DOCSLIB.ORG

Scholars Journal of Arts, Humanities and Social Sciences ISSN 2347-5374(Online) Abbreviated Key Title: Sch

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Scholars Journal of Arts, Humanities and Social Sciences ISSN 2347-5374(Online) Abbreviated Key Title: Sch Scholars Journal of Arts, Humanities and Social Sciences ISSN 2347-5374(Online) Abbreviated Key Title: Sch. J. Arts Humanit. Soc. Sci. ISSN 2347-9493(Print) ©Scholars Academic and Scientific Publishers (SAS Publishers) A Unit of Scholars Academic and Scientific Society, India Cinematic Metaphors of the Square and Rectangular Framing:The Peg on Which to Hang the Beijing Grievance in I Am Not Madame Bovary Ya-chen Chen*, Ph.D China Medical University, 91 Hsueh-shih Road, North District, Taichung City, Taiwan Abstract: Feng Xiaogang (馮小剛) purposefully juxtaposes square framing, square *Corresponding author lens, widescreen, rectangular framing, and circular framing in I Am Not Madame Ya-chen Chen Bovary (我不是潘金蓮). Inspired by Canadian filmmaker Xavier Dolan’s square 1:1 aspect ratio in Mommy,i influential film crew members, including the award-winning Article History photographer Luo Pan (羅攀) and director Feng Xiaogang, confirmed that they Received: 25.07.2018 deliberately use both the square framing and widescreen as their unique designs for Accepted: 03.08.2018 Northern Chinese or Beijing grievance.ii This research article highlights cinematic Published: 30.08.2018 metaphors of the square lens and square framing to signify the peg on which to hang the female protagonist Li Xuelian’s legal pursuits or litigation in Beijing.The literal DOI: denotation of the English-language phrase “peg” refers to “a small stick or hook that 10.21276/sjahss.2018.6.8.11 sticks out from a surface and from which objects, especially clothes, can hang.”iii The metaphorical connotation of the phrase “peg” means “a reason for discussing something furtheriv.” In other words, the peg can perhaps metaphorically represent the cinematic peg to hang the female protagonist Li Xuelian’s Beijing grievance on, especially because it appears whenever Li Xuelian travels northward for her Beijing lawsuit. This peg, which the square framing and square lens represents, happens to be a square peg unfitted to the round hole, which symbolizes Li Xuelian’s vagina, womb, birth canal—namely, the female fertility/birth organs and the factual reason to motivate Li Xuelian’s ten-year-long litigation. Keywords: square framing, peg, grievance, divorce, square lens, square 1:1 aspect ratio. INTRODUCTION the circumstances, the two scenes of the rectangular Based on a story created by Liu Zhenyun (劉 1.85:1 aspect ratio conceal Li Xuelian’s legal retaliation 震雲), Feng Xiaogang’s I Am Not Madame Bovary (我 against whoever indirectly caused the death of her 不是潘金蓮) underscores the female protagonist Li second embryo and metaphorically serve as the peg on Xuelian’s decade-long Beijing grievance against her which to hang Li Xuelian’s Beijing grievance. husband Qin Yuhe’s broken promise to remarry her after their fake divorce to win the downtown dorm from Inspiration of Xavier Dolan’s Square 1:1 and 1.85:1 his factory as well as Qin Yuhe’s public wrongful Aspect Ratio accusation that compares Li Xuelian to the ancient In interviews related to this motion picture, pornographic woman Pan Jinlian in classical Chinese Feng Xiaogang confirmed that Xavier Dolan’s square pornography. Li Xuelian spends ten years on her 1:1 aspect ratio in Mommy inspired him to play filmic grievance. The square 1:1 aspect ratio occurs at least games of square framing and square lens with the eleven times throughout the entire movie whenever Li award-winning photographer Luo Pan (羅攀). Xuelian travels to the North or Beijing for her litigation. Following a recent trend from The square framing is like a cinematic witness of the filmmakers as diverse as Wes injustice that Li Xuelian struggles to rectify and all the Anderson and Xavier Dolan, administrative bureaucracy at the central headquarter of Luo and Feng refuse to Beijing; therefore, it metaphorically serves as the peg employ a conventional aspect on which to hang Li Xuelian’s Beijing grievance. ratio. For the most part, I Am Not Madame Bovary is viewed Even when the widescreen[v] or rectangular through a perfect circular 1.85:1 aspect ratio appears at least twice at the end of frame, only shifting to an almost-square when the drama the whole film, Li Xuelian honestly reveals the truth of vi her illegal second-time pregnancy to County Chief Shi arrives in Beijing[ ]. Weimin (史惟閔縣長) at her Beijing restaurant. Under Available online: http://saspjournals.com/sjahss 1553 Ya-chen Chen., Sch. J. Arts. Humanit. Soc. Sci., Aug 2018; 6(8): 1553-1559 Luo Pan recalled that all the photos of their Mommy. This is not a coincidence at all. This is Xavier location-scouting at the Shangtan Village (上坦村) in Dolan’s inspiration. Wuyuan (婺源) of Jiangxi Province (江西省)[vii] are square-frame pictures. While discussing the square- Xavier Dolan’s square 1:1 aspect ratio for the frame pictures of location-scouting with Luo Pan, Feng leading role’s emotional stress in Mommy matches the Xiaogang mentioned Xavier Dolan’s Instagram square same kind of square 1:1 aspect ratio for the female to cinematically highlight the protagonist’s emotional protagonist Li Xuelian’s legal pressure in I Am Not pressures and the rectangular 1.85:1 aspect ratio to Madame Bovary. Xavier Dolan’s rectangular 1.85:1 symbolically emphasize two scenes of happy moments aspect ratio for the final two scenes of psychological in Mommy. relief and happiness in Mommy echoes the same type of rectangular 1.85:1 aspect ratio for the two ending scenes "I know a lot of people are of the female protagonist Li Xuelian’s emotional saying, 'Oh, 1:1, how capabilities to release the truth of her illegal second- pretentious,’'' admits Dolan. time pregnancy and the death of her second embryo. "But for me, it seems a [humbler and more] private Diverse Kinds of Rectangular Framing in Recent format, a little more fitting to Chinese-Language Films these lives we're diving into. Recent Chinese-language films adopt diverse Cinemascope [2.35:1] would kinds of rectangular framing. For example, Jia have been extremely Zhangke’s (賈樟柯) Mountains May Depart (山河故) pretentious and incompatible contains three types of rectangular framing, each of for Mommy. To try to get in which stands for the past, present, and future. Hou that apartment and film these Hsiao-hsien’s (侯孝賢) The Assassin (刺客聶隱娘) people in that aspect ratio includes at least two different sorts of rectangular would have been unseemly." framing: the 4:3 aspect ratio for the reality, and the 16:9 aspect ratio for nostalgic memories[ix]. Dolan scoffs at the Screenwriter Liu Zhenyun’s Objection interpretation that he was Xavier Dolan’s inspiration did not smoothly using the narrow frame to win consent from screenwriter Liu Zhenyun (劉震雲), imprison his characters. He who preferred audience members’ attention to the also shrugs off suggestions artistic design of story plot, not photographic variations that the device is a nod to the of surficial formats. Liu objected to the shifts between boxed-in nature of Instagram circular and square lens. photos and Vine videos, saying, if anything, he had The use of circular and square "album covers" on the mind, lens will probably distract indelible images that have audience members, misleading "imprinted in our imaginations them to focus on filming skills over time." and overlook the importance of fictional texts[x]. He does widen the film—the image actually expands to a Sometimes the circular framing features only a 1.85:1 aspect ratio—during tiny number of leading roles without close-ups and two of the more hopeful disallows the number of people inside of audience moments in the story. members’ eyesight; therefore, Liu Zhenyun’s hope to include folks surrounding the female protagonist must "I knew going in that I depend on the square framing and square lens, such as wanted one moment where the the people surrounding Li Xuelian in the market. Liu frame would break open and Zhenyun remarked, for the character to break free," explains Dolan. "We I hope to see the people loved it so much we did [end] surrounding the protagonist in viii up doing it twice ." scenes of the hospital or county government. Except for The square framing and rectangular framing in the protagonist, there are many Feng Xiaogang’s I Am Not Madame Bovary share people in this society. I need exactly the same aspect ratio with Xavier Dolan’s audience members to see the square 1:1 and rectangular 1.85:1 aspect ratio in social background and Chinese folks. The circular Available online: http://saspjournals.com/sjahss 1554 Ya-chen Chen., Sch. J. Arts. Humanit. Soc. Sci., Aug 2018; 6(8): 1553-1559 lens and circular framing lack the screen. I feel that the use sufficient exposure of all the of the 2.35:1 aspect ratio people surrounding the leading entails some trends. Switches role because they are good at of diverse types of square focus on protagonists only[xi]. framing are relatively frequently seen[xii]. Award-Winning Photographer Luo Pan’s Follow-up Insistence Obtaining the budget of $1,000,000 RMB and Winner of the Award for the Best Photographer bringing thirty staff members with him, Luo Pan at the Shanghai Film Festival in 2014 as well as the finished a twenty-minute testing film clip in October Macao Film Festival and Asia Film Festival in 2015, 2015. After Wang Zhonglei (王中磊), one of the two Luo Pan (羅攀) is the photographer who insisted on the major bosses of Huayi (華誼) Film Company, viewed it variations of cinematic lens. In this film, all the scenes with Feng Xiaogang and Zheng Jun (鄭鈞), Feng of square framing and rectangular framing are Xiaogang told Luo Pan that the cinematic alteration of completed after Luo Pan and his staff’s adoption of square and circular framing would be approved.
Load more

Recommended publications
  • 9780367508234 Text.Pdf
    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).
    [Show full text]
  • Feff Press Kit
    PRESS RELEASES, FILM STILLS & FESTIVAL PICS AND VIDEOS TO DOWNLOAD FROM WWW.FAREASTFILM.COM PRESS AREA Press Office/Far East Film Festival 19 Gianmatteo Pellizzari & Ippolita Nigris Cosattini +39/0432/299545 - +39/347/0950890 [email protected] - [email protected] Video Press Office Matteo Buriani +39/345/1821517 – [email protected] 21/29 April 2017 – Udine – Teatro Nuovo and Visionario FAR EAST FILM FESTIVAL 19: THE POWER OF ASIA! The irresistible road movie Survival Family opens the #FEFF19 on Friday the 21 st of April: a packed programme which testifies to the incredible vitality (both productive and creative) of Asian cinema. 83 titles selected from almost a thousand seen, and 4 world premiers, including Herman Yau's high-octane thriller Shock Wave , which will close the nineteenth edition. Press release of the 13 th of April 2017 For immediate release UDINE - Who turned out the lights? Nobody did, and the fuses haven't blown. And no, it's not even a power cut. Electricity has just suddenly ceased to exist, so the Suzuki family must now very quickly learn the art of survival: and facing a global blackout is not exactly a walk in the park! It's with the world screeching to a halt of the irresistible Japanese road movie Survival Family that the highly anticipated Far East Film Festival 19 opens: not just because Yaguchi Shinobu' s wonderful comedy is the festival's starting pistol on Friday the 21 st of April, but also for a question of symmetry: just like the blackout in Survival Family , the FEFF is an interruption .
    [Show full text]
  • The Future of Sports Is Digital. It's Also Chinese
    The Future of Sports is Digital. It’s also Chinese. Follow us on WeChat Now Advertising Hotline 400 820 8428 城市漫步北京 英文版 8 月份 国内统一刊号: CN 11-5232/GO China Intercontinental Press ISSN 1672-8025 AUGUST 2017 Feed Your Body Beautiful. TRIBE New Summer Menu Available now Scan QR Code for the latest updates WWW.THATSMAGS.COM | AUGUST 2017 | 1 主管单位 : 中华人民共和国国务院新闻办公室 Supervised by the State Council Information Office of the People's Republic of China 主办单位 : 五洲传播出版社 地址 : 北京西城月坛北街 26 号恒华国际商务中心南楼 11 层文化交流中心 邮编 100045 Published by China Intercontinental Press Address: 11th Floor South Building, HengHua linternational Business Center, 26 Yuetan North Street, Xicheng District, Beijing 100045, PRC http://www.cicc.org.cn 总编辑 Editor in Chief 慈爱民 Ci Aimin 期刊部负责人 Supervisor of Magazine Department 邓锦辉 Deng Jinhui 编辑 Editor 李靥 Li Ye 发行 / 市场 Distribution / Marketing 黄静，李若琳 Huang Jing, Li Ruolin Editor-in-Chief Noelle Mateer Deputy Editor Dominique Wong National Arts Editor Erica Martin Digital Content Editor Justine Lopez Designer Iris Wang Contributors Dominic Ngai, Sky Thomas Gidge, Jocelyn Richards, Mia Li, Vivian Liu, Nick Mateer, Hawk Lincoln, Jimmy Mi, Zaruf Ezhan, Jesse Pottinger, Allison Bew, Matt Bossons, Christian Gahl, Flynn Murphy HK FOCUS MEDIA Shanghai (Head office) 上海和舟广告有限公司 上海市蒙自路 169 号智造局 2 号楼 305-306 室 邮政编码 : 200023 Room 305-306, Building 2, No.169 Mengzi Lu, Shanghai 200023 电话 : 021-8023 2199 传真 : 021-8023 2190 (From February 13) Beijing 广告代理 : 上海和舟广告有限公司 北京市东城区东直门外大街 48 号东方银座 C 座 9G 邮政编码 : 100027 48 Dongzhimenwai Dajie Oriental Kenzo (Ginza Mall), Building C, Room 9G, Dongcheng District, Beijing 100027 电话 : 010-8447 7002 传真 : 010-8447 6455 Guangzhou 上海和舟广告有限公司广州分公司 广州市越秀区麓苑路 42 号大院 2 号楼 610 房 邮政编码 : 510095 Room 610, No.
    [Show full text]
  • Caribbean Pols React to Guy on the Right
    FREE www.caribbeanlifenews.com BROOKLYN/STATEN ISLAND EDITION Nov. 18–24, 2016 Caribbean pols react to guy on WHO’S the right By Nelson A. King As the American political establishment begins coming to grips with the reality of four years of Donald J. Trump’s WHO? presidency, Caribbean-Ameri- can legislators are still stunned, like many others in New York, across the country and glo- Activist: Stop and frisk data bally, over Trump’s unexpected triumph in the U.S. Presiden- tial Election last Tuesday. ignores Indo-Caribbeans “As I gathered my thoughts, I realized that now, adding salt By Alexandra Simon 2014 and 2015,” said William to the deep wound, are those As far as police are con- Depoo, a leader from Desi’s Ris- trying to downplay the impor- cerned, this community of ing Up and Moving, a South- tance racism, xenophobia, jin- color is totally invisible. Asian community organiza- goism, and misogyny played in Stop and frisk is dispropor- tion. “Depending on how they this election — the very things tionately affecting the Indo- categorize me I can be either that so many of us were con- Caribbean community in Rich- Asian or Latino — there’s no sistently told weren’t a part of mond Hill and Ozone Park, category for Indo-Caribbean. America. And too many deny but the city data does not Our experiences need to be dis- the impact it has on continual- accurately reflect this, because cussed. We can’t pinpoint what ly disenfranchising communi- police mis-classify members of someone’s West Indian iden- ties,” said New York City Coun- the ethno-cultural group as tity is, but we know it exists, cilman Jumaane Williams, the Asian or Latino, according to because we know people going son of Grenadian immigrants.
    [Show full text]
  • Susan Bartels Ludvigson Enemy 175 CHARLA 178 BOOK REVIEWS 185 Deborah Kilcollins
    LOYOLA UNIVERSI'IY VOLUME 6 NUMBER 2/$2 .50 NEW ORL.EANS REVIEW .· ..,. 0 ' Volume 6 Number 2 NEW ORLEANS REVIEW International Issue NON-FICTION Lucian Blaga The Chronicle and Song of the Ages 99 C. J. McNaspy, S. J. Sn~pets from an Oxford Dia~ 140 John Mosier A onversation with Bertran Tavernier: History with Feeling 156 FICTION Ilse Aichinger The Private Tutor 106 James Ross A House for Senora Lopez 114 Jean Simard An Arsonist 125 Manoj Das The Bridge in the Moonlit Night 148 Antonis Samarakis Mama 167 Ivan Bunin The Rose of Jerico 176 The Book 177 PORTFOLIO Manuel Menan Etchings 133 POETRY Julio Cortazar Restitution 102 After Such Pleasures 103 Happy New Year 104 Gains and Losses Commission 105 Eugenio Montejo Nocturne 109 Pablo Neruda from Stones of the Sky 111 Guiseppe Gioachino Belli The Builders 121 Abraham's Sacrifice 122 Eugenio Montale Almost a Fantasy 124 Sarah Provost Rumor 131 Eduardo Mitre from Lifespace 132 Anna Akhmatova Two Poems 139 Stephanie Naplachowski Bronzed 143 Ernest Ferlita Quetzal 144 Henri Michaux He Writes 151 Karl Krolow In Peacetime 152 William Meissner The Contortionist 154 Robert Bringhurst The Long and Short of it 155 \ Ingebo'lt Bachmann Every Day 163 Andre Pieyre de andiargues Wartime 164 The Friend of Trees 165 The Hearth 165 Michael Andre Bernstein To Go Beyond 169 I Betsy Scholl Urgency 172 How Dreams Come True 173 l Paula Rankin Something Good on the Heels of Something Bad 174 (' Susan Bartels Ludvigson Enemy 175 CHARLA 178 BOOK REVIEWS 185 Deborah Kilcollins 98 i I "I Lucian Blaga THE CHRONICLE AND SONG OF THE AGES -fragments- It was the story of a young man, good and kind, who lived in an unidentifiable village, not far from our own, Village mine, whose name* together ties but in a neighboring county.
    [Show full text]
  • Academy Invites 774 to Membership
    MEDIA CONTACT [email protected] June 28, 2017 FOR IMMEDIATE RELEASE ACADEMY INVITES 774 TO MEMBERSHIP LOS ANGELES, CA – The Academy of Motion Picture Arts and Sciences is extending invitations to join the organization to 774 artists and executives who have distinguished themselves by their contributions to theatrical motion pictures. Those who accept the invitations will be the only additions to the Academy’s membership in 2017. 30 individuals (noted by an asterisk) have been invited to join the Academy by multiple branches. These individuals must select one branch upon accepting membership. New members will be welcomed into the Academy at invitation-only receptions in the fall. The 2017 invitees are: Actors Riz Ahmed – “Rogue One: A Star Wars Story,” “Nightcrawler” Debbie Allen – “Fame,” “Ragtime” Elena Anaya – “Wonder Woman,” “The Skin I Live In” Aishwarya Rai Bachchan – “Jodhaa Akbar,” “Devdas” Amitabh Bachchan – “The Great Gatsby,” “Kabhi Khushi Kabhie Gham…” Monica Bellucci – “Spectre,” “Bram Stoker’s Dracula” Gil Birmingham – “Hell or High Water,” “Twilight” series Nazanin Boniadi – “Ben-Hur,” “Iron Man” Daniel Brühl – “The Zookeeper’s Wife,” “Inglourious Basterds” Maggie Cheung – “Hero,” “In the Mood for Love” John Cho – “Star Trek” series, “Harold & Kumar” series Priyanka Chopra – “Baywatch,” “Barfi!” Matt Craven – “X-Men: First Class,” “A Few Good Men” Terry Crews – “The Expendables” series, “Draft Day” Warwick Davis – “Rogue One: A Star Wars Story,” “Harry Potter” series Colman Domingo – “The Birth of a Nation,” “Selma” Adam
    [Show full text]
  • Emirates & Dubai
    YOUR GUIDE TO OVER 2500 CHANNELS OF ENTERTAINMENT Voted World’s Best Infl ight Entertainment for the 12th consecutive year! Digital Widescreen April 2017 Embark on an epic journey with ROGUEa Star ONE Wars story © 2016 & TM Lucasfilm Ltd. Lucasfilm TM & 2016 © SHAHAB HOSSEINI TARANEH ALIDOOSTI WRITTEN AND DIRECTED BY ASGHAR FARHADI PRODUCED BY ALEXANDRE MALLET-GUY AND ASGHAR FARHADI WITH BABAK KARIMI, FARID SAJJADIHOSSEINI AND MINA SADATI DIRECTOR OF PHOTOGRAPHY HOSSEIN JAFARIAN CAMERAMAN PEYMAN SHADMANFAR EDITOR HAYEDEH SAFIYARI SOUND YADOLLAH NAJAFI, HOSSEIN BASHASH SOUND DESIGNER AND MIXER MOHAMMAD REZA DELPAK SOUND EDITOR REZA NARIMIZADEH A MEMENTO FILMS PRODUCTION AND ASGHAR FARHADI PRODUCTION PRODUCTION INCOPRODUCTION WITH ARTE FRANCE CINÉMA IN ASSOCIATION WITH MEMENTO FILMS DISTRIBUTION, ARTE FRANCE AND DOHA FILM INSTITUTEINTERNATIONAL SALES MEMENTO FILMS INTERNATIONAL | AND MORE © ABC Studios | BOX SETS | | NEW MUSIC | KIDS | BOLLYWOOD DRAMA | ARABIC MOVIES | COMEDY TV | DOCUMENTARIES | SPORT NEW MOVIES 15/03/2017 16:43 ICE_EX2_DIGITAL_WIDESCREEN_54_APR17 44 200X250 OBCOFCApr17EX2.indd 51 EMIRATES 051_FRONT COVER_V2 An extraordinary ENTERTAINMENT experience... Wherever you’re going, whatever your mood, you’ll find over 2500 channels of the world’s best inflight entertainment to explore on today’s flight. 528 movies Information… Communication… Entertainment… Track the progress of your Stay connected with in-seat* phone, Experience Emirates’ award- THE LATEST MOVIES flight, keep up with news SMS and email, plus Wi-Fi and mobile winning
    [Show full text]
  • Blind Vaysha Accidents, Blunders Showcase Sparkling a Head Disappears THEODORE USHEV | CANADA and Calamities International Talents
    PORTLAND INTERNATIONAL FILM FESTIVAL XL 2 PIFF XL Festival Venues Festival Program ADVANCE TICKET OUTLET 1119 SW Park Avenue at Main Welcome to the Northwest (inside the Portland Art Museum’s Film Center’s 40th Portland Mark Building) International Film Festival. This program is arranged by NW FILM CENTER (WH) section with the films in each Whitsell Auditorium section listed alphabetically. 1219 SW Park Avenue at Madison Showtimes and theater loca- (inside the Portland Art Museum) tions are listed at the bottom REGAL FOX TOWER (FOX) of each film descriptions. 846 SW Park Avenue at Taylor We hope the sections outlined below help you navigate your LAURELHURST THEATER (LH) PIFF experience. 2735 E Burnside Street CINEMA 21 (C21) MASTERS 4 616 NW 21st Avenue at Hoyt Exciting new works from some of VALLEY CINEMA (VC) the leading voices of national and 9360 SW Beaverton Hillsdale Hwy world cinema. EMPIRICAL THEATER NEW DIRECTORS 6 AT OMSI (OMSI) New and emerging filmmakers who 1945 SE Water Avenue represent the new generation of BAGDAD THEATER (BAG) master storytellers. 3702 SE Hawthorne Boulevard Cinema 21, Valley Theater, GLOBAL PANORAMA 9 Bagdad Theater, and Laurelhurst Award-winning films that tell stories Theater are all 21+ venues for that resonate beyond the unique films taking place after 5pm. cultures from which they emerge. Please check film times before bringing minors to screenings at these venues. No outside food DOCUMENTARY VIEWS 12 or beverages is allowed in any Fresh perspectives on the world theater. As a security policy, the we live in and the fascinating people, Portland Art Museum and Regal places, and stories that surround us.
    [Show full text]
  • Sight & Sound Annual Index 2017
    THE INTERNATIONAL FILM MAGAZINE Index to Volume 27 January to December 2017 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 6:52(r) Amour (2012) 5:17; 6:17 Armano Iannucci Shows, The 11:42 Ask the Dust 2:5 Bakewell, Sarah 9:32 Film review titles are also interview with Koreeda Amours de minuit, Les 9:14 Armisen, Fred 8:38 Asmara, Abigail 11:22 Balaban, Bob 5:54 included and are indicated by Hirokazu 7:8-9 Ampolsk, Alan G. 6:40 Armstrong, Jesse 11:41 Asquith, Anthony 2:9; 5:41, Balasz, Béla 8:40 (r) after the reference; age and cinema Amy 11:38 Army 2:24 46; 10:10, 18, 44 Balch, Antony 2:10 (b) after reference indicates Hotel Salvation 9:8-9, 66(r) An Seohyun 7:32 Army of Shadows, The Assange, Julian Balcon, Michael 2:10; 5:42 a book review Age of Innocence, The (1993) 2:18 Anchors Aweigh 1:25 key sequence showing Risk 8:50-1, 56(r) Balfour, Betty use of abstraction 2:34 Anderson, Adisa 6:42 Melville’s iconicism 9:32, 38 Assassin, The (1961) 3:58 survey of her career A Age of Shadows, The 4:72(r) Anderson, Gillian 3:15 Arnold, Andrea 1:42; 6:8; Assassin, The (2015) 1:44 and films 11:21 Abacus Small Enough to Jail 8:60(r) Agony of Love (1966) 11:19 Anderson, Joseph 11:46 7:51; 9:9; 11:11 Assassination (1964) 2:18 Balin, Mireille 4:52 Abandon Normal Devices Agosto (2014) 5:59 Anderson, Judith 3:35 Arnold, David 1:8 Assassination of the Duke Ball, Wes 3:19 Festival 2017, Castleton 9:7 Ahlberg, Marc 11:19 Anderson, Paul Thomas Aronofsky, Darren 4:57 of Guise, The 7:95 Ballad of Narayama, The Abdi, Barkhad 12:24 Ahmed, Riz 1:53 1:11; 2:30; 4:15 mother! 11:5, 14, 76(r) Assassination of Trotsky, The 1:39 (1958) 11:47 Abel, Tom 12:9 Ahwesh, Peggy 12:19 Anderson, Paul W.S.
    [Show full text]
  • Your Guide to Over 1500 Channels of Entertainment
    YOUR GUIDE TO OVER 1500 CHANNELS OF ENTERTAINMENT July 2017 Discover THE LOST CITY OF Z and more gripping adventures Voted World’s Best Infl ight Entertainment for the 13th consecutive year! NEW MOVIES | DOCUMENTARIES | SPORT | ARABIC MOVIES | COMEDY TV | KIDS | BOLLYWOOD | DRAMA | NEW MUSIC | BOX SETS | AND MORE 7071_OBCCoverJuly173000i.indd 71 15/06/2017 15:09 EMIRATES ICE_L3_3000I_57_JULY17 071_FRONT COVER_V1 200X250 40 An extraordinary ENTERTAINMENT experience... Wherever you’re going, whatever your mood, you’ll find over 1500 channels of the world’s best inflight entertainment to explore on today’s flight. THE LATEST Information… Communication… Entertainment… Track the progress of your Stay connected with in-seat* phone, Experience Emirates’ award- MOVIES flight, keep up with news SMS and email, plus Wi-Fi and mobile winning selection of movies, you can’t miss movies and other useful features. roaming on select flights. TV, music and games. from page 16 514 ...AT YOUR FINGERTIPS STAYSTAY CONNECTED CONNECTED ConnectConnect to to the the OnAir OnAir 3 Choose a channel Wi-FiWi-Fi network network on on 1500 allall A380s A380s and and most most Go straight to your BoeingBoeing 777s 777s chosen programme by typing the channel 1 number into the onscreen channel entry pad WATCH LIVE TV You can also use Live news and sport your handset: channels are available 2 For channel selection on most fl ights. Find out dial # followed by the more on page 9. channel number on the keypad and press * 1 2 3 Use the other side of your handset to move around and select Tap the Create and Tap Settings to onscreen access adjust volume arrows to your own and brightness, e Boss Baby English Français Deutsch scroll playlist using or to turn the 102 Favourites screen off to rest Many movies are available in up to four languages.
    [Show full text]
  • ICA 2019 Program
    2109 Annual Board of Directors Meeting of the International Communication Association Thursday Sponsored Sessions 8:00–17:00 Georgetown Chair East Patricia Moy, U of Washington, USA (Washington Moderator Hilton, Laura Sawyer, International Communication Association, USA Concourse Participants Level) Colin Agur, U of Minnesota, USA Peng Hwa Ang, Nanyang Technological U, SINGAPORE Julie Arnold, International Communication Association, USA Sarah Cho, U of Massachusetts Amherst, USA Christopher Claus, California State U, Stanislaus, USA Stacey Connaughton, Purdue U, USA Claes de Vreese, U of Amsterdam, NETHERLANDS Alina Dolea, Bournemouth U, UNITED KINGDOM Stine Eckert, Wayne State U, USA Allison Eden, Michigan State U, USA Nicole Ellison, U of Michigan, USA Julie Escurignan, U of Roehampton, UNITED KINGDOM Terry Flew, Queensland U of Technology, AUSTRALIA ShiV Ganesh, Massey U, NEW ZEALAND Paula Gardner, McMaster U, CANADA Kimberly Gross, George Washington U, USA John Paul Gutierrez, ICA, USA Chia-Fang (Sandy) Hsu, U of Wyoming, USA Amy Jordan, Rutgers U, USA Young Mie Kim, U of Wisconsin-Madison, USA Julia Kneer, Erasmus U Rotterdam, NETHERLANDS Agnes Lucy Lando, Daystar U, KENYA Xinghua Li, Babson College, USA Mirca Madianou, Goldsmiths, U of London, UNITED KINGDOM Nicole Maurantonio, U of Richmond, USA Jasmine McNealy, U of Florida, USA Akira Miyahara, Seinan Gakuin U, JAPAN Peter Monge, U of Southern California, USA Eve Ng, Ohio U, USA Jeff Niederdeppe, Cornell U, USA Sora Park, U of Canberra, AUSTRALIA Jessica Piotrowski, U of Amsterdam,
    [Show full text]
  • The Chinese Film Industry: Features and Trends, 2010-2016
    THE CHINESE FILM INDUSTRY: FEATURES AND TRENDS, 2010-2016 Jinuo Diao A Thesis Submitted for the Degree of PhD at the University of St Andrews 2020 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/19497 This item is protected by original copyright The Chinese Film Industry: Features and Trends, 2010-2016 Jinuo Diao This thesis is submitted in partial fulfilment for the degree of Doctor of Philosophy (PhD) at the University of St Andrews December 2019 Candidate's declaration I, Jinuo Diao, do hereby certify that this thesis, submitted for the degree of PhD, which is approximately 80,000 words in length, has been written by me, and that it is the record of work carried out by me, or principally by myself in collaboration with others as acknowledged, and that it has not been submitted in any previous application for any degree. I was admitted as a research student at the University of St Andrews in September 2015. I received funding from an organisation or institution and have acknowledged the funder(s) in the full text of my thesis. Date 18 December 2019 Signature of candidate Supervisor's declaration I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of PhD in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree.
    [Show full text]