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Malaysian & Southeast Asian
MALAYSIAN & SOUTHEAST ASIAN ART 29 APRIL 2018 LOT 149 YUSOF GHANI Siri Tari Kabuki, 1993 LOT 65 MOHD HOESSEIN ENAS, DATO’, Self Portrait, 1970 I M PORTANT NOTICE MALAYSIAN & SOUTHEAST ASIAN ART All lots are sold subject to our Conditions of Business printed at the back of this catalogue which apply to both buyers and sellers. Prospective buyers should also read our Buying At HBArt guide. Catalogue descriptions do not state any imperfections. However, condition AUCTION DAY reports can be obtained by contacting the personnel listed below. This service 29 APRIL 2018, 1 PM is provided for the convenience of prospective buyers and cannot be taken GALERI PRIMA, BALAI BERITA BANGSAR as the sole and absolute representation of the actual condition of the work. Prospective buyers are advised to personally examine the works and not rely solely on HBAA’s description on the catalogue or any references made in the conditions reports. VIEWING Our team will be present during all viewing times and available for consultation regarding artworks included in this auction. Whenever possible, our team 19 - 28 April 2018 will be pleased to provide additional information that may be required. Mondays - Sundays 10 am - 6 pm The buyer’s premium shall be 12% of hammer price plus any applicable taxes. Galeri Prima, Balai Berita All lots from this sale not collected from HBAA seven days after the auction 31, Jalan Riong, Bangsar will incur storage and insurance charges, which will be payable by the buyer. 59100 Kuala Lumpur, Malaysia CONTACT INFORMATION Polenn Sim -
Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) Red Sonic Trajectories - Popular Music and Youth in China de Kloet, J. Publication date 2001 Link to publication Citation for published version (APA): de Kloet, J. (2001). Red Sonic Trajectories - Popular Music and Youth in China. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:08 Oct 2021 L4Trif iÏLK m BEGINNINGS 0 ne warm summer night in 1991, I was sitting in my apartment on the 11th floor of a gray, rather depressive building on the outskirts of Amsterdam, when a documentary on Chinese rock music came on the TV. I was struck by the provocative poses of Cui Jian, who blindfolded himself with a red scarf - stunned by the images of the crowds attending his performance, images that were juxtaposed with accounts of the student protests of June 1989; and puzzled, as I, a rather distant observer, always imagined China to be a totalitarian regime with little room for dissident voices. -
Exhibition Inscriptions
Photographs Prison/Concentration Camps Foreigners are closely followed at all times and are prohibited from leaving their hotels North Korea currently operates sixteen confirmed concentrations camps where up to at night. Photographs are only allowed in a small number of state-approved locations and 200,000 men, women and children are incarcerated. Some are the size of cities and mortality under no circumstances may they be taken of military personnel. In order to document real rates are high since prisoners are forced to perform dangerous slave work and are regularly life in North Korea, Daoust made use of a hidden shutter-release cable to take photographs tortured. Note: Many of those imprisoned are not guilty of any real crime: one man was sent secretly in the non-approved locations. to prison for ten years for absent-mindedly using a newspaper printed with a photograph of Kim Jong-Il to mop up a spilled drink. Pleasure Brigade Bicycles The Kippumjo or Gippeumjo (translated variously as Pleasure Squad, Pleasure Brigade or The late Kim Jong Il reportedly felt that the sight of a woman on a bike was potentially Joy Division) is an alleged collection of groups of approximately 2,000 women and girls dam-aging to public morality. It was the last straw when, in the mid nineties, the daughter of that is maintained by the head of state of North Korea for the purpose of providing pleasure, a top general was killed on a bike. From this point forward, the law has periodically banned mostly of a sexual nature, and entertainment for high-ranking Workers’ Party of Korea women from riding bicycles and they are generally restricted from holding driving licenses. -
"World Music" and "World Beat" Designations Brad Klump
Document généré le 26 sept. 2021 17:23 Canadian University Music Review Revue de musique des universités canadiennes Origins and Distinctions of the "World Music" and "World Beat" Designations Brad Klump Canadian Perspectives in Ethnomusicology Résumé de l'article Perspectives canadiennes en ethnomusicologie This article traces the origins and uses of the musical classifications "world Volume 19, numéro 2, 1999 music" and "world beat." The term "world beat" was first used by the musician and DJ Dan Del Santo in 1983 for his syncretic hybrids of American R&B, URI : https://id.erudit.org/iderudit/1014442ar Afrobeat, and Latin popular styles. In contrast, the term "world music" was DOI : https://doi.org/10.7202/1014442ar coined independently by at least three different groups: European jazz critics (ca. 1963), American ethnomusicologists (1965), and British record companies (1987). Applications range from the musical fusions between jazz and Aller au sommaire du numéro non-Western musics to a marketing category used to sell almost any music outside the Western mainstream. Éditeur(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Klump, B. (1999). Origins and Distinctions of the "World Music" and "World Beat" Designations. Canadian University Music Review / Revue de musique des universités canadiennes, 19(2), 5–15. https://doi.org/10.7202/1014442ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des des universités canadiennes, 1999 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. -
Great Food, Great Stories from Korea
GREAT FOOD, GREAT STORIE FOOD, GREAT GREAT A Tableau of a Diamond Wedding Anniversary GOVERNMENT PUBLICATIONS This is a picture of an older couple from the 18th century repeating their wedding ceremony in celebration of their 60th anniversary. REGISTRATION NUMBER This painting vividly depicts a tableau in which their children offer up 11-1541000-001295-01 a cup of drink, wishing them health and longevity. The authorship of the painting is unknown, and the painting is currently housed in the National Museum of Korea. Designed to help foreigners understand Korean cuisine more easily and with greater accuracy, our <Korean Menu Guide> contains information on 154 Korean dishes in 10 languages. S <Korean Restaurant Guide 2011-Tokyo> introduces 34 excellent F Korean restaurants in the Greater Tokyo Area. ROM KOREA GREAT FOOD, GREAT STORIES FROM KOREA The Korean Food Foundation is a specialized GREAT FOOD, GREAT STORIES private organization that searches for new This book tells the many stories of Korean food, the rich flavors that have evolved generation dishes and conducts research on Korean cuisine after generation, meal after meal, for over several millennia on the Korean peninsula. in order to introduce Korean food and culinary A single dish usually leads to the creation of another through the expansion of time and space, FROM KOREA culture to the world, and support related making it impossible to count the exact number of dishes in the Korean cuisine. So, for this content development and marketing. <Korean Restaurant Guide 2011-Western Europe> (5 volumes in total) book, we have only included a selection of a hundred or so of the most representative. -
Anarchism in the Chinese Revolution Was Also a Radical Educational Institution Modeled After Socialist 1991 36 for This Information, See Ibid., 58
only by rephrasing earlier problems in a new discourse that is unmistakably modern in its premises and sensibilities; even where the answers are old, the questions that produced them have been phrased in the problematic of a new historical situation. The problem was especially acute for the first generation of intellec- Anarchism in the Chinese tuals to become conscious of this new historical situation, who, Revolution as products of a received ethos, had to remake themselves in the very process of reconstituting the problematic of Chinese thought. Anarchism, as we shall see, was a product of this situation. The answers it offered to this new problematic were not just social Arif Dirlik and political but sought to confront in novel ways its demands in their existential totality. At the same time, especially in the case of the first generation of anarchists, these answers were couched in a moral language that rephrased received ethical concepts in a new discourse of modernity. Although this new intellectual problematique is not to be reduced to the problem of national consciousness, that problem was important in its formulation, in two ways. First, essential to the new problematic is the question of China’s place in the world and its relationship to the past, which found expression most concretely in problems created by the new national consciousness. Second, national consciousness raised questions about social relationships, ultimately at the level of the relationship between the individual and society, which were to provide the framework for, and in some ways also contained, the redefinition of even existential questions. -
On Lav Diaz‟S a Lullaby to the Sorrowful Mystery
―Textual Mobilities: Diaspora, Migration, Transnationalism and Multiculturalism‖ | Lullaby of Diasporic Time: On Lav Diaz‟s A Lullaby to the Sorrowful Mystery Christian Jil R. Benitez Ateneo de Manila University Philippines [email protected] Abstract Lav Diaz is a Filipino independent filmmaker notable as a key figure in the contemporary slow cinema movement. Of his oeuvre, one of the longest is A Lullaby to the Sorrowful Mystery (Filipino: Hele sa Higawang Hapis), a 2016 epic film that runs for 8 hours, orchestrating narratives derived from what are conveniently sung as mythology (i.e., Jose Rizal‘s El filibusterismo and Philippine folklore) and history (i.e., Philippine history and artifacts). The movie competed in the 66th Berlin International Film Festival, where it won the Alfred Bauer Prize. This success has earned Diaz‘s the spotlight in the Filipino mainstream culture, enabling the film to be distributed to and showcased in mainstream platforms, albeit primarily garnering attention from the Filipino audience for its runtime and international attention. The movement of the film, as a text, from the local Philippines toward the international and returning home, incurs in it a textuality that disrupts the phenomenology of time diasporically, scatteringly: that as much as its 8-hour languor ―opens new perspective in the cinematic arts‖ according to the international rendition of this time, it is also the 8-hour whose value in the Philippine time is that of a day‘s labor, and thus the exoticization of its cinematic experience as a ―challenge,‖ having to endure an entire working day of slow cinematography. This diaspora of time is of no cacophony; on the contrary, it is the lullaby, sorrowful and mysterious, that finally slows Diaz in to become a filmmaker attuned to both the spaces of the local and the international. -
From Disney to Disaster: the Disney Corporation’S Involvement in the Creation of Celebrity Trainwrecks
From Disney to Disaster: The Disney Corporation’s Involvement in the Creation of Celebrity Trainwrecks BY Kelsey N. Reese Spring 2021 WMNST 492W: Senior Capstone Seminar Dr. Jill Wood Reese 2 INTRODUCTION The popularized phrase “celebrity trainwreck” has taken off in the last ten years, and the phrase actively evokes specified images (Doyle, 2017). These images usually depict young women hounded by paparazzi cameras that are most likely drunk or high and half naked after a wild night of partying (Doyle, 2017). These girls then become the emblem of celebrity, bad girl femininity (Doyle, 2017; Kiefer, 2016). The trainwreck is always a woman and is usually subject to extra attention in the limelight (Doyle, 2017). Trainwrecks are in demand; almost everything they do becomes front page news, especially if their actions are seen as scandalous, defamatory, or insane. The exponential growth of the internet in the early 2000s created new avenues of interest in celebrity life, including that of social media, gossip blogs, online tabloids, and collections of paparazzi snapshots (Hamad & Taylor, 2015; Mercer, 2013). What resulted was 24/7 media access into the trainwreck’s life and their long line of outrageous, commiserable actions (Doyle, 2017). Kristy Fairclough coined the term trainwreck in 2008 as a way to describe young, wild female celebrities who exemplify the ‘good girl gone bad’ image (Fairclough, 2008; Goodin-Smith, 2014). While the coining of the term is rather recent, the trainwreck image itself is not; in their book titled Trainwreck, Jude Ellison Doyle postulates that the trainwreck classification dates back to feminism’s first wave with Mary Wollstonecraft (Anand, 2018; Doyle, 2017). -
Fragmented Memories and Screening Nostalgia for the Cultural Revolution
Fragmented Memories and Screening Nostalgia for the Cultural Revolution Jing Meng Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong https://hkupress.hku.hk © 2020 Hong Kong University Press ISBN 978-988-8528-46-2 (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 photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. Cover image courtesy of Dongchun Films Co., Ltd. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Paramount Printing Co., Ltd. in Hong Kong, China Contents List of Illustrations vi Acknowledgements vii Introduction 1 1. Janus-Faced Nostalgia: Moral Critique, Sentimentalism, and Gender 16 2. Post-revolution Nostalgia: Memory as Performance 47 3. Beyond Nostalgia: Agency and Auteuristic Expressivity in Fragmented Memories 66 4. Post-trauma Narrative: Fragmented Past Flows into the Present 93 5. A Collective ‘I’ and Its Contending Readings: Personal Memories in Sent-Down Youth 111 6. Conclusion: Contingent Memories, Contested Modernities 139 Filmography 147 Bibliography 149 Illustrations Figure 1.1: Poster for Under the Hawthorn Tree 30 Figure 2.1: Still from Youth: The opening dancing rehearsal 51 Figure 2.2: Still from Youth: The shower scene 52 Figure 2.3: Still from Youth: The transitional scene of the -
Distribution Agreement in Presenting This
Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: _____________________________ ______________ Tianyi Yao Date Crime and History Intersect: Films of Murder in Contemporary Chinese Wenyi Cinema By Tianyi Yao Master of Arts Film and Media Studies _________________________________________ Matthew Bernstein Advisor _________________________________________ Tanine Allison Committee Member _________________________________________ Timothy Holland Committee Member _________________________________________ Michele Schreiber Committee Member Accepted: _________________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date Crime and History Intersect: Films of Murder in Contemporary Chinese Wenyi Cinema By Tianyi Yao B.A., Trinity College, 2015 Advisor: Matthew Bernstein, M.F.A., Ph.D. An abstract of -
When I Open My Eyes, I'm Floating in the Air in an Inky, Black Void. the Air Feels Cold to the Touch, My Body Shivering As I Instinctively Hugged Myself
When I open my eyes, I'm floating in the air in an inky, black void. The air feels cold to the touch, my body shivering as I instinctively hugged myself. My first thought was that this was an awfully vivid nightmare and that someone must have left the AC on overnight. I was more than a little alarmed when I wasn't quite waking up, and that pinching myself had about the same amount of pain as it would if I did it normally. A single star twinkled into existence in the empty void, far and away from reach. Then another. And another. Soon, the emptiness was full of shining stars, and I found myself staring in wonder. I had momentarily forgotten about the biting cold at this breath-taking sight before a wooden door slammed itself into my face, making me fall over and land on a tile ground. I'm pretty sure that wasn't there before. Also, OW. Standing up and not having much better to do, I opened the door. Inside was a room with several televisions stacked on top of each other, with a short figure wrapped in a blanket playing on an old NES while seven different games played out on the screen. They turned around and looked at me, blinking twice with a piece of pocky in their mouth. I stared at her. She stared back at me. Then she picked up a controller laying on the floor and offered it to me. "Want to play?" "So you've been here all alone?" I asked, staring at her in confusion, holding the controller as I sat nearby. -
Phillippine Noir
Change of Focus—12 may adadol ingawanij PHILIPPINE NOIR The Cinema of Lav Diaz he filipino director Lav Diaz has created a monumental body of work over the past two decades: some sixteen feature films—interspersed with as many miscellaneous shorts, documentaries and film-essays—shot almost entirely in black Tand white, with running times generally somewhere between four and ten hours. Produced on a largely artisanal scale throughout the archi- pelago of the Philippines, at one level they represent the everyday troubles and resilience of the Filipino people, the present-day plight of the country and the burden of its past. Although he is a well-known figure there, Diaz’s films have been screened only sporadically in the Philippines itself, the product not only of political constraints—a num- ber have been banned—but also of working beyond the bounds of an entrenched national film industry. Internationally, Diaz’s reputation has grown since Norte, the End of History (2013)—a 4-hour, freewheeling adaptation of Dostoevsky’s Crime and Punishment set in the contempo- rary Philippines—appeared at Cannes, with prizes and acclaim garnered at Locarno, Berlin and Venice. His oeuvre, though, remains little under- stood. On the global circuit, he is regularly acclaimed as a master of ‘slow cinema’. In interviews, Diaz rarely fails to correct the record: ‘it’s not slow cinema; it’s cinema.’1 First coined by the French critic Michel Ciment who identified an emerg- ing ‘cinema of slowness’ in a talk at the 2003 San Francisco International Film Festival, ‘slow cinema’ has been consolidated in Anglophone film writing as a designation for a range of austere, minimalist films typified by use of the long take.2 Directors who have been classified as practi- tioners alongside Diaz include Nuri Bilge Ceylan, Jia Zhangke, Pedro new left review 130 july aug 2021 53 54 nlr 130 Costa and Tsai Ming-Liang, while the category has also been applied retrospectively, with Ozu, Bresson, Tarkovsky and others enlisted into a genealogy of slowness.