in interstellar travel require a high degree of spacecraft autonomy, realized by artificial intelligence. The breadth of tasks artificial intelligence could perform on such spacecraft involves maintenance, data collection, designing and constructing an infrastructure using in-situ resources. Despite its importance, exist- ing publications on artificial intelligence and interstellar travel are limited to cursory descriptions where little detail is given about the nature of the artificial intelligence. This article explores the role of artificial intelligence for interstellar travel by compiling use cases, exploring capabilities, and proposing typologies, system and mission archi- tectures. Estimations for the required intelligence level for specific types of interstellar probes are given, along with potential system and mission architectures, covering those proposed in the literature but also presenting novel ones. Finally, a generic design for interstellar probes with an AI payload is proposed. Given current levels of increase in computational power, a spacecraft with a similar computational power as the human brain would have a mass from dozens to hundreds of tons in a 2050 { 2060 timeframe. Given that the advent of the first interstellar missions and artificial general intelligence are estimated to be by the mid-21st century, a more in-depth exploration of the re- lationship between the two should be attempted, focusing on neglected areas such as protecting the artificial intelligence payload from radiation in interstellar space and the role of artificial intelligence in self-replication. -
Jerks, Zombie Robots, and Other Philosophical Misadventures
Jerks, Zombie Robots, and Other Philosophical Misadventures Eric Schwitzgebel Schwitzgebel July 24, 2018 Splintered Mind, 1 Dear Reader, What follows are a few dozen blog posts and popular articles, on philosophy, psychology, culture, and technology, updated and revised, selected from eleven hundred I published between 2006 and 2018. Skip the ones you hate. Eric Schwitzgebel July 24, 2018 Splintered Mind, 2 Part One: Moral Psychology 1. A Theory of Jerks 2. Forgetting as an Unwitting Confession of Your Values 3. The Happy Coincidence Defense and The-Most-I-Can-Do Sweet Spot 4. Cheeseburger Ethics (or How Often Do Ethicists Call Their Mothers?) 5. On Not Seeking Pleasure Much 6. How Much Should You Care about How You Feel in Your Dreams? 7. Imagining Yourself in Another’s Shoes vs. Extending Your Love 8. Aiming for Moral Mediocrity 9. A Theory of Hypocrisy 10. On Not Distinguishing Too Finely Among Your Motivations 11. The Mush of Normativity 12. A Moral Dunning-Kruger Effect? 13. The Moral Compass and the Liberal Ideal in Moral Education Part Two: Technology 14. Should Your Driverless Car Kill You So Others May Live? 15. Cute AI and the ASIMO Problem 16. My Daughter’s Rented Eyes 17. Someday, Your Employer Will Technologically Control Your Moods 18. Cheerfully Suicidal AI Slaves 19. We Have Greater Moral Obligations to Robots Than to (Otherwise Similar) Humans 20. Our Moral Duties to Monsters 21. Our Possible Imminent Divinity 22. Skepticism, Godzilla, and the Artificial Computerized Many-Branching You 23. How to Accidentally Become a Zombie Robot Part Three: Culture 24. -
EAST353 Approaches to Chinese-Language Cinema Autumn 2020 Friday 1:35-5:25Pm Remote Delivery Tentative Syllabus
EAST353 Approaches to Chinese-language Cinema Autumn 2020 Friday 1:35-5:25pm Remote Delivery Tentative Syllabus Instructor: Prof. Xinyu Dong ([email protected]) Office Hours: TBA Course Description and Objectives This course examines the history of Chinese-language cinema from the 1920s to the 2000s. The course material is organized both chronologically and thematically, moving from early popular and political films in the Republican era, to local productions in mainland China, Hong Kong and Taiwan in the Cold War era, to New Wave and genre films from the 1980s onward. The course familiarizes the students with major critical paradigms for the study of Chinese-language cinema and trains the student to develop skills in theoretical and formal film analyses. All film subtitles and readings in English. Course Delivery Guide The class will meet through live Zoom sessions at the scheduled class time. There will be a combination of lectures (with PowerPoint slide show), discussions, and group activities. The lecture component will be recorded. Professor will hold Zoom office hours each week. Students will be able use the discussion boards to post responses and questions and to communicate with each other. Course Materials All readings will be available on MyCourses. Students will receive information on viewing option (s) for the required films listed as screenings. Course Requirements 1. Discussion Board Posts 30% 2. Open-book Quizzes 30% 3. Take-home Exam 40% NOTE: (1) McGill University values academic integrity. Therefore, all students must understand the meaning and consequences of cheating, plagiarism and other academic offences under the Code of Student Conduct and Disciplinary Procedures (see www.mcgill.ca/students/srr/honest/ for more information). -
John Woo's Face/Off : a Lesson in Moral Ambiguity
Journal of American Studies of Turkey 6 (1997) : 77-78. Film Review John Woo’s Face/Off : A Lesson in Moral Ambiguity Michael Oppermann The history of quality film is closely linked to the concept of moral ambiguity. Except for a number of experimental films that question the cinematic means of expression or enlarge the canon of cinematic language, moral ambiguity has remained a landmark feature of narrative film. The term itself, though, as applied to the world of “moving images,” is multi-layered. It might refer to silent movies such asNosferatu (F.W. Murnau 1922) or The Phantom of the Opera (Rupert Julian 1925) in which Max Schreck and Lon Chaney respectively transform their supposedly horrible film characters into touching entities beyond an established binary opposition between good and evil. It might also refer to the bleak world of American or French film noir in which gangsters and cops alike are neither black nor white; they represent the same colour as Al Pacino in Harold Becker’s superb City Hall (1995), the colour of gray. Pacino’s part is also a fine example of another basic feature of moral ambiguity film; very often, famous actors are cast against their established role profiles. Other recent examples of such casting strategies include John Cusack as killer in Grosse Point Blank (George Armitage 1997), Robert De Niro as gangster in Heat (Michael Mann 1996) and Kris Kristofferson as corrupt sheriff in Lone Star (John Sayles 1996). The most outstanding moral ambiguity film of recent years, however, is John Woo’sFace/Off (1997), an action movie which redefines an entire genre. -
Tiff Bell Lightbox Celebrates a Century of Chinese Cinema with Unprecedented Film Series, Exhibitions and Special Guests
May 6, 2013 .NEWS RELEASE. TIFF BELL LIGHTBOX CELEBRATES A CENTURY OF CHINESE CINEMA WITH UNPRECEDENTED FILM SERIES, EXHIBITIONS AND SPECIAL GUESTS - Programme features 80 films, free exhibitions and guests including Chen Kaige, Johnnie To and Jackie Chan - -Tickets on sale May 21 at 10 a.m. for TIFF Members, May 27 at 10 a.m. for non-members - Toronto – Noah Cowan, Artistic Director, TIFF Bell Lightbox, announced today details for a comprehensive exploration of Chinese film, art and culture. A Century of Chinese Cinema features a major film retrospective of over 80 titles, sessions with some of the biggest names in Chinese cinema, and a free exhibition featuring two internationally acclaimed visual artists. The flagship programme of the summer season, A Century of Chinese Cinema runs from June 5 to August 11, 2013. “A Century of Chinese Cinema exemplifies TIFF’s vision to foster new relationships and build bridges of cultural exchange,” said Piers Handling, Director and CEO of TIFF. “If we are, indeed, living in the Chinese Century, it is essential that we attempt to understand what that entails. There is no better way to do so than through film, which encourages cross-cultural understanding in our city and beyond.” “The history, legacy and trajectory of Chinese film has been underrepresented in the global cinematic story, and as a leader in creative and cultural discovery through film, TIFF Bell Lightbox is the perfect setting for A Century of Chinese Cinema,” said Noah Cowan, Artistic Director, TIFF Bell Lightbox. “With Chinese cinema in the international spotlight, an examination of the history and development of the region’s amazing artistic output is long overdue. -
Punk Rock and the Socio-Politics of Place Dissertation Presented
Building a Better Tomorrow: Punk Rock and the Socio-Politics of Place Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University by Jeffrey Samuel Debies-Carl Graduate Program in Sociology The Ohio State University 2009 Dissertation Committee: Townsand Price-Spratlen, Advisor J. Craig Jenkins Amy Shuman Jared Gardner Copyright by Jeffrey S. Debies-Carl 2009 Abstract Every social group must establish a unique place or set of places with which to facilitate and perpetuate its way of life and social organization. However, not all groups have an equal ability to do so. Rather, much of the physical environment is designed to facilitate the needs of the economy—the needs of exchange and capital accumulation— and is not as well suited to meet the needs of people who must live in it, nor for those whose needs are otherwise at odds with this dominant spatial order. Using punk subculture as a case study, this dissertation investigates how an unconventional and marginalized group strives to manage ‘place’ in order to maintain its survival and to facilitate its way of life despite being positioned in a relatively incompatible social and physical environment. To understand the importance of ‘place’—a physical location that is also attributed with meaning—the dissertation first explores the characteristics and concerns of punk subculture. Contrary to much previous research that focuses on music, style, and self-indulgence, what emerged from the data was that punk is most adequately described in terms of a general set of concerns and collective interests: individualism, community, egalitarianism, antiauthoritarianism, and a do-it-yourself ethic.