Financial Reporting Analysis Final Project
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
I CHINESE INVESTMENT in the UNITED STATES: IMPACTS AND
i CHINESE INVESTMENT IN THE UNITED STATES: IMPACTS AND ISSUES FOR POLICYMAKERS HEARING BEFORE THE U.S.-CHINA ECONOMIC AND SECURITY REVIEW COMMISSION ONE HUNDRED FIFTEENTH CONGRESS FIRST SESSION THURSDAY, JANUARY 26, 2017 Printed for use of the United States-China Economic and Security Review Commission Available via the World Wide Web: www.uscc.gov UNITED STATES-CHINA ECONOMIC AND SECURITY REVIEW COMMISSION WASHINGTON: 2017 ii U.S.-CHINA ECONOMIC AND SECURITY REVIEW COMMISSION CAROLYN BARTHOLOMEW, CHAIRMAN HON. DENNIS C. SHEA, VICE CHAIRMAN Commissioners: ROBIN CLEVELAND HON. JONATHAN STIVERS HON. BYRON L. DORGAN HON. JAMES TALENT HON. CARTE P. GOODWIN DR. KATHERINE C. TOBIN DANIEL M. SLANE MICHAEL R. WESSEL MICHAEL R. DANIS, Executive Director The Commission was created on October 30, 2000 by the Floyd D. Spence National Defense Authorization Act for 2001 § 1238, Public Law No. 106-398, 114 STAT. 1654A-334 (2000) (codified at 22 U.S.C. § 7002 (2001), as amended by the Treasury and General Government Appropriations Act for 2002 § 645 (regarding employment status of staff) & § 648 (regarding changing annual report due date from March to June), Public Law No. 107-67, 115 STAT. 514 (Nov. 12, 2001); as amended by Division P of the “Consolidated Appropriations Resolution, 2003,” Pub L. No. 108-7 (Feb. 20, 2003) (regarding Commission name change, terms of Commissioners, and responsibilities of the Commission); as amended by Public Law No. 109- 108 (H.R. 2862) (Nov. 22, 2005) (regarding responsibilities of Commission and applicability of FACA); as amended by Division J of the “Consolidated Appropriations Act, 2008,” Public Law Nol. -
Portrayal of Thailand: a Comparative Study of American and Chinese Films
PORTRAYAL OF THAILAND: A COMPARATIVE STUDY OF AMERICAN AND CHINESE FILMS PORTRAYAL OF THAILAND: A COMPARATIVE STUDY OF AMERICAN AND CHINESE FILMS Huang Shang This Independent Study Manuscript Presented to The Graduate School of Bangkok University in Partial Fulfillment of the Requirements for the Degree Master of Communication Arts (Global Communication) 2015 ©2015 Huang Shang All Rights Reserved Huang, S. Master of Communication Arts, December 2015, Graduate School, Bangkok University. Portrayal of Thailand: A Comparative Study of American and Chinese Films (67 pp.) Advisor: Asst. Prof. Ratanasuda Punnahitanond, Ph.D. ABSTRACT This study evolved from the question of how Thailand was portrayed by foreign films. A primary objective of this study is to specifically examine how Thailand was characterized and portrayed in American films as well as a control comparison with Chinese films. To this end, a comparative textual analysis of 8 films- - from the period of 2000 to 2015 was performed. The study identified the stereotypes of Thailand in foreign films, and tabulated the semiotics was used to portray Thailand in different films. The portrayal of Thailand in American films is abundant and complicated. It is not only portrayed as a beautiful country, but also a chaotic place. Thai people have no exception; they are portrayed as poor, smart, friendly. The portrayal of Thailand in Chinese films is relatively small and simple. Thailand is portrayed as a beautiful travel destination. Thai people are portrayed as friendly. Keywords: Portrayal, Thailand, American film, Chinese film, Semiotic, Stereotyping v ACKNOWLEDGEMENT This independent study consumed huge amount of work, research and time. Still, implementation would not have been possible if I did not have a support from Asst. -
Alibaba Pictures , Ruyi Films and Enlight Pictures' Once Upon a Time to Be
IMAX CORPORATION ALIBABA PICTURES , RUYI FILMS AND ENLIGHT PICTURES’ ONCE UPON A TIME TO BE RELEASED IN IMAX® THEATRES ACROSS CHINA SHANGHAI – July 20, 2017 – IMAX Corporation (NYSE:IMAX) and IMAX China Holding Inc. (HKSE: 1970) today announced that Enlight Pictures’, Ruyi Films’ and Alibaba Pictures Group’s much-anticipated fantasy flick, Once Upon a Time, will be digitally re-mastered in the immersive IMAX 3D format and released in approximately 420 IMAX® theatres in China, beginning Aug. 3. Directed by Zhao Xiaoding and Anthony LaMolinara, Once Upon a Time was adapted from the popular fantasy romance novel, illustrating the story of Bai Qian (Liu Yifei) and Ye Hua (Yang Yang). It is produced by well-known filmmaker Zhang Yibai, and stars Liu Yifei, Yang Yang, Luo Jin, Yan Yikuan, Lichun, Gu Xuan and Peng Zisu. Once Upon a Time marks the first Chinese local-language IMAX DMR film in partnership with Alibaba Pictures Group and Ruyi Films, and the second with Enlight Pictures, which released Lost in Hong Kong in 2015. “We are excited to team up with Alibaba Pictures, Ruyi Films and Enlight Pictures, and directors Zhao Xiaoding and Anthony LaMolinara to bring this beloved fantasy novel to life in IMAX,” said Greg Foster, CEO of IMAX Entertainment and Senior Executive Vice President, IMAX Corp. “The film's incredible visual effects showcase The IMAX Experience and create a powerful addition to our summer movie slate.” The IMAX 3D release of Once Upon a Time will be digitally re-mastered into the image and sound quality of The IMAX Experience® with proprietary IMAX DMR® (Digital Re-mastering) technology. -
Charles Zhang
In a little over 35 years China’s economy has been transformed Week in China from an inefficient backwater to the second largest in the world. If you want to understand how that happened, you need to understand the people who helped reshape the Chinese business landscape. china’s tycoons China’s Tycoons is a book about highly successful Chinese profiles of entrepreneurs. In 150 easy-to- digest profiles, we tell their stories: where they came from, how they started, the big break that earned them their first millions, and why they came to dominate their industries and make billions. These are tales of entrepreneurship, risk-taking and hard work that differ greatly from anything you’ll top business have read before. 150 leaders fourth Edition Week in China “THIS IS STILL THE ASIAN CENTURY AND CHINA IS STILL THE KEY PLAYER.” Peter Wong – Deputy Chairman and Chief Executive, Asia-Pacific, HSBC Does your bank really understand China Growth? With over 150 years of on-the-ground experience, HSBC has the depth of knowledge and expertise to help your business realise the opportunity. Tap into China’s potential at www.hsbc.com/rmb Issued by HSBC Holdings plc. Cyan 611469_6006571 HSBC 280.00 x 170.00 mm Magenta Yellow HSBC RMB Press Ads 280.00 x 170.00 mm Black xpath_unresolved Tom Fryer 16/06/2016 18:41 [email protected] ${Market} ${Revision Number} 0 Title Page.qxp_Layout 1 13/9/16 6:36 pm Page 1 china’s tycoons profiles of 150top business leaders fourth Edition Week in China 0 Welcome Note.FIN.qxp_Layout 1 13/9/16 3:10 pm Page 2 Week in China China’s Tycoons Foreword By Stuart Gulliver, Group Chief Executive, HSBC Holdings alking around the streets of Chengdu on a balmy evening in the mid-1980s, it quickly became apparent that the people of this city had an energy and drive Wthat jarred with the West’s perception of work and life in China. -
Huayi Brothers: Setting Strategy for a Chinese Entertainment Conglomerate
Huayi Brothers: Setting Strategy for a Chinese Entertainment Conglomerate Sheena Walters Drury University Robin Sronce Drury University Christopher Salicky Drury University Josh Hreha Drury University Brianne Schuchmann Drury University Brad Schmidt Drury University This case is intended for the use in both undergraduate and graduate courses with an international business and/or marketing focus. It explores the challenges faced by Huayi Brothers, a private entertainment company in China. This case is helpful for global business and marketing courses, because it allows students to deal with the complexities of a company operating within the Chinese entertainment industry. Students can learn about the industry and then use course material to analyze the current situation and relevant issues to develop solutions to the challenges faced by this Huayi Brothers. OVERVIEW Huayi Brothers began in 1994 as a film company in the growing Chinese entertainment industry. In the last 16 years, brothers and founders Wang Zhongjun and Wang Zhonglei grew their business into the most influential and largest private entertainment media company in China. Initially created as a film production company, it was not long before Huayi Brothers expanded into other sectors of the entertainment industry. Throughout the company’s brief existence, they have gradually ventured into sectors such as television, talent, music, and other entertainment marketing fields. In 2011, Huayi Brothers plans to create the largest television and film studio complex in East Asia and continue to expand its operations. With the addition of its new studio, Huayi Brothers is aiming to earn $1.5 billion in box office revenue by 2016. From the company’s actions and expectations, it appears that Huayi Brothers 58 American Journal of Management vol. -
Hofstra University Film Library Holdings
Hofstra University Film Library Holdings TITLE PUBLICATION INFORMATION NUMBER DATE LANG 1-800-INDIA Mitra Films and Thirteen/WNET New York producer, Anna Cater director, Safina Uberoi. VD-1181 c2006. eng 1 giant leap Palm Pictures. VD-825 2001 und 1 on 1 V-5489 c2002. eng 3 films by Louis Malle Nouvelles Editions de Films written and directed by Louis Malle. VD-1340 2006 fre produced by Argosy Pictures Corporation, a Metro-Goldwyn-Mayer picture [presented by] 3 godfathers John Ford and Merian C. Cooper produced by John Ford and Merian C. Cooper screenplay VD-1348 [2006] eng by Laurence Stallings and Frank S. Nugent directed by John Ford. Lions Gate Films, Inc. producer, Robert Altman writer, Robert Altman director, Robert 3 women VD-1333 [2004] eng Altman. Filmocom Productions with participation of the Russian Federation Ministry of Culture and financial support of the Hubert Balls Fund of the International Filmfestival Rotterdam 4 VD-1704 2006 rus produced by Yelena Yatsura concept and story by Vladimir Sorokin, Ilya Khrzhanovsky screenplay by Vladimir Sorokin directed by Ilya Khrzhanovsky. a film by Kartemquin Educational Films CPB producer/director, Maria Finitzo co- 5 girls V-5767 2001 eng producer/editor, David E. Simpson. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. ita Flaiano, Brunello Rondi. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. -
Order and Law in China
CORE Metadata, citation and similar papers at core.ac.uk Provided by George Washington University Law School GW Law Faculty Publications & Other Works Faculty Scholarship 2020 Order and Law in China Donald C. Clarke George Washington University Law School, [email protected] Follow this and additional works at: https://scholarship.law.gwu.edu/faculty_publications Part of the Law Commons Recommended Citation Clarke, Donald C., "Order and Law in China" (2020). GW Law Faculty Publications & Other Works. 1506. https://scholarship.law.gwu.edu/faculty_publications/1506 This Article is brought to you for free and open access by the Faculty Scholarship at Scholarly Commons. It has been accepted for inclusion in GW Law Faculty Publications & Other Works by an authorized administrator of Scholarly Commons. For more information, please contact [email protected]. ORDER AND LAW IN CHINA Donald Clarke* Aug. 25, 2020 I. Introduction Does China have a legal system? The question might seem obtuse, even offensive. However one characterizes the institutions of the first thirty years of the People’s Republic, the near half- century of the post-Mao era1 has almost universally been called one of construction of China’s legal system.2 Certainly great changes have taken place in China’s public order and dispute resolution institutions. At the same time, however, other things have changed little or not at all. Most commentary focuses on the changes; this article, by contrast, will look at what has not changed—the important continuities that have persisted for over four decades. These continuities and other important features of China’s institutions of public order and dispute resolution suggest that legality is not the best paradigm for understanding them. -
Order and Law in China
GW Law Faculty Publications & Other Works Faculty Scholarship 2020 Order and Law in China Donald C. Clarke George Washington University Law School, [email protected] Follow this and additional works at: https://scholarship.law.gwu.edu/faculty_publications Part of the Law Commons Recommended Citation Clarke, Donald C., "Order and Law in China" (2020). GW Law Faculty Publications & Other Works. 1506. https://scholarship.law.gwu.edu/faculty_publications/1506 This Article is brought to you for free and open access by the Faculty Scholarship at Scholarly Commons. It has been accepted for inclusion in GW Law Faculty Publications & Other Works by an authorized administrator of Scholarly Commons. For more information, please contact [email protected]. ORDER AND LAW IN CHINA Donald Clarke* Aug. 25, 2020 I. Introduction Does China have a legal system? The question might seem obtuse, even offensive. However one characterizes the institutions of the first thirty years of the People’s Republic, the near half- century of the post-Mao era1 has almost universally been called one of construction of China’s legal system.2 Certainly great changes have taken place in China’s public order and dispute resolution institutions. At the same time, however, other things have changed little or not at all. Most commentary focuses on the changes; this article, by contrast, will look at what has not changed—the important continuities that have persisted for over four decades. These continuities and other important features of China’s institutions of public order and dispute resolution suggest that legality is not the best paradigm for understanding them. -
Remaking Chinese Cinema: Through the Prism of Shanghai, Hong Kong
Remaking Chinese Cinema Through the Prism of Shanghai, Hong Kong, and Hollywood Yiman Wang © 2013 University of Hawai‘i Press All rights reserved First published in the United States of America by University of Hawai‘i Press Published for distribution in Australia, Southeast and East Asia by: Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org ISBN 978-988-8139-16-3 (Paperback) All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. 10 9 8 7 6 5 4 3 2 1 Designed by University of Hawai‘i Production Department Printed and bound by Kings Time Printing Press Ltd. in Hong Kong, China Contents Acknowledgments | xi Introduction | 1 1. The Goddess: Tracking the “Unknown Woman” from Hollywood through Shanghai to Hong Kong | 18 2. Family Resemblance, Class Conflicts: Re-version of the Sisterhood Singsong Drama | 48 3. The Love Parade Goes On: “Western-Costume Cantonese Opera Film” and the Foreignizing Remake | 82 4. Mr. Phantom Goes to the East: History and Its Afterlife from Hollywood to Shanghai and Hong Kong | 113 Conclusion: Mr. Undercover Goes Global | 143 Notes | 165 Bibliography | 191 Filmography | 207 Index | 211 ix CHAPTER 1 The Goddess Tracking the “Unknown Woman” from Hollywood through Shanghai to Hong Kong Maternal melodramas featuring self-sacrificial mothers abound in the history of world cinema. From classic Hollywood women’s films to Lars von Trier’s new-millennium musical drama Dancer in the Dark (2000), the mother figure works tirelessly for her child only to eventually withdraw herself from the child’s life in order to secure a prosperous future for him or her.1 In this chap- ter, I trace the Shanghai and Hong Kong remaking of an exemplary Hollywood maternal melodrama, Stella Dallas, in the 1930s. -
Mise En Page 1
INTERNATIONAL SALES MK2 PARIS CANNES MK2 - 55 rue Traversière FIVE HOTEL - 1 rue Notre-Dame 75012 Paris 06400 Cannes Juliette Schrameck, Head of International Sales & Acquisitions [email protected] Fionnuala Jamison, International Sales Executive [email protected] Victoire Thevenin, International Sales Executive [email protected] A FILM BY INTERNATIONAL PRESS RICHARD LORMAND - FILM ⎮PRESS ⎮PLUS JIA ZHANG-KE www.FilmPressPlus.com [email protected] Tel: +33-9-7044-9865 / +33-6-2424-1654 m IN CANNES o c . s Tel: 08 70 44 98 65 / 06 09 92 55 47 / 06 24 24 16 54 a e r c - l e s k a . w w w : k r o w t XSTREAM PICTURES (BEIJING) r EVA LAM A Tel: +86 10 8235 0984 Fax: +86 10 8235 4938 [email protected] Xstream Pictures (Beijing), Office Kitano Shangai Film Group Corporation & MK2 present A FILM BY JIA ZHANG-KE 133 min / Color / 1:2.4 / 2013 Xstream Pictures (Beijing ) Office Kitano Shanghai Film Group Corporation Present In association with Shanxi Film and Television Group Bandai Visual Bitters End SYNOPSIS DIRECTOR’S NOTE This film is about four deaths, four incidents which actually happened in China in recent years: three murders and one suicide. These incidents are well-known to people throughout China. They happened in Shanxi, Chongqing, Hubei and Guangdong – that is, from the north to the south, spanning much of the country. I wanted to use these news reports to build a comprehensive portrait of life in contemporary China. China is still changing rapidly, in a way that makes the country look more prosperous than before. -
Imports Get to the Core of Local Tastes US, Taiwanese and Even Indian Titles Overshadowed Hong Kong Fare at Its Home Box Office in 2011
FEATURE You Are The Apple Of My Eye: biggest ever Chinese-language release in Hong Kong Imports get to the core of local tastes US, Taiwanese and even Indian titles overshadowed Hong Kong fare at its home box office in 2011. Liz Shackleton reports on a territory looking abroad for its next blockbuster he big surprise at the Hong Kong box offi ce end of April, A Simple Life had grossed $3.57m in in the number of releases from 286 in 2010 to 276 over the past year has been the success of Tai- Hong Kong, while Love In The Buff, which follows last year. Twanese romantic comedy You Are The Apple a Hong Kong couple in Beijing, had grossed Hong Kong movies had only a 20.2% market Of My Eye, which grossed nearly $8m at the end of $3.6m. share in 2011 compared to 22.6% in 2010. Local 2011 to become the biggest ever Chinese-language But on the whole, Hollywood fi lms, particularly producers are making fewer fi lms specifi cally for release in Hong Kong. effects-laden 3D spectaculars, continued to rule the the local market and Hong Kong audiences tend to A huge hit in Taiwan, where it was also released roost in Hong Kong — Apple ranked third in the reject the bigger budget Hong Kong-China co- by Fox, the fi lm fl ourished on word-of-mouth and 2011 top 10 behind the latest instalments in the productions, which make most of their returns on repeat viewings. Based on the director’s own expe- Transformers and Harry Potter series. -
Negotiating Transnational Collaborations with the Chinese Film Industry
University of Wollongong Research Online University of Wollongong Thesis Collection 2017+ University of Wollongong Thesis Collections 2019 Negotiating Transnational Collaborations with the Chinese Film Industry Kai Ruo Soh University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses1 University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Soh, Kai Ruo, Negotiating Transnational Collaborations with the Chinese Film Industry, Doctor of Philosophy thesis, School of the Arts, English and Media, University of Wollongong, 2019.