Ciclos Casa Asia Adultos (Enero De 2009)

Ciclos Casa Asia Adultos (Enero de 2009) ENERO DE 2009 BOCADOS DE ASIA En más de un siglo de existencia, el cine ha sido el gran inductor a la comida y al gusto, proporcionando al espectador secuencias irrepetibles e inolvidables que le han enseñado a comer, a degustar y a apreciar la cultura de la buena mesa. Tras el paréntesis navideño donde la gastronomía se convierte en uno de los elementos centrales de la celebración, el ciclo Bocados de Asia te invita a descubrir una nueva forma de vivir la comida, donde los ingredientes, la preparación, los postres, guardan un enorme significado. Un menú de altura para empezar el año de la mejor manera posible. 10/01/09 LE GRAND CHEF Dir: Jeon Yun-su. Con Kim Kang-woo, Lim Won-hie, Lee Ha-na, Ahn Kil-Kang. País: Corea del Sur. 2007. Drama/Comedia. Versión original subtitulada en castellano. 113 min. VOSE Basado en la novela gráfica de Hee Yeong-man, el enfrentamiento entre dos chefs por lograr un preciado premio que data de la época Chosun, no sólo es un drama con ribetes de folletín cómico e histórico, sino que contiene los suficientes elementos narrativos y visuales, que hacen de Le Grand Chef un menú a la altura de cualquier gourmet. 17/01/09 GREEN TEA Director: Zhang Yuan. Con: Jiang Wen, Vicky Zhao, Fang Lijun. País: China. 2004. Drama Romántico. 83’. VOSE Chen se enamora inmediatamente de la misteriosa Fang, tras salir con ella en una cita a ciegas. Mientras su relación avanza (aunque en realidad son polos opuestos), Chen descubre a otra joven que aparenta ser todo lo contrario que Fang, pero con idéntica apariencia física. ¿Conseguirá una taza de té enseñar a Chen a encontrar el amor verdadero? 24/01/09 UDON Director: Katsuyuki Motohiro. Con: Yusuke Santamaria, Manami Konishi, Tortoise Matsumoto, Kyoka Suzuki. País: Japón. 2006. Comedia. 134’. VOSE Udon es un inolvidable viaje al Japón profundo, al más desconocido por propios y ajenos, al corazón de su gente. Pero lo más importante es que, lejos de ser una mera película de restaurantes, Udon es toda una llamada a la búsqueda del alimento espiritual que todos necesitamos en algún momento. 31/01/09 THE GOD OF COOKERY Dir: Stephen Chow. Con Stephen Chow, Stephen Au, Christy Chung, Clarence Hui, Vincent Kok. 1996. País: Hong Kong. Comedia. 95’ VOSE Un cocinero, el más grande del mundo, vive en un universo de poder y magnetismo. Pero un enemigo termina con todo el imperio, arruinándole. Su única esperanza es una vendedora callejera que está secretamente enamorada de él. .

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WEAI Program 2009
Western Economic Association International 84th Annual Conference PROGRAM The Sheraton Vancouver Wall Centre British Columbia Monday–Friday, June 29–July 3, 2009 Participating Organizations • AEA Committee on the Status of Women in the Economics Profession • American Society of Hispanic Economists • Association of Environmental and Resource Economists • Athenian Policy Forum • Chinese Economic Association of North America • Contemporary Economic Policy • Economic Inquiry • International Banking, Economics and Finance Association • International Economics and Finance Society • Korea-America Economic Association • National Association of Forensic Economics • North American Association of Sports Economists START OR RENEW YOUR MEMBERSHIP TODAY! Western Economic Association International membership offers all of these great benefits... • Individual subscriptions to both • Reduced submission fee for your quarterly journals, Economic Inquiry individual paper submitted for and Contemporary Economic Policy presentation at either conference if (includes full collection online). you choose not to organize a • Reduced registration fees for the session. Annual Conference and for the • Manuscript submission fee is Biennial Pacific Rim Conference. waived for submitting your • Opportunity to organize your own conference paper to EI or CEP if sessions for both conferences with you do so within six months after the submission fees waived for all conference. included papers. • Reduced EI and CEP manuscript • Complimentary conference regis- submission fees
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The Birth of East Asia Cultural Regionalization Through Co-Production Strategies
Dal Yong Jin & Dong-Hoo Lee The Birth of East Asia Cultural Regionalization through Co-Production Strategies Introduction East Asian cultural producers have rapidly which we have that others have not.”4 As in many increased co-productions over the past several countries, television particularly remains primarily years. The Japanese, Chinese, Taiwanese, and a national phenomenon in East Asia, and the Korean cultural industries have produced cross- domestic state plays a significant role in shaping cultural outputs, including films, television national television systems.5 dramas, and music. Local cultural industries Producers in the region, however, have and producers in East Asia have begun pooling increasingly turned to international co- financial and cultural resources, which is a useful productions since the late 1990s, because the Pan- means to compete with cultural products from Asian co-production mode takes advantage of the other regions, particularly those from Hollywood, joint consumption cost structure. It entails jointly and have produced a few cross-cultural hits since developing and producing film and television the late 1990s.1 programs with attributes which make them Unlike in many other parts of the world, co- accessible to audiences in more than one national production strategies in East Asia are relatively market.6 Filmmakers and television networks, new phenomena. Until a few years ago, East Asia including independent producers, are now rapidly was viewed as a jumble of provincial cultural reaching beyond their local and national audiences markets. Cultural works in Japan, China, Korea, to attract regional and global viewers. Hong Kong, and Taiwan were made largely for This article examines the recent trends of domestic markets.
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A Glance at the Background and Current Directions of Cultural Diplomacy in Eastern Asia
A Glance at the Background and Current Directions of Cultural Diplomacy in Eastern Asia by Sam Powney The Regional Economic and Political Context: Pan-Asian Forums When talking about East Asia, it is important to try to define exactly what the term means. According to the United Nations (UN) definition, 'Eastern Asia', includes China, Hong Kong, Macau, Taiwan, Japan, North and South Korea, and Mongolia. As always when trying to draw regional boundaries, the line seems arbitrary wherever it is placed. In fact the term exists largely to distinguish North-East Asia from South East Asia and Russia, although both those broad lines are of debatable usefulness. After all, in the north, the national borders that separate northern China, the Republic of Mongolia, Kazakhstan and Russia, do not strictly follow ethnic boundaries, and most South-east Asian countries have strong links with Chinese culture, many with large Chinese-speaking populations. The interconnected relationship between countries across the broad sweep of north-east Asia, South-east Asia and even the Indian subcontinent are becoming more apparent with the gradual enlargement of pan-Asian economic forums that began in 1967 with the creation of ASEAN (Association of South East Asian Nations). ASEAN expanded over the years, and now includes Indonesia, Malaysia, the Philippines,Singapore, Thailand, Brunei, Cambodia, Laos, Myanmar, and Vietnam. The ASEAN Plus Three meetings (ASEAN members plus China, Japan and South Korea), began in 1997 and were institutionalized two years later at the first such summit by that name, held in Manila. On December 14th 2005 the first East Asia Summit, including all the ASEAN Plus Three members as well as India, Australia, and New Zealand, was held in Kuala Lumpur.
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American Canadian Conference for academic Disciplines International Journal of arts and Sciences Toronto, May 23-26, 2011 2 Date: May 23, 2011 Location: Paris Vienna Room, ILLC Time: 08:45 – 10:55 Session Chair: Nalini Elisa Ramlakhan, Carleton University, Canada. [email protected] Subject: Opening Session Introduction Joseph Bonnici Central Connecticut State University, USA IJAS Conference Coordinator Why Morality is Innate: An Argument in Favour of a Universal Moral Grammar Nalini Elisa Ramlakhan Carleton University, Canada [email protected] The Ephemeral and the Liminal: A Re-conceptualization of the Boundaries of Architecture and Ethics Essam Hallak Concordia University, Canada [email protected] Policy Development and Implementation in the Bretton Woods Institutions: A Consideration of the Legality, Human Rights Impact and Effectiveness of their Programmes Richard John Self University of Derby, England [email protected] Against Viewing Modern Humanity as Earth's Cancer Joseph Kirby Institute for Christian Studies, Canada [email protected] A View through the Eye of Justice: Photographic Evidence in Canadian Courts (Smile: You‟re Going to Court!) Ioana-Cristina Opris Wilfrid Laurier University, Canada [email protected] Majority Judgment Theory and Paradoxical Results Manzoor Ahmad Zahid and Harrie de Swar Tilburg University, The Netherlands [email protected] From Literature to Living: The Fact and Fiction of Surviving Ecological Disaster Shoshannah Ganz Grenfell Campus, Memorial University, Newfoundland, Canada [email protected] Date: May 23, 2011 Location: Room 102, ILLC Time: 09:00 – 10:55 Session Chair: The first person to present research in this session. Subject: Teaching and Education I What Motivate Malaysian Teachers to Undertake Post-Graduate Education? Ab.
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Va.orgJACKIE'S MOVIES Jackie starred in his first movie at the age of eight and has been making movies ever since. Here's a list of Jackie's films: These are the films Jackie made as a child: ·Big and Little Wong Tin-Bar (1962) · The Lover Eternal (1963) · The Story of Qui Xiang Lin (1964) · Come Drink with Me (1966) · A Touch of Zen (1968) These are films where Jackie was a stuntman only: Fist of Fury (1971) Enter the Dragon (1973) The Himalayan (1975) Fantasy Mission Force (1982) Here is the complete list of all the rest of Jackie's movies: ·The Little Tiger of Canton (1971, also: Master with Cracked Fingers) · CAST : Jackie Chan (aka Chen Yuen Lung), Juan Hsao Ten, Shih Tien, Han Kyo Tsi · DIRECTOR : Chin Hsin · STUNT COORDINATOR : Chan Yuen Long, Se Fu Tsai · PRODUCER : Li Long Koon · The Heroine (1971, also: Kung Fu Girl) · CAST : Jackie Chan (aka Chen Yuen Lung), Cheng Pei-pei, James Tien, Jo Shishido · DIRECTOR : Lo Wei · STUNT COORDINATOR : Jackie Chan · Not Scared to Die (1973, also: Eagle's Shadow Fist) · CAST : Wang Qing, Lin Xiu, Jackie Chan (aka Chen Yuen Lung) · DIRECTOR : Zhu Wu · PRODUCER : Hoi Ling · WRITER : Su Lan · STUNT COORDINATOR : Jackie Chan · All in the Family (1975) · CAST : Linda Chu, Dean Shek, Samo Hung, Jackie Chan · DIRECTOR : Chan Mu · PRODUCER : Raymond Chow · WRITER : Ken Suma · Hand of Death (1976, also: Countdown in Kung Fu) · CAST : Dorian Tan, James Tien, Jackie Chan · DIRECTOR : John Woo · WRITER : John Woo · STUNT COORDINATOR : Samo Hung · New Fist of Fury (1976) · CAST : Jackie Chan, Nora Miao, Lo Wei, Han Ying Chieh, Chen King, Chan Sing · DIRECTOR : Lo Wei · STUNT COORDINATOR : Han Ying Chieh · Shaolin Wooden Men (1976) · CAST : Jackie Chan, Kam Kan, Simon Yuen, Lung Chung-erh · DIRECTOR : Lo Wei · WRITER : Chen Chi-hwa · STUNT COORDINATOR : Li Ming-wen, Jackie Chan · Killer Meteors (1977, also: Jackie Chan vs.
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Swatch Group Annual Report 2013
SWATCH GROUP ANNUAL REPORT 2013 SWATCH GROUP | ANNUAL REPORT 2013 1 Contents Message from the Chair 2 Operational Organization 4 Organization and Distribution in the World 5 Organs of Swatch Group 6 Board of Directors 6 Executive Group Management Board 8 Extended Group Management Board 9 Development of Swatch Group 10 Big Brands 11 Watches and Jewelry 12–76 Retailing and Presence 77–82 Production 83 Electronic Systems 93 Corporate, Belenos 99 Swatch Group in the World 107 Governance 133 Environmental Policy 134 Social Policy 136 Corporate Governance 138 Financial Statements 2013 151 Consolidated Financial Statements 152 Financial Statements of the Holding 206 Swatch Group’s Annual Report is published in French, German and English. The text on pages 1 to 137 is originally published in French and the text on pages 138 to 216 in German. These original versions are binding. © The Swatch Group Ltd, 2014 2 SWATCH GROUP | ANNUAL REPORT 2013 | MESSAGE FROM THE CHAIR Message from the Chair Dear Madam, Dear Sir, automation, robotics and design. The Swatch SISTEM51 that we Dear Fellow Shareholders, launched in Switzerland in December 2013 is an emblematic example of this philosophy. Swatch Group is the name of the multi-faceted company that we all jointly own. The fact that it was Swatch that gave its name to This change did not only make it possible to create an incredible our company is no coincidence. Thirty-one years ago, the launch number of jobs, thus consolidating the position as a hub of of Swatch saved the Swiss watchmaking industry. On the occa- Swiss industry; it did not only save professions – which today sion of its 30th birthday, which we celebrated with a number of are undoubtedly different but are nonetheless secured; it did events in 2013, Swatch finally reached adulthood.
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Hainan Airlines Inflight Entertainment Magazine Oct. 2019
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Canadianliterature / Littérature Canadienne
Canadian Literature / Littérature canadienne A Quarterly of Criticism and Review Number 227, Winter 215, Asian Canadian Critique Beyond the Nation Published by The University of British Columbia, Vancouver Editor: Laura Moss Associate Editors: Stephen Collis (Poetry), Kathryn Grafton (CanLit Guides), Nicholas Bradley (Reviews) Assistant Editor: Tiffany Johnstone (Reviews) Past Editors: George Woodcock (1959-1977), W. H. New (1977-1995), Eva-Marie Kröller (1995-23), Laurie Ricou (23-27), Margery Fee (27-215) Editorial Board Alison Calder University of Manitoba Carrie Dawson Dalhousie University Cecily Devereux University of Alberta Kit Dobson Mount Royal University Janice Fiamengo University of Ottawa Helen Gilbert University of London Faye Hammill University of Strathclyde Lucie Hotte University of Ottawa Smaro Kamboureli University of Toronto Ric Knowles University of Guelph Christopher Lee University of British Columbia Linda Morra Bishop’s University Lianne Moyes Université de Montréal Maureen Moynagh St. Francis Xavier University Reingard Nischik University of Konstanz Vanja Polic´ University of Zagreb Ian Rae King’s University College Julie Rak University of Alberta Roxanne Rimstead Université de Sherbrooke Gillian Roberts University of Nottingham Sherry Simon Concordia University Cynthia Sugars University of Ottawa Neil ten Kortenaar University of Toronto Marie Vautier University of Victoria Gillian Whitlock University of Queensland Mark Williams Victoria University, New Zealand Lorraine York McMaster University Editorial Guest
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April 17–28 April 17–28
An Advertising Supplement to The Washington Post The 16th Annual Washington, DC International 02 Film Festival 20 feessttDDCC mmf AprilApril 17–2817–28 iill Call for info FF 202.628.FILM filmfestdc.org WelcomeIntroduction to Filmfest DC 2002, Washington’s celebration of the best in world cinema! There is nothing like a great movie and every year a growing number of film lovers eagerly anticipate the start of our film festival. The love of cinema expressed through the experience of a film festival is contiguous and energiz- ing. One of the primary roles of a film festival is to encourage audiences to explore and discover; to venture down roads they didn’t even know existed. We are pleased that every year more and more people look to Filmfest DC to find what’s new and interesting. Rarely has our festival been framed by a more prestigious Opening Night Gala featuring The Cat’s Meow with director Peter Bogdanovich present, and Hotel, the new film by Mike Figgis. WHEREAS, the Washington, D.C. International Film Festival is celebrating its fourteenth anniversary of presenting This year’s festival also includes a innovative, exciting and quality films to the citizens of the District of focus on new Asian Cinema. The Columbia, through its annual event known as Filmfest D.C.; and selection of works from Japan, China, and Taiwan illustrate the WHEREAS, Filmfest D.C. is working to serve the varied interests of the District’s diverse community that earned it the honor of winning the 1994 continuous high level of craftsman- Mayor’s Arts Award for Excellence in Service to the Arts; and Photo: Chad Evans Wyatt ship we have come to expect.
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Excess and Masculinity in Asian Cultural Productions
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Bodyguard from Beijing from The
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