DOCSLIB.ORG

ACEF/1415/10447 — Guião Para a Auto-Avaliação Corrigido

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ACEF/1415/10447 — Guião Para a Auto-Avaliação Corrigido ACEF/1415/10447 — Guião para a auto-avaliação corrigido Caracterização do ciclo de estudos. A1. Instituição de ensino superior / Entidade instituidora: Universidade De Évora A1.a. Outras instituições de ensino superior / Entidades instituidoras: A2. Unidade(s) orgânica(s) (faculdade, escola, instituto, etc.): Escola De Artes (UE) A3. Ciclo de estudos: Artes Visuais - Multimédia A3. Study programme: Visual Arts - Multimedia A4. Grau: Licenciado A5. Publicação do plano de estudos em Diário da República (nº e data): Diário da República, 2.ª série — N.º 37 — 21 de Fevereiro de 2008, Despacho n.º 4709/2008 A6. Área científica predominante do ciclo de estudos: Artes Visuais A6. Main scientific area of the study programme: Visual Arts A7.1. Classificação da área principal do ciclo de estudos (3 dígitos), de acordo com a Portaria n.º 256/2005, de 16 de Março (CNAEF): 211 A7.2. Classificação da área secundária do ciclo de estudos (3 dígitos), de acordo com a Portaria n.º 256/2005, de 16 de Março (CNAEF), se aplicável: 213 A7.3. Classificação de outra área secundária do ciclo de estudos (3 dígitos), de acordo com a Portaria n.º 256/2005, de 16 de Março (CNAEF), se aplicável: 210 A8. Número de créditos ECTS necessário à obtenção do grau: 180 A9. Duração do ciclo de estudos (art.º 3 DL-74/2006, de 26 de Março): 3 anos A9. Duration of the study programme (art.º 3 DL-74/2006, March 26th): 3 years A10. Número de vagas aprovado no último ano lectivo: 40 A11. Condições específicas de ingresso: Um dos seguintes conjuntos: 03 Desenho ou 03 Desenho e 10 Geometria Descritiva ou 03 Desenho e 12 História da Cultura e Artes A11. Specific entry requirements: Um dos seguintes conjuntos: 03 Desenho or 03 Desenho and 10 Geometria Descritiva ou 03 Desenho and 12 História da Cultura e Artes A12. Ramos, opções, perfis... Pergunta A12 A12. Percursos alternativos como ramos, opções, perfis, maior/menor, ou outras formas de organização de percursos alternativos em que o ciclo de estudos se estrutura (se aplicável): Sim (por favor preencha a tabela A 12.1. Ramos, opções, perfis, maior/menor, ou outras) A12.1. Ramos, variantes, áreas de especialização do mestrado ou especialidades do doutoramento (se aplicável) A12.1. Ramos, opções, perfis, maior/menor, ou outras formas de organização de percursos alternativos em que o ciclo de estudos se estrutura (se aplicável) / Branches, options, profiles, major/minor, or other forms of organisation of alternative paths compatible with the structure of the study programme (if applicable) Opções/Ramos/... (se aplicável): Options/Branches/... (if applicable): Pintura Painting Escultura Sculpture Multimédia Digital Arts A13. Estrutura curricular Mapa I - Pintura A13.1. Ciclo de Estudos: Artes Visuais - Multimédia A13.1. Study programme: Visual Arts - Multimedia A13.2. Grau: Licenciado A13.3. Ramo, variante, área de especialização do mestrado ou especialidade do doutoramento (se aplicável): Pintura A13.3. Branch, option, specialization area of the master or speciality of the PhD (if applicable): Painting A13.4. Áreas científicas e créditos que devem ser reunidos para a obtenção do grau / Scientific areas and credits that must be obtained before a degree is awarded ECTS Obrigatórios / Mandatory ECTS Optativos / Optional Área Científica / Scientific Area Sigla / Acronym ECTS ECTS* Artes Visuais / Visual Arts AV 115 0 História / History H 15 0 Filosofia / Phlosophy F 5 0 Multimédia / Digital Arts MM 10 0 Design D 5 0 Optativas Livres / Elective VA 0 30 Optionals (6 Items) 150 30 Mapa I - Escultura A13.1. Ciclo de Estudos: Artes Visuais - Multimédia A13.1. Study programme: Visual Arts - Multimedia A13.2. Grau: Licenciado A13.3. Ramo, variante, área de especialização do mestrado ou especialidade do doutoramento (se aplicável): Escultura A13.3. Branch, option, specialization area of the master or speciality of the PhD (if applicable): Sculpture A13.4. Áreas científicas e créditos que devem ser reunidos para a obtenção do grau / Scientific areas and credits that must be obtained before a degree is awarded ECTS Obrigatórios / Mandatory ECTS Optativos / Optional Área Científica / Scientific Area Sigla / Acronym ECTS ECTS* Artes Visuais / Visual Arts AV 115 0 Multimédia / Digital Arts MM 10 0 História da Arte / Art History H 15 0 Filosofia / Philosophy F 5 0 Design D 5 0 Optativas Livres/ Elective VA 0 30 Optionals (6 Items) 150 30 Mapa I - Multimédia A13.1. Ciclo de Estudos: Artes Visuais - Multimédia A13.1. Study programme: Visual Arts - Multimedia A13.2. Grau: Licenciado A13.3. Ramo, variante, área de especialização do mestrado ou especialidade do doutoramento (se aplicável): Multimédia A13.3. Branch, option, specialization area of the master or speciality of the PhD (if applicable): Digital Arts A13.4. Áreas científicas e créditos que devem ser reunidos para a obtenção do grau / Scientific areas and credits that must be obtained before a degree is awarded ECTS Obrigatórios / Mandatory ECTS Optativos / Optional Área Científica / Scientific Area Sigla / Acronym ECTS ECTS* Multimédia / Digital Arts MM 85 0 Artes Visuais / Visual Arts AV 50 0 História da Arte/ Art History H 10 0 Filosofia ( Philosophy F 5 0 Optativas Livres / Elective VA 0 30 Optionals (5 Items) 150 30 A14. Plano de estudos Mapa II - Pintura - 1º Semestre A14.1. Ciclo de Estudos: Artes Visuais - Multimédia A14.1. Study programme: Visual Arts - Multimedia A14.2. Grau: Licenciado A14.3. Ramo, variante, área de especialização do mestrado ou especialidade do doutoramento (se aplicável): Pintura A14.3. Branch, option, specialization area of the master or speciality of the PhD (if applicable): Painting A14.4. Ano/semestre/trimestre curricular: 1º Semestre A14.4. Curricular year/semester/trimester: 1st. Semester A14.5. Plano de estudos / Study plan Área Científica / Horas Trabalho / Horas Contacto / Unidades Curriculares / Duração / Observações / Scientific Area Working Hours Contact Hours ECTS Curricular Units Duration (2) Observations (5) (1) (3) (4) Comunicação Visual I / AV Semestral 65 30 TP - 15 OT 2.5 - Visual Communication I Desenho I / Drawing I AV Semestral 130 60 TP - 30 OT 5 - Escultura I / Scupture I AV Semestral 130 60 TP - 30 OT 5 - História Geral da Arte I / HA Semestral 130 45 TP - 22,5 OT 5 - Gerneral Art History I Multimédia I / Multimedia I MM Semestral 130 60 TP - 30 OT 5 - Pintura I / Painting I AV S 130 60 TP - 30 OT 5 - Pintura Complementar I / AV S 65 30 TP - 15 OT 2.5 Optativa / Optional Complementary Painting I (7 Items) Mapa II - Pintura - 2º Semestre A14.1. Ciclo de Estudos: Artes Visuais - Multimédia A14.1. Study programme: Visual Arts - Multimedia A14.2. Grau: Licenciado A14.3. Ramo, variante, área de especialização do mestrado ou especialidade do doutoramento (se aplicável): Pintura A14.3. Branch, option, specialization area of the master or speciality of the PhD (if applicable): Painting A14.4. Ano/semestre/trimestre curricular: 2º Semestre A14.4. Curricular year/semester/trimester: 2nd. Semester A14.5. Plano de estudos / Study plan Área Científica / Horas Trabalho / Horas Contacto / Unidades Curriculares / Duração / Observações / Scientific Area Working Hours Contact Hours ECTS Curricular Units Duration (2) Observations (5) (1) (3) (4) Comunicação Visual II / AV Semestral 65 30 TP - 15 OT 2.5 - Visual Commmunication II Desenho II / Drawing II AV S 130 60 TP - 30 OT 5 - Escultura II / Sculpture II AV S 130 60 TP - 30 OT 5 - História Geral da Arte II / HA S 130 45 TP - 22,5 OT 5 - General Art History II Multimédia II / Multimedia II MM S 130 60 TP - 30 OT 5 - Pintura II / Painting II AV S 130 60 TP - 30 OT 5 - Pintura Complementar II / AV S 65 30 TP - 15 OT 2.5 Optativa / Optional Complementary Painting II (7 Items) Mapa II - Pintura - 3º Semestre A14.1. Ciclo de Estudos: Artes Visuais - Multimédia A14.1. Study programme: Visual Arts - Multimedia A14.2. Grau: Licenciado A14.3. Ramo, variante, área de especialização do mestrado ou especialidade do doutoramento (se aplicável): Pintura A14.3. Branch, option, specialization area of the master or speciality of the PhD (if applicable): Painting A14.4. Ano/semestre/trimestre curricular: 3º Semestre A14.4. Curricular year/semester/trimester: 3rd. Semester A14.5. Plano de estudos / Study plan Área Científica / Horas Trabalho / Horas Contacto / Unidades Curriculares / Duração / Observações / Scientific Area Working Hours Contact Hours ECTS Curricular Units Duration (2) Observations (5) (1) (3) (4) Artes Visuais I / Visual Arts I AV Semestral 156 75 TP - 37,5 OT 6 - Desenho III / Drawing III AV Semestral 104 45 TP - 22,5 OT 4 - Estética I / Aesthics I FILOS S 65 30 T - 15 OT 2.5 - Estúdio e Workshops I / AV S 130 90 PL - 45 OT 5 - Studio and Workshops I Estudos de Arte I / Art AV S 65 30 T - 15 OT 2.5 - Studies I Introdução ao Projecto I / D S 65 30 TP - 15 OT 2.5 - Introduction to Project I Geometria Descritiva I / AR S 130 60 TP - 30 OT 5 Optativa / Optional Descriptive Geometry I Escultura Complementar I / AV S 65 30 TP - 15 OT 2.5 Optativa / Optional Complementary Sculpture I Multimédia Complementar I / MM S 65 30 TP - 15 OT 2.5 Optativa / Optional Complementary Multimedia I Fotografia Complementar I / Complementary AV S 65 30 TP - 15 OT 2.5 Optativa / Optional Photography I (10 Items) Mapa II - Pintura - 4º Semestre A14.1. Ciclo de Estudos: Artes Visuais - Multimédia A14.1. Study programme: Visual Arts - Multimedia A14.2. Grau: Licenciado A14.3. Ramo, variante, área de especialização do mestrado ou especialidade do doutoramento (se aplicável): Pintura A14.3. Branch, option, specialization area of the master or speciality of the PhD (if applicable): Painting A14.4. Ano/semestre/trimestre curricular: 4º Semestre A14.4. Curricular year/semester/trimester: 4th.
Load more

Recommended publications
  • 0 0 0 0 Acasa Program Final For
    PROGRAM ABSTRACTS FOR THE 15TH TRIENNIAL SYMPOSIUM ON AFRICAN ART Africa and Its Diasporas in the Market Place: Cultural Resources and the Global Economy The core theme of the 2011 ACASA symposium, proposed by Pamela Allara, examines the current status of Africa’s cultural resources and the influence—for good or ill—of market forces both inside and outside the continent. As nation states decline in influence and power, and corporations, private patrons and foundations increasingly determine the kinds of cultural production that will be supported, how is African art being reinterpreted and by whom? Are artists and scholars able to successfully articulate their own intellectual and cultural values in this climate? Is there anything we can do to address the situation? WEDNESDAY, MARCH 23, 2O11, MUSEUM PROGRAM All Museum Program panels are in the Lenart Auditorium, Fowler Museum at UCLA Welcoming Remarks (8:30). Jean Borgatti, Steven Nelson, and Marla C. Berns PANEL I (8:45–10:45) Contemporary Art Sans Frontières. Chairs: Barbara Thompson, Stanford University, and Gemma Rodrigues, Fowler Museum at UCLA Contemporary African art is a phenomenon that transcends and complicates traditional curatorial categories and disciplinary boundaries. These overlaps have at times excluded contemporary African art from exhibitions and collections and, at other times, transformed its research and display into a contested terrain. At a moment when many museums with so‐called ethnographic collections are expanding their chronological reach by teasing out connections between traditional and contemporary artistic production, many museums of Euro‐American contemporary art are extending their geographic reach by globalizing their curatorial vision.
    [Show full text]
  • Credit Exclusions, Repeatability, Concentration Exclusions
    Credit Exclusions, Repeatability, Concentration Exclusions 311 CAAS 311 CAAS 103. First Year Social Science Seminar. 247(448) / Hist. 247. Africa Since 1850. (Cross-Area Courses). May not be included in a concentration plan. (African Studies). 311 CAAS 311 CAAS 104. First Year Humanities Seminar. 274 / Engl. 274. Introduction to Afro-American Literature. (Cross-Area Courses). May not be included in a concentration plan. (African-American Studies). 311 CAAS 311 CAAS 108 / Hist. of Art 108. Introduction to African Art. 303 / Soc. 303. Race and Ethnic Relations. (African Studies). May not be included in a concentration plan. (African-American Studies). 311 CAAS 311 CAAS 111. Introduction to Africa and Its Diaspora. 321 / Soc. 323. African American Social Thought. May not be included in a concentration plan. (African-American Studies). 311 CAAS 311 CAAS 200(105). Introduction to African Studies. 322 / NR&E 335. Introduction to Environmental Politics: Race, Class, and Gender. (African Studies). (Cross-Area Courses). 311 CAAS 311 CAAS 201(100). Introduction to Afro-American Studies. 325. Afro-American Social Institutions. (African-American Studies). (African-American Studies). 311 CAAS 311 CAAS 202(200). Introduction to Afro-Caribbean Studies. 326. The Black American Family. (Afro-Caribbean Studies). (African-American Studies). 311 CAAS 311 CAAS 203. Issues in Afro-American Development. 327 / Psych. 315. Psychological Aspects of the Black Experience. (African-American Studies). (African-American Studies). 311 CAAS 311 CAAS 204. Cultural History of Afro-America. 329. African American Leadership. (African-American Studies). (African-American Studies). 311 CAAS 311 CAAS 205. Introduction to Black Cultural Arts and Performance. 330. African Leaders. May be elected for credit twice.
    [Show full text]
  • Industry Guide Focus Asia & Ttb / April 29Th - May 3Rd Ideazione E Realizzazione Organization
    INDUSTRY GUIDE FOCUS ASIA & TTB / APRIL 29TH - MAY 3RD IDEAZIONE E REALIZZAZIONE ORGANIZATION CON / WITH CON IL CONTRIBUTO DI / WITH THE SUPPORT OF IN COLLABORAZIONE CON / IN COLLABORATION WITH CON LA PARTECIPAZIONE DI / WITH THE PARTICIPATION OF CON IL PATROCINIO DI / UNDER THE PATRONAGE OF FOCUS ASIA CON IL SUPPORTO DI/WITH THE SUPPORT OF IN COLLABORAZIONE CON/WITH COLLABORATION WITH INTERNATIONAL PARTNERS PROJECT MARKET PARTNERS TIES THAT BIND CON IL SUPPORTO DI/WITH THE SUPPORT OF CAMPUS CON LA PARTECIPAZIONE DI/WITH THE PARTICIPATION OF MAIN SPONSORS OFFICIAL SPONSORS FESTIVAL PARTNERS TECHNICAL PARTNERS ® MAIN MEDIA PARTNERS MEDIA PARTNERS CON / WITH FOCUS ASIA April 30/May 2, 2019 – Udine After the big success of the last edition, the Far East Film Festival is thrilled to welcome to Udine more than 200 international industry professionals taking part in FOCUS ASIA 2019! This year again, the programme will include a large number of events meant to foster professional and artistic exchanges between Asia and Europe. The All Genres Project Market will present 15 exciting projects in development coming from 10 different countries. The final line up will feature a large variety of genres and a great diversity of profiles of directors and producers, proving one of the main goals of the platform: to explore both the present and future generation of filmmakers from both continents. For the first time the market will include a Chinese focus, exposing 6 titles coming from China, Hong Kong and Taiwan. Thanks to the partnership with Trieste Science+Fiction Festival and European Film Promotion, Focus Asia 2019 will host the section Get Ready for Cannes offering to 12 international sales agents the chance to introduce their most recent line up to more than 40 buyers from Asia, Europe and North America.
    [Show full text]
  • Premendra Mazumder– in Conversation with Aruna Vasudev
    E-CineIndia April-June 2020 ISSN: 2582-2500 Interview Premendra Mazumder In Conversation with Aruna Vasudev FIPRESCI-India felicitated its founder Ms. Aruna 1957 or 58. I was just out of college. Then my par- Vasudev on 2nd March 2020 at 12th Bengaluru In- ents moved to New York. And with my little experi- ternational Film Festival. On 6th March she was hon- ence with TV, I became very much interested in it. So, oured with the 1st Vijaya Mulay Memorial Lifetime when we went to New York, I said this is what I want Achievement Award by the 15th International Film to learn. I got a little job first. And I did do some work. Festival of Thrissur. On 12th March, this interview And then I joined the course at New York University. was recorded at Thrissur! It was on radio, film and television and each student had to do work in all three. So, when someone else Premendra: This is a big opportunity for the E-CineIn- was making a film you had to be the editor – or some- dia, the quarterly film journal of the FIPRESCI-India, thing in the production. When you were doing a radio to talk to you to know the history of this organization programme someone had to do editing or recording and your contributions for the promotion and devel- or something, with you. You had to do everything in opment of Asian cinema. FIPRESCI-India is basical- every field. So, then in that course, one day I had to ly your child.
    [Show full text]
  • Cine-Ethiopia: the History and Politics of Film in the Horn of Africa Published by Michigan University Press DOI: 10.14321/J.Ctv1fxmf1
    This is the version of the chapter accepted for publication in Cine-Ethiopia: The History and Politics of Film in the Horn of Africa published by Michigan University Press DOI: 10.14321/j.ctv1fxmf1 Accepted version downloaded from SOAS Research Online: http://eprints.soas.ac.uk/32029 CINE-ETHIOPIA THE HISTORY AND POLITICS OF FILM IN THE HORN OF AFRICA Edited by Michael W. Thomas, Alessandro Jedlowski & Aboneh Ashagrie Table of contents INTRODUCTION Introducing the Context and Specificities of Film History in the Horn of Africa, Alessandro Jedlowski, Michael W. Thomas & Aboneh Ashagrie CHAPTER 1 From የሰይጣን ቤት (Yeseytan Bet – “Devil’s House”) to 7D: Mapping Cinema’s Multidimensional Manifestations in Ethiopia from its Inception to Contemporary Developments, Michael W. Thomas CHAPTER 2 Fascist Imperial Cinema: An Account of Imaginary Places, Giuseppe Fidotta CHAPTER 3 The Revolution has been Televised: Fact, Fiction and Spectacle in the 1970s and 80s, Kate Cowcher CHAPTER 4 “The dead speaking to the living”: Religio-cultural Symbolisms in the Amharic Films of Haile Gerima, Tekletsadik Belachew CHAPTER 5 Whether to Laugh or to Cry? Explorations of Genre in Amharic Fiction Feature Films, Michael W. Thomas 2 CHAPTER 6 Women’s Participation in Ethiopian Cinema, Eyerusalem Kassahun CHAPTER 7 The New Frontiers of Ethiopian Television Industry: TV Serials and Sitcoms, Bitania Taddesse CHAPTER 8 Migration in Ethiopian Films, at Home and Abroad, Alessandro Jedlowski CHAPTER 9 A Wide People with a Small Screen: Oromo Cinema at Home and in Diaspora, Teferi Nigussie Tafa and Steven W. Thomas CHAPTER 10 Eritrean Films between Forced Migration and Desire of Elsewhere, Osvaldo Costantini and Aurora Massa CHAPTER 11 Somali Cinema: A Brief History between Italian Colonization, Diaspora and the New Idea of Nation, Daniele Comberiati INTERVIEWS Debebe Eshetu (actor and director), interviewed by Aboneh Ashagrie Behailu Wassie (scriptwriter and director), interviewed by Michael W.
    [Show full text]
  • History Sydney Film Festival
    HISTORY OF THE SYDNEY FILM FESTIVAL 1954 - 1983 PAULINE WEBBER MASTER of ARTS FACULTY OF HUMANITIES AND SOCIAL SCIENCES 2005 For John and David ACKNOWLEDGEMENTS I would like to thank David Donaldson, Valwyn Wishart, John Baxter, Dorothy Shoemark, Tony Buckley, David Stratton and many others involved in the SFF during its formative years who gave generously of their time and knowledge during the preparation of this thesis. I am especially grateful to Trish McPherson, who entrusted me with the SFF memorabilia of her late husband, Ian McPherson. Thanks also to my supervisor, Professor Elizabeth Jacka, for her enthusiasm and support, and to Associate Professor Paul Ashton and Raya Massie who undertook to read the final draft and who offered invaluable advice. TABLE OF CONTENTS Table of Abbreviations i Sydney Film Festival: A Chronology 1954-1983 ii Abstract vi Introduction 1 An International Context; A Local Context Chapter One Art Form of a Generation: The Early Years 1954-1961 18 Reinventing Australia: 1946-1954; Connections and Divisions; Olinda 1952; From Concept to Reality; The First Festival; The Festival Takes Shape; Is it Here? Does it Look like Arriving?; Here to Stay; From Crisis to Cohesion Chapter Two Expansion and Consolidation: 1962-1975 57 Coming of Age; The Times They Are A-Changin’: 1962-1967; The Proliferation of Unacceptable Thoughts; Communal Rapture: The Start of the Stratton Era; The Anxious Years: 1968-1972; Throwing Down the Gauntlet; Going Global; The Festival at the Top of its Form; The Best and the Most Interesting; A Rising Clamour to be Seen and Heard Chapter Three Beguiling Times: The SFF and Australian Cinema 121 The Old and the New; The Film Buffs, the Festival People, the Trendies, the Underground; The Short Film Awards; A Thrilling New Wave: The Film Revival and After Chapter Four Change and New Directions: 1976-1983 149 A Lean Operation; Some of the People, Some of the Time; Backing Winners; Old Problems, New pressures; A Sort of Terrible Regression; The Last of the Stratton Years; 1983; 1984: Brave New World.
    [Show full text]
  • LUNGOMETRAGGI in CONCORSO FILIPPINE TAMBOLISTA Fino All’Ultimo Battito / Drum Beat Adolfo Alix Jr
    LUNGOMETRAGGI IN CONCORSO FILIPPINE TAMBOLISTA Fino all’ultimo battito / Drum beat Adolfo Alix jr. Sceneggiatura / Screenplay Regina Tayag Fotografia / Photography Albert Banzon Montaggio / Editing Aleks Castaneda Suono / Sound Ditoy Aguila Interpreti / Cast Sid Lucero, Coco Martin, Jiro Manio,Ricky Davao, Anita Linda Produzione / Production Creative Programs Inc. & Bicycle Pictures (Arlen Cuevas), Cinema One Originals Anno di produzione / Year of production 2007 Durata / Running time 90 Formato / Format DV Adolfo Alix jr. Hai mai desiderato così tanto una cosa da fare qualsiasi cosa per ottenerla? Tambolista parla del desiderio di un ragazzo di Si è laureato a Manila in comunicazio- possedere una batteria. Ambientato nei quartieri degradati di ni. All’età di 18 anni ha vinto il primo premio della competizione nazionale Manila, il film è girato dal punto di vista di un adolescente di della Fondazione per lo Sviluppo 14 anni, Jason, che sta per diventare uomo. Quando suo fra- Cinematogarfico come sceneggiatore. tello maggiore Billy mette in cinta la ragazza, i due fratelli, Ha co-sceneggiato Mgna Munting insieme al compagno di strada Pablo, cercano di procurarsi i Tinig di Gil Portes, che ha vinto diver- soldi per pagarle l’aborto. Questi tre caratteri ci mostrano si premi, Beautiful Life di Gil Portes, Homecoming and Mourning Girls e come la lotta per sopravvivere a una vita da disperati, diventa D’Anothers di Joyce Bernal ed è stato anche una lotta per conservare la propria umanità. Un ritratto scenografo in Mano Po di Joel Laman- intimo di due fratelli che vivono privi di mezzi, dove ogni bat- ga. Il suo primo lungometraggio come tito ha la sua importanza.
    [Show full text]
  • |||GET||| Early Cinema in Asia 1St Edition
    EARLY CINEMA IN ASIA 1ST EDITION DOWNLOAD FREE Nick Deocampo | 9780253025548 | | | | | ‘Parasite’ Earns Best-Picture Oscar, First for a Movie Not in English Google Scholar. Shortly thereafter, the American-born Bruce Lee became a global icon in the s. Institutional Login. Military conflicts Sovereignty. Zhang discussing the impact of globalisation on China links the commodification of Chinese culture with state ideology and market desire Halberstam J Skin shows: Gothic horror and the technology of monsters. Both the quality and quantity of filmmaking had increased rapidly by the end of the s. While the shape and form of the fox differs Early Cinema in Asia 1st edition mainland China, Early Cinema in Asia 1st edition Kong, Japan and South Korea, it is clear that they function within a shared cultural belief system. One such honor was bestowed to Manuel Conde 's immortal movie Gengis Khan when it was accepted for screening at the 13th Venice Film Festival. I feel like a very opportune moment in history is happening right now. For example, the current focus of the mainland Chinese cinema industry to determine the history and future of Chinese Cinema is first and foremost an ideological battle over the construction of the nation-state through the assimilation of Taiwanese and Hong Kong cinemas. In pushing for more diverse voting ranks, the academy greatly expanded its foreign contingent, a Early Cinema in Asia 1st edition because Hollywood remains so overwhelmingly white and male. The skin that Xiaowei wears plays on this contrast between surface and depth and appearance and reality. The fox, or huli jingdoes not pose the same type of problems as the ghost and as a result, in most mainland Chinese productions of Stories from a Chinese Studio the the huli jing Early Cinema in Asia 1st edition to be the most appropriate substitute.
    [Show full text]
  • LS&A Distribution Courses, by Department
    LS&A Distribution courses, by department Afroamerican and African Studies (CAAS) CAAS 311 CAAS 400 / MHM 457. The Musics of African Americans. (Excl). 311 CAAS 420 / Anthro. 347. Race and Ethnicity. (Excl). 311 CAAS 426. Urban Redevelopment and Social Justice. (Excl). 311 CAAS 427 / Anthro. 427 / WS 427. African Women. (Excl). 311 CAAS 430. Education and Cultures of the Black World. (Excl). 311 CAAS 433 / French 402. Francophone Literature in Translation. (Excl). 311 CAAS 448 / Hist. 448. Africa Since 1850. (Excl). (R&E). 311 CAAS 464 / MHM 464. Music of the Caribbean. (Excl). 311 CAAS 470 / Film-Video 470. Cultural Issues in Cinema. (Excl). 311 CAAS 482 / NR&E 482. Environmental Justice: Theoretical Approaches. (Excl). American Culture American Culture 315 AMCULT 490 / Film-Video 451. American Film Genres. (Excl). Anthropology Biological Anthropology 318 ANTHRBIO 369 / Psych. 438. Primate and Human Social Relationships. (Excl). (BS) Cultural Anthropology 319 ANTHRCUL 442 / ACABS 413 / Hist. 440. Ancient Mesopotamia: History and Culture. (Excl). 319 ANTHRCUL 347 / AAS 420. Race and Ethnicity. (Excl). 319 ANTHRCUL 427 / AAS 427 / WS 427. African Women. (Excl). 319 ANTHRCUL 489. Maya and Central American Archaeology. (Excl). Asian Languages and Cultures (ALC) Asian Studies 323 ASIAN 420 / Korean 420. Korean Literature in Translation. (Excl). 323 ASIAN 440. National Cinema of Asia. (Excl). 323 ASIAN 463 / MHM 463. Music of Southeast Asia. (Excl). 323 ASIAN 468 / Chinese 468 / Phil. 468. Classical Chinese Thought. (Excl). 323 ASIAN 469 / Chinese 469 / Phil. 469. Later Chinese Thought. (Excl). 323 ASIAN 474(S&SEA 230) / S&SEA 474. Arts and Literatures of India. (Excl). 323 ASIAN 489 / Buddhist Studies 489 / Korean 489.
    [Show full text]
  • Hak Cipta Dan Penggunaan Kembali: Lisensi Ini
    Hak cipta dan penggunaan kembali: Lisensi ini mengizinkan setiap orang untuk menggubah, memperbaiki, dan membuat ciptaan turunan bukan untuk kepentingan komersial, selama anda mencantumkan nama penulis dan melisensikan ciptaan turunan dengan syarat yang serupa dengan ciptaan asli. Copyright and reuse: This license lets you remix, tweak, and build upon work non-commercially, as long as you credit the origin creator and license it on your new creations under the identical terms. Team project ©2017 Dony Pratidana S. Hum | Bima Agus Setyawan S. IIP BAB I PENDAHULUAN 1.1 Latar Belakang Salah satu indikator untuk mengukur kondisi ekonomi suatu negara dalam periode tertentu adalah dengan menggunakan Produk Domestik Bruto (PDB) merupakan jumlah nilai akhir barang atau jasa yang dihasilkan oleh seluruh unit ekonomi. PDB dengan harga konstan menunjukan nilai tambah barang dihitung menggunakan harga barang yang berlaku pada akhir tahun dasar, dan biasanya digunakan untuk mengukur laju pertumbuhan konsumsi, investasi dan perdagangan luar negri (Pengertian, 2015). Sumber: Laporan Data Sosial dan Ekonomi edisi 62 Grafik 1.1 Laju Pertumbuhan PDB Indonesia Pengaruh Attitude Toward..., Caroline Anjani Hadianti, FB UMN, 2016 1 Berdasarkan Grafik 1.1 menunjukan setiap tahun pertumbuhan PDB Indonesia mengalami penurunan, hal ini disebabkan oleh kondisi perekonomian global yang sedang mengalami krisis (Gumelar, 2015). Melemahnya nilai tukar rupiah terhadap dolar Amerika Serikat menurut I Kadek Dian Sutrisna Artha selaku ketua Lembaga Penyelidikan Ekonomi dan Masyarakat, hal tersebut merugikan sektor industri Indonesia dikarenakan bahan baku untuk industri di Indonesia sebagian besar masih bergantung pada impor. Akibatnya harga barang komoditas meningkat dan masyarakat Indonesia yang sebagian besar berada pada kelas menengah kebawah semakin terhimpit (Wirawan, 2015).
    [Show full text]
  • The Global Challenge in Services Trade
    THE GLOBAL CHALLENGE IN SERVICES TRADE A Look at Philippine Competitiveness THE GLOBAL CHALLENGE IN SERVICES TRADE A Look at Philippine Competitiveness Edited by Gloria O. Pasadilla PHILIPPINE INSTITUTE FOR DEVELOPMENT STUDIES Surian sa mga Pag-aaral Pangkaunlaran ng Pilipinas Copyright 2006 by the Philippine Institute for Development Studies (PIDS) and the German Technical Cooperation (GTZ) Printed in the Philippines. All rights reserved. The findings, interpretations, and conclusions in this volume are those of the authors and do not necessarily reflect those of GTZ and PIDS and other institutions associated with the studies presented in this volume. Please address all inquiries to: PHILIPPINE INSTITUTE FOR DEVELOPMENT STUDIES NEDA sa Makati Building, 106 Amorsolo St. Legaspi Village, 1229 Makati City, Philippines Tel.: +63-2 8942584; 8935705 Fax: +63-2 8939589; 8942584 Email: [email protected] Website: http://www.pids.gov.ph ISBN 978-971-564-056-5 RP 09-06-500 Photo credits (cover): PIDS photo files (first and second rows, left photos); The Farm at San Benito (first row, right photo); for collage, second row, right photo: www.hpproductions/ lc.com/production.htm (reel, foreground); www.elitehomevacations.com/images/film.jpg (reel, background); www.ststours.ca/cms_images/clapper.jpg (clapper, foreground). iv Table of Contents List of Tables ……………………………………………………………………………… vii List of Figures and Boxes ………………………………………………………… xi List of Appendices ……………………………………………………………………… xiv Foreword Josef T. Yap …………………………………………………………………
    [Show full text]
  • East Asia Related Courses Fall 2015 (Last Update: 4/27/15)
    East Asia Related Courses Fall 2015 (Last Update: 4/27/15) This is an extract of the LSA Course Guide and contains only information as of the last update date given above. For the latest changes, see the live LSA Course Guide at www.lsa.umich.edu/cg/. Important Notes to MA Students: Courses are listed alphabetically by SUBJECT names. For a full, up to date listing of all courses, including descriptions and enrollment space information, see the LSA Course Guide (www.lsa.umich.edu/cg/). Courses numbered 100-499 are intended for undergraduate students; 500 and above for graduate students. Some, but not all, 400-level courses are approved for graduate credit but require additional work beyond that required for undergraduates; these courses are indicated with the notation “Rackham credit requires additional work.” To receive credit for 400-level courses not automatically approved for graduate credit, you must file a petition with Rackham and receive approval prior to enrollment. Contact the Academic Services Coordinator for more information. Not all courses listed in this document meet the MA degree requirements. If you are not certain if a course meets a requirement, please check with the Academic Services Coordinator. African American Studies AAS 304 Gender and Immigration: Identity, Race, and Place Section: 001 Credits: 3 Repeatability: May not be repeated for credit. Cross-Listed Classes: WOMENSTD 304 - Gender&Immigr, Section 001 Primary Instructor: Fadlalla, Amal Hassan This course answers these questions by looking at how the acts of travel and mobility are labeled differently under different political and social circumstances. The course examines the gendered cultural and political meanings people and governments give to mobility, border-crossing, and displacement in this exciting age of globalization and transnationalism.
    [Show full text]