Jaarverslag 2006
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Warriors As the Feminised Other
Warriors as the Feminised Other The study of male heroes in Chinese action cinema from 2000 to 2009 A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Chinese Studies at the University of Canterbury by Yunxiang Chen University of Canterbury 2011 i Abstract ―Flowery boys‖ (花样少年) – when this phrase is applied to attractive young men it is now often considered as a compliment. This research sets out to study the feminisation phenomena in the representation of warriors in Chinese language films from Hong Kong, Taiwan and Mainland China made in the first decade of the new millennium (2000-2009), as these three regions are now often packaged together as a pan-unity of the Chinese cultural realm. The foci of this study are on the investigations of the warriors as the feminised Other from two aspects: their bodies as spectacles and the manifestation of feminine characteristics in the male warriors. This study aims to detect what lies underneath the beautiful masquerade of the warriors as the Other through comprehensive analyses of the representations of feminised warriors and comparison with their female counterparts. It aims to test the hypothesis that gender identities are inventory categories transformed by and with changing historical context. Simultaneously, it is a project to study how Chinese traditional values and postmodern metrosexual culture interacted to formulate Chinese contemporary masculinity. It is also a project to search for a cultural nationalism presented in these films with the examination of gender politics hidden in these feminisation phenomena. With Laura Mulvey‘s theory of the gaze as a starting point, this research reconsiders the power relationship between the viewing subject and the spectacle to study the possibility of multiple gaze as well as the power of spectacle. -
The Aspen Institute Germany ANNUAL REPORT 2007 2008 the Aspen Institute 2 ANNUAL REPORT 2007 2008 the Aspen Institute ANNUAL REPORT 2007 3 2008
The Aspen Institute Germany ANNUAL REPORT 2007 2008 The Aspen Institute 2 ANNUAL REPORT 2007 2008 The Aspen Institute ANNUAL REPORT 2007 3 2008 Dear Friend of the Aspen Institute In the following pages you will find a report on the Aspen Institute Germany’s activities for the years 2007 and 2008. As you may know, the Aspen Institute Germany is a non-partisan, privately supported organization dedicated to values-based leadership in addressing the toughest policy challenges of the day. As you will see from the reports on the Aspen European Strategy Forum, Iran, Syria, Lebanon and the Balkans that follow, a significant part of Aspen’s current work is devoted to promoting dialogue between key stakeholders on the most important strategic issues and to building lasting ties and constructive exchanges between leaders in North America, Europe and the Near East. The reports on the various events that Aspen convened in 2007 and 2008 show how Aspen achieves this: by bringing together interdisciplinary groups of decision makers and experts from business, academia, politics and the arts that might otherwise not meet. These groups are convened in small-scale conferences, seminars and discussion groups to consider complex issues in depth, in the spirit of neutrality and open mindedness needed for a genuine search for common ground and viable solutions. The Aspen Institute organizes a program on leadership development. In the course of 2007 and 2008, this program brought leaders from Germany, Lebanon, the Balkans and the United States of America together to explore the importance of values-based leadership together with one another. -
Komentovaný Překlad Vybraných Povídek Martína Rejtmana
Univerzita Palackého v Olomouci Filozofická fakulta Komentovaný překlad vybraných povídek Martína Rejtmana Bakalářská práce Vedoucí práce: Mgr. Daniel Nemrava Klára Nováková Olomouc 2009 Děkuji touto cestou vedoucímu mé práce panu Mgr. Danielu Nemravovi za inspiraci při upřesnění zadání práce, ochotu, trpělivost a cenné připomínky, které mi během zpraco- vání práce poskytl. Prohlašuji, ţe jsem tuto práci vypracovala samostatně s pouţitím literatury, kterou uvá- dím v bibliografii. V Olomouci, 2009 .............................................. Abstrakt Nováková, K. Komentovaný překlad vybraných povídek Martína Rejtmana. Bakalářská práce. Olomouc 2009 Tématem bakalářské práce je překlad vybraných povídek argentinského spisovatele a reţiséra Martína Rejtmana, Alplax a Moje sádra. Dále se práce zabývá společenskými a kulturními východisky autorovy tvorby, argentinskou povídkou, zkušenostmi s filmovou reţií, práci na scénářích i argentinskými reáliemi, které ovlivňují autorův specifický literární projev. Podrobný komentář k překladu zahrnuje popis řešených pro- blémů, zvolená východiska a jejich odůvodnění. Klíčová slova překlad, povídka, literatura, Rejtman, Martin, kinematografie Abstract Nováková, K. Commented translation of Martín Rejtman’s selected stories. Bachelor thesis. Olomouc 2009 The topic of the bachelor thesis is translation of two short stories called Alplax and My Plaster Cast, written by the Argentinean author and film director Martín Rejtman. The thesis further deals with the social and cultural fundaments of the author’s -
Five Nights of Love, Five Nights in Chinatown
Event Organizers Asian American / Asian Research Institute (AAARI) was established under the aegis of Queens College on November 19, 2001, by The City University of New York (CUNY) Board of Trustees, in a resolution introduced by Chancellor Matthew Goldstein. The Institute is a university-wide scholarly research and resource center that focuses on policies and issues that affect Asians and Asian Americans. It covers four areas: Asian American Studies; East Asian Studies; South Asian Studies; and Trade & Technology Studies. URL: www.aaari.info “Five nights of love, five nights in Chinatown.” Chinatown Partnership Local Development Corporation (CPLDC) was formed to bring residents, business owners and community groups together to rebuild Chinatown following 9/11, and to preserve the neighborhood's unique culture Presented by while ensuring its vitality in the future. Asian American / Asian Research Institute, CUNY Chinatown Partnership Local Development Corporation Neighborhood improvement programs like Clean Streets are taking on China- town’s toughest and most-cited challenges. Innovative arts and cultural events like Taste of Chinatown and Lunar Stages are instilling pride in the community Date: Saturdays, May 31; while drawing new generations of visitors from near and far. Explore China- June 7, 14, 21 & 28, 2008 town , an award-winning communications and marketing campaign, is connect- ing Chinatown to the world through the Web and welcoming the world to Chi- Time: 6:30PM to 8PM, Cultural & Family Activities natown by shining a spotlight -
ONLINE HARASSMENT of JOURNALISTS Attack of the Trolls
ONLINE HARASSMENT OF JOURNALISTS Attack of the trolls 1 SOMMAIREI Introduction 3 1. Online harassment, a disinformation strategy 5 Mexico: “troll gangs” seize control of the news 5 In India, Narendra Modi’s “yoddhas” attack journalists online 6 Targeting investigative reporters and women 7 Censorship, self-censorship, disconnecting and exile 10 2. Hate amplified by the Internet’s virality 13 Censorship bots like “synchronized censorship” 13 Troll behaviour facilitated by filter bubbles 14 3. Harassment in full force 19 Crowd psychology 3.0: “Anyone can be a troll” 19 Companies behind the attacks 20 Terrorist groups conducting online harassment 20 The World Press Freedom Index’s best-ranked countries hit by online harassment 20 Journalists: victims of social network polarization 21 4. Troll armies: threats and propaganda 22 Russia: troll factory web brigades 22 China: “little pink thumbs,” the new Red Guards 24 Turkey: “AK trolls” continue the purge online 25 Algeria: online mercenaries dominate popular Facebook pages 26 Iran: the Islamic Republic’s virtual militias 27 Egypt: “Sisified” media attack online journalists 28 Vietnam: 10,000 “cyber-inspectors” to hunt down dissidents 28 Thailand: jobs for students as government “cyber scouts” 29 Sub-Saharan Africa: persecution moves online 29 5. RSF’s 25 recommendations 30 Tutorial 33 Glossary 35 NINTRODUCTIONN In a new report entitled “Online harassment of journalists: the trolls attack,” Reporters Without Borders (RSF) sheds light on the latest danger for journalists – threats and insults on social networks that are designed to intimidate them into silence. The sources of these threats and insults may be ordinary “trolls” (individuals or communities of individuals hiding behind their screens) or armies of online mercenaries. -
Music from the 1990S to the Present
j：,/ � • .. ….......:._. ‘. • '1- ;V . jn/w Tnn • ft ¾( ! \ ..' � •'. I . I .广, I n . .....Vv'Z …'.J I O > 3 . • • I •• . ^ • jr ,' ‘:'. ； , ''Jr ... Hong Kong Film Music from the 1990s to the Present CHENG LingYan A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Philosophy in Ethnomusicology © The Chinese University of Hong Kong June 2004 The Chinese University of Hong Kong holds the copyright of this thesis. Any person(s) intending to use a part or whole of the materials in the thesis in a proposed publication must seek copyright release from the Dean of the Graduate School. ^ST university~7^// ^XLIBRARy SYSTEM^W Abstract i Hong Kong Film Music from the 1990s to the Present Submitted by LingYan CHENG for the degree of Master of Philosophy in Ethnomusicology at The Chinese University of Hong Kong in June 2004 Abstract This thesis focuses on Hong Kong film music from the 1990s to the 2000s. In recent years, there has been much research and theory on western film music, especially the Hollywood film industry, by musicologists and scholars in film studies, popular music studies, and other fields. However, there has been little research on Hong Kong Film music, the system of which is different from that of western film music, and therefore I will apply basic film music concepts, but using the real situation of Hong Kong film music to formulate my own argument. The methodology used in this thesis will include the application of basic concepts used by scholars of film music, such as the functions of music in film, combined with fieldwork and analysis of films. -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Film Studies Hong Kong Cinema Since 1997: The Response of Filmmakers Following the Political Handover from Britain to the People’s Republic of China by Sherry Xiaorui Xu Thesis for the degree of Doctor of Philosophy December 2012 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Film Studies Doctor of Philosophy HONG KONG CINEMA SINCE 1997: THE RESPONSE OF FILMMAKERS FOLLOWING THE POLITICAL HANDOVER FROM BRITAIN TO THE PEOPLE’S REPUBLIC OF CHINA by Sherry Xiaorui Xu This thesis was instigated through a consideration of the views held by many film scholars who predicted that the political handover that took place on the July 1 1997, whereby Hong Kong was returned to the sovereignty of the People’s Republic of China (PRC) from British colonial rule, would result in the “end” of Hong Kong cinema. -
Alternative Titles Index
VHD Index - 02 9/29/04 4:43 PM Page 715 Alternative Titles Index While it's true that we couldn't include every Asian cult flick in this slim little vol- ume—heck, there's dozens being dug out of vaults and slapped onto video as you read this—the one you're looking for just might be in here under a title you didn't know about. Most of these films have been released under more than one title, and while we've done our best to use the one that's most likely to be familiar, that doesn't guarantee you aren't trying to find Crippled Avengers and don't know we've got it as The Return of the 5 Deadly Venoms. And so, we've gathered as many alternative titles as we can find, including their original language title(s), and arranged them in alphabetical order in this index to help you out. Remember, English language articles ("a", "an", "the") are ignored in the sort, but foreign articles are NOT ignored. Hey, my Japanese is a little rusty, and some languages just don't have articles. A Fei Zheng Chuan Aau Chin Adventure of Gargan- Ai Shang Wo Ba An Zhan See Days of Being Wild See Running out of tuas See Gimme Gimme See Running out of (1990) Time (1999) See War of the Gargan- (2001) Time (1999) tuas (1966) A Foo Aau Chin 2 Ai Yu Cheng An Zhan 2 See A Fighter’s Blues See Running out of Adventure of Shaolin See A War Named See Running out of (2000) Time 2 (2001) See Five Elements of Desire (2000) Time 2 (2001) Kung Fu (1978) A Gai Waak Ang Kwong Ang Aau Dut Air Battle of the Big See Project A (1983) Kwong Ying Ji Dut See The Longest Nite The Adventures of Cha- Monsters: Gamera vs. -
Da Zhi Lao Running on Karma
50 Da zhi lao Running on Karma Regie: Johnnie To, Wai Ka Fai Land: Hong Kong, China 2003. Produktion: Milkyway Image Ltd. (Hong Note Kong), Youth Film Studio (Beijing). Regie: Johnnie To, Wai Ka Fai. The Cantonese title of the film is ‘Daai chek liu’. The Eng- Buch: Wai Ka Fai, Yau Nai Hoi, Au Kin Yee, Yip Tin Shing. Regieassi- lish translation of the original title means ”Big Guy”. stenz: Albert Mak. Kamera: Cheng Siu Keung (H.K.S.C.). Visual Effects: Stephen Ma. Ton: Lee Sin Kwok. Tonschnitt, Mischung: Martin Chappell. Synopsis Musik: Cacine Wong. Ausstattung: Raymond Chan. Kostüme: Stepha- Cop Yee arrests Biggie because of his public striptease nie Wong. Martial-Arts-Choreographie: Yuen Bun. Schnitt: Law Wing show. During his escape, Biggie accidentally hinders the Cheong. Produzenten: Johnnie To, Wai Ka Fai. Administrative Produ- police in arresting a murderer. Thus, Biggie is said to be zentin: Tiffany Chen. involved in the murder and is arrested. Yee helps Biggie Darsteller: Andy Lau (Biggie), Cecilia Cheung (Lee Fung Yee), Cheung since she believes that he has no connection with the murder. Siu Fai, Chun Wong, Karen Tong, Yu Wen Zhong, Hou Lian Sheng, He Yee discovers from police records that Biggie is from main- Sheng Wei, Zhang Meng. land China and was formerly a Buddhist monk. Biggie thinks Format: 35mm, 1:1.85, Farbe. Länge: 93 Minuten, 24 Bilder/Sek. that Yee is a kind person, so he tells her that he would be Sprache: Chinesisch (Kantonesisch). able to arrest the murderer in exchange for his release. Uraufführung: 27. -
The Personal Impact of Exile
“Exile brings you overnight where it would normally take a lifetime to go” Joseph Brodsky i 3 Endnotes .............................................................................................................................................................................34 Foreword by Zamaneh Media As an independent media organization or journalist in exile, it is easy that to feel you are unique. Unique in the sense that your work is of unprecedented importance, but also that challenges you face are yours alone. The isolation, evident throughout this report, is an important factor in this, combined with a passionate solidarity with and commitment to all your countrymen and women living under severe repression. Because we are based in the Netherlands, we at Zamaneh Media have the luxury of regular and close contact with various other exiled media organizations for audiences in different countries, especially Radio Dabanga and Radio Tamazuj. Through these encounters, we feel less alone. We found that exiled media organizations like us not only share a similar passion, but also face challenges that often are remarkably similar. Not only editorial challenges, but also financial, organizational and security-related ones. This has urged us to investigate these similarities thoroughly and structurally. This urge resulted in a two-day expert meeting with representatives of exiled media from all over the world, with the primary aim of sharing both challenges, but also best practices and mitigation tactics. An effort that has been generously supported by the two aforementioned media houses and facilitated by Michelle Foster, all of whom deserve our sincerest gratitude for joining us on this journey. This report details the conclusions of our meeting, supplemented with a wealth of insights from previous work as well as the detailed knowledge of independent media that Newsgain brings to the table. -
Films Argentins Distribués En France
- FILMS ARGENTINS DISTRIBUÉS EN FRANCE - Dans son souhait de promotion de la culture argentine, l’Ambassade de la République Argentine en France vous présente une liste non exhaustive des oeuvres de réalisateurs argentins, distribués en France (disponibles au format DVD, avec sous‐titres en français) Ce catalogue présente pour chaque film un court résumé, ainsi que le nom des distributeurs (fournisseurs des médiathèques). Nous espérons que vous découvrirez avec plaisir ce cinéma riche et puissant. Absent/ Ausente (2011) Marco Berger Drame Synopsis Martin se blesse lors d'un cours de natation. Après l’avoir emmené à l’hôpital, Sebastian, son professeur, propose à Martin de le raccompagner chez lui. Mais il n’y a personne. Le professeur n’a alors d’autre choix que de lui proposer de passer la nuit chez lui, sans encore se douter des vraies intentions de son jeune hôte… Distributeurs : RDM ; CVS ; ADAV Agnus Dei (2010) Alejandra Sanchez Documentaire Synopsis La pédophilie ne mérite pas le silence. Ce documentaire illustre la complicité qui existe entre religieux et certaines familles, qui préfèrent fermer les yeux sur les agissements des prêtres afin que leurs enfants puissent être éduqués. Pauvreté et puissance des soutanes face à l’impuissance des enfants : le cocktail détonnant qui permet à ce fléau de perdurer dans un silence liturgique. C’est l’histoire d’un homme, Jesús, qui décide de prendre en main son destin : il affronte le mur de silence de l’église, son agresseur, et en le dénonçant, reconstruit sa dignité d’homme et retrouve ainsi sa liberté. Distributeurs : CVS Agua (2005) Veronica Chen Drame Synopsis Injustement accusé de dopage lors d'un marathon en Argentine, Goyo, ancien champion de natation en eau libre, a tout abandonné pour se réfugier dans le désert. -
Branding Latin America Film Festivals and the International Circulation of Latin American Films
Branding Latin America Film Festivals and the International Circulation of Latin American Films Laura Rodríguez Isaza Submitted in accordance with the requirements for the degree of Doctor in Philosophy The University of Leeds School of Modern Languages and Cultures Centre for World Cinemas October, 2012 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others . This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement . Except where otherwise noted, t his work is licensed under a Creative Commons Attribution -Non Commercial- Share Alike 2. 0 UK: England & Wales (CC BY -NC-SA 2.0). Full license conditions available at http://creativecommons.org/licenses/by -nc-sa/2.0/uk/ © 2012 The University of Leeds and Laura Rodríguez Isa za Acknowledgements I am indebted to many people for their support and encouragement to go throughout the different stages of this research. First of all, I would like to thank my supervisors at the Centre for World Cinemas of the University of Leeds without whose backing this research would not have been possible. I am especially indebted to Lúcia Nagib for her committed mentorship and encouragement to continue despite my frequent blockages. Her extensive knowledge and academic rigour enriched this research through a constant ex-change of ideas that helped me not only to express my arguments more clearly on paper but to develop further my thinking about the complexities of cinema as an object of study.