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2009 年第 36 期憲報第 4 號特別副刊 S. S. NO. 4 TO GAZETTE NO. 36/2009 D4149 2009 年 53 號特別公告 書刊註冊條例 ( 第 142 章 ) 2008 年第三季香港印刷書刊目錄 ( 由康樂及文化事務署公共圖書館書刊註冊組編訂 ) 本目錄列出 2008 年第三季根據上述條例而送交書刊註冊組註冊的書刊。其中包括: (1) 本季內在香港印刷、製作或出版的書籍,包括政府物流服務署出版的刊物,但不包括 個別條例草案、條例與規例的文本,以及單張、活頁和海報;及 (2) 本季內首次在本港印刷、製作或出版的期刊。本目錄只會載列有關期刊的創刊號或第 一期的資料。至於期刊的其他期數資料及相關資料,則會刋登於第四季的目錄。( 詳情請見下 列第三段 ) 本目錄內每一書刊右下方括號內的編號,代表年內該書刊送交書刊註冊組註冊的次序;至 於書刊左上方的順序編號,則純粹是排序用途,於第四季列出是年的作者索引,以便從每季目 錄中搜尋所需書刊。 每年第四季目錄除載列該季度送交書刊註冊組註冊的書刊外,還包括下列各部份: (1) 該年度中英文作者索引; (2) 該年度出版社名稱及地址; (3) 該年度印刷商名稱及地址 ; 及 (4) 該年度已登記的中英文期刊名稱、出版次數、價錢及出版者。 本目錄的英文書刊是參考英國出版的《英美編目條例》( 第二版) (Anglo-American Cataloguing Rules, 2nd edition) (AACR2) 編訂;香港特別行政區政府部門出版的刊物則屬例 外。中文書刊則參考劉國鈞的圖書著錄法。 英文書刊使用的簡寫表列如下: c Copyright p. pages cm centimeters pbk. paperback col. colour port. portrait ed. edition, editor sp. spiral et al. and others v volume ill. illustration, illustrated bibl. bibliography 各書刊的貨幣單位表列如下 : $ Hong Kong Dollars JPY Japanese Yuan CNY Chinese Yuan NTD Taiwan Dollars GBP Great Britain Pounds USD US Dollars 如對本目錄有任何查詢,請致電 (852) 2180 9145–6 與書刊註冊組聯絡。如需查閱本目錄 的電子版可瀏覽書刊註冊組的網頁,其網址為 http://www.hkpl.gov.hk/tc_chi/books_reg/books_reg_intro/books_reg_intro.html 2009 年第 36 期憲報第 4 號特別副刊 S. S. NO. 4 TO GAZETTE NO. 36/2009 D4151 ENGLISH BOOKS AND PERIODICALS 6297 A-Z in ophthalmology. Section A, Investigative 6293 ophthalmology, Book 3, Clinical visual electrophysiology / Timothy, Y. Lai, Ranjana 2007 manpower survey report : security Mathur, Lezheung Wu. — Hong Kong : services = 保安服務業二00七年人力調查報告. Bon Vision Limited, 2008. — xii, 146 p. : — Hong Kong : Vocational Training ill. (chiefly col.), charts ; 22 cm. Council. Security Services Training Board, Includes index 2008. — 237 p. : charts ; 30 cm. ISBN 978-988-97985-5-0 (pbk.) : Text in Chinese and English USD30.00 Unpriced (pbk.) (2008-06502) (2008-08828) 6298 6294 A-Z in ophthalmology. -
Middlesex University Research Repository an Open Access Repository Of
Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk White, Luke ORCID: https://orcid.org/0000-0002-7080-7243 (2017) Toward an aesthetic of weightlessness: Qinggong and Wire-fu. In: RoCH Fans and Legends. lok, susan pui san, ed. QUAD / Centre for Chinese Contemporary Art, Derby / Manchester. ISBN 9780995461109. [Book Section] Final accepted version (with author’s formatting) This version is available at: https://eprints.mdx.ac.uk/24696/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated. -
Introducing the 10 Shortlisted Ghetto Film School Fellows for the Inaugural Deutsche Bank Frieze Los Angeles Film Award 2020
Frieze Los Angeles Press Release December 19, 2019 Introducing the 10 Shortlisted Ghetto Film School Fellows for the Inaugural Deutsche Bank Frieze Los Angeles Film Award 2020 Today Frieze and Deutsche Bank announce the ten shortlisted fellows that will headline the inaugural Deutsche Bank Frieze Los Angeles Film Award. Presented in partnership with award-winning, non-profit film academy Ghetto Film School (GFS), the initiative offers a platform and development program for ten emerging, Los Angeles-based filmmakers aged 20-34 years old. Frieze Los Angeles takes place February 14 – 16, 2020 at Paramount Pictures Studios in Hollywood. Launched in 2019, Frieze Los Angeles brings together more than 70 galleries from around the world and is supported by global lead partner Deutsche Bank for the second consecutive year. The ten shortlisted fellows are as follows: Danielle Boyd, Mya Dodson, Michelle Jihyon Kim, Nabeer Khan, Silvia Lara, Alima Lee, Timothy Offor, Toryn Seabrooks, Noah Sellman and Nicole L. Thompson. The recipient of the award, selected by a jury of leading art and entertainment figures including Doug Aitken, Shari Frilot, Jeremy Kagan, Sam Taylor Johnson and Hamza Walker will be announced at a ceremony on February 13 at Paramount Pictures Theatre and receive a $10,000 prize. Selected from an open call throughout Los Angeles, the ten shortlisted fellows completed an intensive three-month program at GFS each producing a short film in response to Los Angeles’ vibrant art, culture and social landscape. The resulting 10 short films will be screened at the Paramount Pictures Theatre throughout the fair, February 14-16, 2020. -
Donnie Yen's Kung Fu Persona in Hypermedia
Studies in Media and Communication Vol. 4, No. 2; December 2016 ISSN 2325-8071 E-ISSN 2325-808X Published by Redfame Publishing URL: http://smc.redfame.com Remediating the Star Body: Donnie Yen’s Kung Fu Persona in Hypermedia Dorothy Wai-sim Lau1 113/F, Hong Kong Baptist University Shek Mun Campus, 8 On Muk Street, Shek Mun, Shatin, Hong Kong Correspondence: Dorothy Wai-sim Lau, 13/F, Hong Kong Baptist University Shek Mun Campus, 8 On Muk Street, Shek Mun, Shatin, Hong Kong. Received: September 18, 2016 Accepted: October 7, 2016 Online Published: October 24, 2016 doi:10.11114/smc.v4i2.1943 URL: http://dx.doi.org/10.11114/smc.v4i2.1943 Abstract Latest decades have witnessed the proliferation of digital media in Hong Kong action-based genre films, elevating the graphical display of screen action to new levels. While digital effects are tools to assist the action performance of non-kung fu actors, Dragon Tiger Gate (2006), a comic-turned movie, becomes a case-in-point that it applies digitality to Yen, a celebrated kung fu star who is famed by his genuine martial dexterity. In the framework of remediation, this essay will explore how the digital media intervene of the star construction of Donnie Yen. As Dragon Tiger Gate reveals, technological effects work to refashion and repurpose Yen’s persona by combining digital effects and the kung fu body. While the narrative of pain and injury reveals the attempt of visual immediacy, the hybridized bodily representation evokes awareness more to the act of representing kung fu than to the kung fu itself. -
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. -
CHROME COULD BE BACK for >18 PEGASUS, and WHY NOT?
TUESDAY, JANUARY 31, 2017 CLYDE RICE PASSES AWAY CHROME COULD BE BACK by Jessica Martini FOR >18 PEGASUS, Clyde Rice, the patriarch of a far-ranging family of trainers, jockeys and consignors, passed away Monday at his home in AND WHY NOT? Anthony, Florida. He was 79. A native of Antigo, Wisconsin, Rice was a high school teacher before deciding to pursue a career in the horse industry. Several times leading trainer at Penn National in the 1970s and 80s, he became a pioneer in the yearling-to-juvenile pinhooking market, raising horses at his Indian Prairie Ranch in Anthony. Rice grew up alongside future Hall of Fame trainer D. Wayne Lukas and the two men shared a passion for horses. AHe was a dear friend and I can=t tell you what a great horseman he was,@ Lukas recalled Monday. AWe grew up about a half-mile apart and spent our whole boyhoods with these horses and traveling miles and miles to sales and shows. He was special and he had a great knack, a really good eye for a horse.@ Cont. p4 IN TDN EUROPE TODAY California Chrome in Gulfstream paddock | A Coglianese STEWARD’S CUP GOES TO PARAGON by Bill Finley Helene Paragon (Fr) (Polan {Fr}), formerly trained in Spain, Ask someone in horse racing why things are done a certain landed the G1 Stewards’ Cup at Sha Tin on Monday. Click or way and the answer is usually Abecause that=s the way it=s tap here to go straight to TDN Europe. always been done.@ It=s a terrible answer and speaks to an industry so stuck in the past that it's afraid to try anything new and innovative. -
ART + AUCTION 'Power Issue', December 2015
ART + AUCTION 'Power Issue', December 2015 The bios and essays in Art+Auction’s guide to notable players in the art world will be rolled out on ARTINFO over the course of the next two weeks. Here, we present Part Three. Click here for an introduction to the entire series. Click here for previously published installments. Check back daily for new articles. Magnus Renfrew * Auctioneer In July 2014, Renfrew took the title deputy chairman and director of fine arts in Hong Kong for Bonhams, the house for which he initiated sales of contemporary Chinese art in 2006. In the interim he served as the founding director of the Hong Kong International Art Fair (Art HK) and oversaw its development from 2007 to 2011, when it was acquired by MCH Group, parent company of Art Basel. He then directed the first two editions of Art Basel Hong Kong, in 2013 and 2014. In 2013 Renfrew was named a Young Global Leader by the World Economic Forum, and he has been instrumental in positioning Hong Kong as a center for modern and contemporary art in Asia. At Bonhams, Renfrew now draws on his deep knowledge of the gallery and collector network and the overall Asian market while overseeing regional business strategies as well as the Classical, modern, and contemporary Asian art departments. // AUCTION STRATEGIES M a g n u s R e n f r e w press archive 1 HONG KONG ECONOMIC JOURNAL 'How to trade the new golden age of art', 18 November 2015 The 2008 financial crisis prompted investors to include alternative investment in their portfolio to diversify risk. -
The Politics of Photographic Representation in Postsocialist China
Staging the Future: The Politics of Photographic Representation in Postsocialist China by James David Poborsa A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of East Asian Studies University of Toronto © Copyright by James David Poborsa 2018 Staging the Future - The Politics of Photographic Representation in Postsocialist China James David Poborsa Doctor of Philosophy Department of East Asian Studies University of Toronto 2018 Abstract This dissertation examines the changing nature of photographic representation in China from 1976 until the late 1990s, and argues that photography and photo criticism self-reflexively embodied the cultural politics of social and political liberalisation during this seminal period in Chinese history. Through a detailed examination of debates surrounding the limits of representation and intellectual liberalisation, this dissertation explores the history of social documentary, realist, and conceptual photography as a form of social critique. As a contribution to scholarly appraisals of the cultural politics of contemporary China, this dissertation aims to shed insight into the fraught and often contested politics of visuality which has characterized the evolution of photographic representation in the post-Mao period. The first chapter examines the politics of photographic representation in China from 1976 until 1982, and explores the politicisation of documentary realism as a means of promoting modernisation and reform. Chapter two traces the internationalisation -
Frieze Los Angeles: Announcing Highlights for the Inaugural Edition
Frieze Los Angeles Press Release January 23, 2019 Frieze Los Angeles: Announcing Highlights for the Inaugural Edition Hosted at Paramount Pictures Studios, Including Special Gallery Presentations and Curated Artist Projects, Talks and Film More than 70 invited galleries will take part in the first Frieze Los Angeles – including a special selection of emerging spaces from the city – presenting a global cross-section of today’s most significant and exciting artists and creating an exceptional opportunity for collecting and discovery The curated program will celebrate the unique creative spirit of Los Angeles. Artist projects, talks, films, restaurants and experiments in patronage and activism, will transform the movie set backlot of Paramount Pictures Studios into a symbolic cityscape where art is at the center of civic life Frieze today announces the programs and highlights for the launch edition of Frieze Los Angeles. The new annual contemporary art fair will feature more than 70 L.A.-based and international galleries, alongside a site-specific program of talks, music and commissioned artist projects. Organized in collaboration with leading curators and working closely with venue partner Paramount Pictures Studios, Frieze Los Angeles joins Frieze New York, Frieze London and Frieze Masters at the forefront of the international art fair calendar, celebrating Los Angeles’ position as a global arts center and destination. Global lead partner Deutsche Bank will support the inaugural edition of Frieze Los Angeles, continuing a shared commitment to discovery and artistic excellence. Taking place in a bespoke structure designed by Kulapat Yantrasast, Frieze Los Angeles is led by Victoria Siddall (Director, Frieze Fairs) and Bettina Korek (Executive Director, Frieze Los Angeles). -
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. -
Cantonese and Putonghua in Hong Kong: Trends, Challenges, and Perspectives of Coexistence
CANTONESE AND PUTONGHUA IN HONG KONG: TRENDS, CHALLENGES, AND PERSPECTIVES OF COEXISTENCE Freie wissenschaftliche Arbeit zur Erlangung eines Mastergrades am Fachbereich Geschichts- und Kulturwissenschaften der Freien Universität Berlin im Masterstudiengang Chinastudien eingereicht von: Isabella Valentini Dr. Andreas Guder Univ.-Prof. Dr. Klaus Mühlhahn 0 Contents LIST OF ILLUSTRATIONS AND TABLES ........................................................................ 4 1. INTRODUCTION ......................................................................................................... 5 1.1. TERMINOLOGY ............................................................................................................ 7 2. THE FEATURES OF CANTONESE IN HONG KONG ............................................. AND MAINLAND CHINA ........................................................................................... 9 2.1. A LINGUISTIC AND HISTORICAL OUTLINE OF YUE AND CANTONESE .......................... 10 2.1.1. HISTORICAL BACKGROUND ....................................................................................... 12 2.1.2. YUE AND CANTONESE STUDIES ................................................................................. 14 2.2. CANTONESE AND PUTONGHUA IN GUANGDONG: ........................................................... THE EXPERIENCE IN THE MAINLAND .......................................................................... 18 2.2.1. THE BIRTH OF A UNIFIED CHINESE LANGUAGE .......................................................... -
Frieze Los Angeles Press Release September 12, 2018
Frieze Los Angeles Press Release September 12, 2018 Frieze Los Angeles: Announcing Galleries and Curators for the Inaugural Edition Around 70 galleries will take part in the first Frieze Los Angeles, including a special selection of emerging spaces from Los Angeles Curator Hamza Walker to program Frieze Talks and Frieze Music Frieze today announces the 68 participating galleries in the inaugural edition of Frieze Los Angeles. The new annual contemporary art fair will feature a site-specific program of talks, music and commissioned artist projects organized in collaboration with leading curators. Opening at Paramount Pictures Studios in Hollywood from February 14 through February 17, 2019, Frieze Los Angeles will join Frieze New York, Frieze London and Frieze Masters at the forefront of the international art fair calendar, celebrating Los Angeles’ position as a global arts center and destination. Taking place in a bespoke structure designed by Kulapat Yantrasast, Frieze Los Angeles is led by Bettina Korek (Executive Director, Frieze Los Angeles) working with Victoria Siddall (Director, Frieze Fairs). Joining them is the newly announced curator of Frieze Talks and Music, Hamza Walker (Executive Director, LAXART), and Ali Subotnick, who will commission Frieze Projects and Frieze Film. Also announced today Frieze Los Angeles will be supported by Deutsche Bank, global lead partner for Frieze London, Frieze Masters and Frieze New York. Victoria Siddall said, “The extremely positive reaction to Frieze Los Angeles from galleries is testament to the importance of this city which is so rich in great artists, museums, galleries, and art schools. I am thrilled with the response we have had and the strength of the exhibitor list, which includes exceptional contemporary art galleries from around the world as well as leading established and emerging spaces from LA.