Hainan Airlines Inflight Entertainment Magazine Aug. 2019
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Entertainment Carnival
Advances in Social Science, Education and Humanities Research, volume 469 Proceedings of the 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020) A Study on the "Entertainment Carnival" Phenomenon From the Perspective of Critical Theory of Cultural Industry Taking Chinese Variety Show as the Research Object Bingying Wang1,* Xiaonan Zhang1 1Arts College, Sichuan University, Chengdu, Sichuan 610207, China *Corresponding author. Email: [email protected] ABSTRACT The phenomenon of "entertainment carnival" was proposed based on the fact that the contemporary cultural industry has become a social reality, and now it has become one of the most important cultural phenomena in the modern age. The criticism of the cultural industry is an important theoretical part of Adorno's philosophical aesthetics, and the cultural phenomenon of "entertainment carnival" is regarded as one of the important contents in the development of cultural industry globalization. This article will take Chinese variety shows as the analysis object, combined with the critical theory of cultural industry proposed by members of Frankfurt School Adorno and Horkheimer to analyze and study the complicated and complex "entertainment carnival" phenomenon in China, and it's also a probe into the theoretical significance of the critical theory of cultural industry in contemporary Chinese culture. Keywords: criticism of cultural industry, entertainment carnival, Chinese variety show negative dialectics of Frankfurt School, at the same I. INTRODUCTION time, it also responds to the practical significance of "Entertainment carnival" is not only an organic part Adorno's critical theory of cultural industry in of popular culture but also an important feature of contemporary Chinese society. -
TV Show Knows What's in Your Fridge Is Food for Thought
16 | Wednesday, June 17, 2020 HONG KONG EDITION | CHINA DAILY YOUTH ometimes you have to travel didn’t enjoy traditional Chinese to appreciate your own. music that much until he pursued his Sometimes, waking up in a music studies in the United States. foreign land gives you a pre- When leaving China, he took with Scious insight into your own country. him the hulusi, a kind of Chinese Fang Songping is a musician and wind instrument made from a has traveled but when he was at gourd, and played it recreationally home with his pipa-player father, in the college. The exotic sound of Fang Jinlong, he preferred Western the instrument won him lots of fans rock. and requests to perform on stage. It was hulusi, the gourd-like Then he started researching about instrument, that really changed his traditional Chinese music and com- life. He happened to bring it to Los bining elements of it into his own Angeles, while studying music there. compositions. In 2015, he returned His classmates were fascinated to China and started his career as an when he played music with it, and a indie musician. new horizon opened up before him. Now, Fang Songping works as the According to a recent report on music director of a popular reality traditional Chinese music, young show, Gems of Chinese Poetry, Chinese people are turning their which centers on traditional Chi- attention to traditional arts. More nese arts, such as poetry, music, and more are listening to traditional dance and paintings. He composed Chinese music. eight original instrumental pieces, The report was released on June inspired by traditional Chinese cul- 2, under the guidance of the China ture, like music, chess, calligraphy Association of Performing Arts, by and paintings. -
A Classical View of the Business Cycle
NBER WORKING PAPER SERIES A CLASSICAL VIEW OF THE BUSINESS CYCLE Michael T. Belongia Peter N. Ireland Working Paper 26056 http://www.nber.org/papers/w26056 NATIONAL BUREAU OF ECONOMIC RESEARCH 1050 Massachusetts Avenue Cambridge, MA 02138 July 2019 We are especially grateful to David Laidler for his encouragement during the development of this paper and to John Taylor, Kenneth West, two referees, and seminar participants at the Federal Reserve Bank of Atlanta for helpful comments on previous drafts. All errors that remain are our own. Neither of us received any external support for, or has any financial interest that relates to, the research described in this paper. The views expressed herein are those of the authors and do not necessarily reflect the views of the National Bureau of Economic Research. NBER working papers are circulated for discussion and comment purposes. They have not been peer-reviewed or been subject to the review by the NBER Board of Directors that accompanies official NBER publications. © 2019 by Michael T. Belongia and Peter N. Ireland. All rights reserved. Short sections of text, not to exceed two paragraphs, may be quoted without explicit permission provided that full credit, including © notice, is given to the source. A Classical View of the Business Cycle Michael T. Belongia and Peter N. Ireland NBER Working Paper No. 26056 July 2019 JEL No. B12,E31,E32,E41,E43,E52 ABSTRACT In the 1920s, Irving Fisher extended his previous work on the Quantity Theory to describe, through an early version of the Phillips Curve, how changes in the money stock could be associated with cyclical movements in output, employment, and inflation. -
What Classical Music Is (Not the Final Text, but a Riff on What
Rebirth: The Future of Classical Music Greg Sandow Chapter 4 – What Classical Music Is (not the final text, but a riff on what this chapter will say) In this chapter, I’ll try to define classical music. But why? Don’t we know what it is? Yes and no. We’re not going to confuse classical music with other kinds of music, with rock, let’s say, or jazz. But can we say how we make these distinctions? You’d think we could. And yet when we look at definitions of classical music—either formal ones, in dictionaries, or informal ones, that we’d deduce by looking around at the classical music world—we run into trouble. As we’ll see, these definitions imply that classical music is mostly old music (and, beyond that, old music only of a certain kind). And they’re full of unstated assumptions about classical music’s value. These assumptions, working in the background of our thoughts, make it hard to understand what classical music really is. We have to fight off ideas about how much better it might be than other kinds of music, ideas which—to people not involved with classical music, the very people we need to recruit for our future audience—can make classical music seem intimidating, pompous, unconvincing. And so here’s a paradox. When we expose these assumptions, when we develop a factual, value-free definition of classical music, only then can we find classical music’s real value, and convincingly set out reasons why it should survive. [2] Let’s start with common-sense definition of classical music, the one we all use, without much thought, when we say we know what classical music is when we hear it. -
Classical Music Consumer Segmentation Study How Americans Relate to Classical Music and Their Local Orchestras Commissioned by 15 American Orchestras and the John S
Classical Music Consumer Segmentation Study How Americans Relate to Classical Music and Their Local Orchestras Commissioned by 15 American Orchestras and the John S. and James L. Knight Foundation INSIDE THE CULTURAL Consumer’s Mind Classical Music Consumer Segmentation Study Final Report FINAL REPORT Classical Music Consumer Segmentation Study How Americans Relate to Classical Music and Their Local Orchestras October 2002 Commissioned by the John S. and James L. Knight Foundation and 15 American Orchestras: Brooklyn Philharmonic Orchestra Charlotte Symphony Orchestra Colorado Symphony Association Detroit Symphony Orchestra Hall Fort Wayne Philharmonic Orchestra Kansas City Symphony Long Beach Symphony Association Louisiana Philharmonic Orchestra New World Symphony Oregon Symphony Association The Philadelphia Orchestra Association Saint Louis Symphony Orchestra Saint Paul Chamber Orchestra Symphony Society of San Antonio Wichita Symphony Society © 2002 Audience Insight LLC Page 1 Classical Music Consumer Segmentation Study Final Report ABOUT The Study Abstract Orchestras are adrift in a sea of classical music consumers who rarely, if ever, attend live orchestra concerts. With more than 25,000 interviews with potential classical consumers and orchestra ticket buyers in 15 cities, the Classical Music Consumer Segmentation Study offers a sweeping view of an art form in transition and an orchestra field increasingly detached from its potential customers. The study paints a detailed picture of how consumers fit classical music into their lives — listening to classical radio and recordings in their automobiles and homes, and attending live concerts in churches, schools and traditional concert venues. Roughly 10 percent to 15 percent of Americans have what might be termed a close or moderately close relationship with classical music, and again as many have weaker ties. -
Using Pop Soundtrack As Narrative Counterpoint Or Complement Margaret Dudasik Honors College, Pace University
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 5-1-2013 Genre as Bait: Using Pop Soundtrack as Narrative Counterpoint or Complement Margaret Dudasik Honors College, Pace University Follow this and additional works at: http://digitalcommons.pace.edu/honorscollege_theses Part of the Film and Media Studies Commons Recommended Citation Dudasik, Margaret, "Genre as Bait: Using Pop Soundtrack as Narrative Counterpoint or Complement" (2013). Honors College Theses. Paper 127. http://digitalcommons.pace.edu/honorscollege_theses/127 This Thesis is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Genre as Bait: Using Pop Soundtrack as Narrative Counterpoint or Complement By: Margaret Dudasik May 15, 2013 BA Film & Screen Studies/ BFA Musical Theatre Dr. Ruth Johnston Film & Screen Studies, Dyson College of Arts and Sciences 1 Abstract There is much argument against using pre-existing music in film, Ian Garwood noting three potential problems with the pop song: obtrusiveness, cultural relevance, and distance from the narrative (103-106). It is believed that lyrics and cultural connotations can distract from the action, but it is my belief that these elements only aid narrative. By examining the cinematic functions of the soundtracks of O Brother Where Are Thou? (2000) and Marie Antoinette (2006), I will argue that using pre-existing music in film is actually more effective than a score composed specifically for a film. Film theorist Claudia Gorbman notes that film scores have “temporal, spatial, dramatic, structural, denotative, [and] connotative” abilities” (22), and it is my belief that pop music is just as economical in forming character, conveying setting, and furthering plot. -
The Ways of Whiskeyby Janelle
A Wicked woman • ty joseph, artist • Ames on missionaries and music ® JANUARY 4-10, 2019 / VOL. 41 / NO. 7 / LAWEEKLY.COM W ity he ar th ul er op fr p om of S ge co sur tlan up d, an Japa ying n or t s enjo he USA, the brown spirit i BY JANELLE THE WAYS OF WHISKEYBENNET L January 4-10, 2019 // Vol. 41 // No. 7 // laweekly.com ContentsDouble Barrel Room, Beverly Hills COURTESY DOUBLE B ARREL ROOM, BEVERLY7 HILLS GO LA...4 FILM...13 Arthur Omura tickles the ivories, NATHANIEL BELL rounds up the best new Fred Armisen performs “stand-up for releases and art-house classics on local musicians,” the Year of the Boar starts and screens this week. more to do and see in L.A. this week. MUSIC...14 FEATURE...7 Singer-songwriter Ames was inspired by Whether from Scotland, Japan or the both Hanson and her time with Christian U.S., whiskey is enjoying an upsurge of missionaries in Honduras. BY BRETT popularity. BY JANELLE BENNET. CALLWOOD. Plus: listings for ROCK & POP, JAZZ, CLASSICAL and more. CULTURE...11 We talked to Jackie Burns, who’s starring as Elphaba in Wicked at the Pantages. BY LINA LECARO. ADVERTISING ARTS...12 CLASSIFIED...19 Ty Joseph willed himself into being an EDUCATION/EMPLOYMENT...19 artist, and landed a solo show. BY DUSTIN CLENDENEN. REAL ESTATE/RENTALS...19 BULLETIN BOARD...19 On the Cover: Photography by M. Unal Ozmen/Shutterstock L.A. WEEKLY (ISSN #0192-1940 & USPS 461-370) is published weekly by LA Weekly LP, 724 S. -
Appendix a – Transcripts of Finale Show of American Idol 2005 103
A CRITICAL COMPARISON OF AMERICAN IDOL AND SUPER GIRL: A CROSS-CULTURAL COMMUNICATION ANALYSIS OF AMERICAN AND CHINESE CULTURES A THESIS SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULLFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS BY YUNXUE DING ADVISOR: DR. JAMES W. CHESEBRO BALL STATE UNIVERSITY MUNCIE, INDIANA DECEMBER 2008 2 Table of Contents Title Page 1 Table of Contents 2 List of Tables 3 Acknowledgements 4 Chapter One: Introduction 5 Chapter Two: Review of the Literature 19 Chapter Three: Methods 37 Chapter Four: Findings 55 Chapter Five: Major Conclusions and Limitations 83 References: 93 Appendix A – Transcripts of Finale Show of American Idol 2005 103 Appendix B – Transcripts of Finale Show of Super Girl 2005 118 Appendix C – Top-level meetings and contacts between the United States and China since 1972 157 Appendix D – Thirteen core value dimensions used to distinguish world cultures 160 3 List of Tables Table 1 – Rankings of American Idol Finale shows 33 Table 2 – Fantasy theme analysis: basic components, definitions, and critical concepts/notes on method. 49 Table 3 – The awards and nominations that Ms. Carrie Underwood won 57 Table 4 – Votes of 3 finalists in Finale Show of Super Girl season 2005 59 4 Acknowledgements I would like to acknowledge my appreciation to Dr. James W. Chesebro for his guidance towards the completion of this thesis and confidence in me. I am also grateful to Dr. Joseph P. Misiewicz and Dr. John Dailey for their constructive criticism in the writing of this thesis. I would also like to thank my wife, Xuesong Shen, for her unconditional love and continuous support. -
Reminder List of Productions Eligible for the 88Th Academy Awards
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 88TH ACADEMY AWARDS ADULT BEGINNERS Actors: Nick Kroll. Bobby Cannavale. Matthew Paddock. Caleb Paddock. Joel McHale. Jason Mantzoukas. Mike Birbiglia. Bobby Moynihan. Actresses: Rose Byrne. Jane Krakowski. AFTER WORDS Actors: Óscar Jaenada. Actresses: Marcia Gay Harden. Jenna Ortega. THE AGE OF ADALINE Actors: Michiel Huisman. Harrison Ford. Actresses: Blake Lively. Kathy Baker. Ellen Burstyn. ALLELUIA Actors: Laurent Lucas. Actresses: Lola Dueñas. ALOFT Actors: Cillian Murphy. Zen McGrath. Winta McGrath. Peter McRobbie. Ian Tracey. William Shimell. Andy Murray. Actresses: Jennifer Connelly. Mélanie Laurent. Oona Chaplin. ALOHA Actors: Bradley Cooper. Bill Murray. John Krasinski. Danny McBride. Alec Baldwin. Bill Camp. Actresses: Emma Stone. Rachel McAdams. ALTERED MINDS Actors: Judd Hirsch. Ryan O'Nan. C. S. Lee. Joseph Lyle Taylor. Actresses: Caroline Lagerfelt. Jaime Ray Newman. ALVIN AND THE CHIPMUNKS: THE ROAD CHIP Actors: Jason Lee. Tony Hale. Josh Green. Flula Borg. Eddie Steeples. Justin Long. Matthew Gray Gubler. Jesse McCartney. José D. Xuconoxtli, Jr.. Actresses: Kimberly Williams-Paisley. Bella Thorne. Uzo Aduba. Retta. Kaley Cuoco. Anna Faris. Christina Applegate. Jennifer Coolidge. Jesica Ahlberg. Denitra Isler. 88th Academy Awards Page 1 of 32 AMERICAN ULTRA Actors: Jesse Eisenberg. Topher Grace. Walton Goggins. John Leguizamo. Bill Pullman. Tony Hale. Actresses: Kristen Stewart. Connie Britton. AMY ANOMALISA Actors: Tom Noonan. David Thewlis. Actresses: Jennifer Jason Leigh. ANT-MAN Actors: Paul Rudd. Corey Stoll. Bobby Cannavale. Michael Peña. Tip "T.I." Harris. Anthony Mackie. Wood Harris. David Dastmalchian. Martin Donovan. Michael Douglas. Actresses: Evangeline Lilly. Judy Greer. Abby Ryder Fortson. Hayley Atwell. ARDOR Actors: Gael García Bernal. Claudio Tolcachir. -
The History of Portland's Only 24-Hour Classical Radio Station (PDF)
1983-2013 adio stat sical r ion clas hr 4- 2 ly n o ’s d n la t r o P f o y r o t s i h 1983-2013 e h T All Classical Portland The First 30 Years OvertureIn the fall of 1983, a young woman in Southeast Portland turned on the radio and experienced the power of Beethoven’s Fifth Symphony for the first time. A life- altering experience, made possible because on August 1 of that year, KBPS began broadcasting classical music on 89.9 FM. This was just the latest evolution of an educational service with roots dating back 60 years. KBPS AM 1450 has a rich, nine-decade history. Since March 1923, countless experienced Benson Polytechnic High School instructors have educated and prepared young Portlanders for broadcasting careers. This classical FM station grew from the firm foundation established by those who dedicated themselves to KBPS. KBPS 89.9 FM eventually became All Classical Portland with new call letters: KQAC, with QAC standing for quality all classical. The station is “ After silence, that which still broadcasting at 89.9 FM in the Portland-Vancouver area and serving comes nearest to expressing listeners across the globe on the Internet. Thirty years ago, however, the the inexpressible is music.” station broadcast from a make-shift space on the second floor of Benson Aldous Huxley High. Over the years, the station that began as an offshoot of KBPS AM has become a self-sufficient, listener-supported, world-class radio service. All Classical Portland owes its existence to those who believed in the importance of an FM classical music service. -
Movie Museum AUGUST 2018 COMING ATTRACTIONS THURSDAY FRIDAY SATURDAY SUNDAY MONDAY
Movie Museum AUGUST 2018 COMING ATTRACTIONS THURSDAY FRIDAY SATURDAY SUNDAY MONDAY MAMMA MIA! ISLE OF DOGS MAMMA MIA! DISOBEDIENCE HACHI: A DOG'S TALE (2008-US/UK/Germany) (2018-Germany/US) (2008-US/UK/Germany) (2017-UK/Ireland/US) (2009-US/UK) in widescreen in widescreen animation in widescreen in widescreen in widescreen with Richard Gere Meryl Streep, Colin Firth, voiced by Bryan Cranston, Meryl Streep, Colin Firth, with Rachel Weisz, Directed by Lasse Hallström Pierce Brosnan Koyu Rankin, Edward Norton Pierce Brosnan Rachel McAdams 12:00, 3:30 & 7:00pm 11am, 3 & 7pm 12:00 & 7:00pm 11am, 3:15, 5:15 & 7:15pm 11:30am, 3:15 & 7:00pm ------------------------------------ ------------------------------------ ------------------------------------ ---------------------------------- ---------------------------------- THE FACE OF JIZO DISOBEDIENCE HACHI: A DOG'S TALE AT THE END OF THE ISLE OF DOGS (2004-Japan) (2017-UK/Ireland/US) (2009-US/UK) in widescreen TUNNEL (2018-Germany/US) Japanese w/Eng subtitles ws in widescreen with Richard Gere (2016-Argentina/Spain) animation in widescreen with Rie Miyazawa, Yoshio with Rachel Weisz Directed by Lasse Hallström Spanish w/Eng subtitles ws Directed by Wes Anderson Harada, Tadanobu Asano 1, 5 & 9pm 2 1:45, 3:30, 5:15, 8:45pm 3 1:00 & 9:15pm 4 1:30, 5:15pm & 9:00pm 5 1:45, 5:15 & 8:45pm 6 NAGASAKI: AT THE END OF THE Hawaii Premiere! TULLY 2 Hawaii Premieres! MEMORIES OF MY SON TUNNEL HOTEL HIBISCUS (2018-US) KAFOO: WAITING (2015-Japan) (2016-Argentina/Spain) (2002-Japan) in widescreen FOR HAPPINESS Japanese -
A Quest to Champion Local Creativity
CHINA DAILY | HONG KONG EDITION Friday, December 13, 2019 | 21 LIFE SHANGHAI A quest to champion local creativity Shanghai Culture Square is ramping up efforts to promote Chinese musicals by establishing a research center for performances and productions, Zhang Kun reports. AIC Shanghai Culture The three winning plays from the Square announced on Dec 2 first incubation program consist of that it will host the second a thriller about a teenage survival Shanghai International game, a contemporary interpreta SMusical Festival in 2020 and join tion of the life of Li Yu, a legendary hands with new partners to pro poet from 1,000 years ago, and a mote the development of original fantasy love story involving time Chinese musical productions in travel. Shanghai. “We are still taking our first steps Shanghai has arguably been the in creating original musicals,” says largest and most developed market theater director Gao Ruijia, a men for musical shows in China. tor on the incubation program. According to the live show trade “You will only be able to achieve union of Shanghai, 292 musical steady development after you have performances took place in theaters mastered these first steps.” across the city in the first six There are as yet no plans to push months of 2019. These shows were any of these plays into the commer watched by more than 287,000 peo cial phase, but professor Jin Fuzai ple and had raked in more than 61 with the Shanghai Conservatory of million yuan ($8.68 million) in box Music, who is also a mentor on the office takings, more than any other incubation program, says that the sector in the theater industry.