Online Novelists Rewrite the Rules of Creating Content for the Screen
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3.4.2 Sentiment Analysis
Information School INF6000 Dissertation COVER SHEET (TURNITIN) Registration Number 160128947 Family Name Zhao First Name Pan Use of unfair means. It is the student's responsibility to ensure no aspect of their work is plagiarised or the result of other unfair means. The University’s and Information School’s advice on unfair means can be found in your Student Handbook, available via http://www.sheffield.ac.uk/is/current Assessment Word Count _____10893_____________. If your dissertation has a word count that is outside the range 10,000 – 15,000 words or if you do not state the word count then a deduction of 3 marks will be applied Late submission. A dissertation submitted after 10am on the stated submission date will result in a deduction of 5% of the mark awarded for each working day after the submission date/time up to a maximum of 5 working days, where ‘working day’ includes Monday to Friday (excluding public holidays) and runs from 10am to 10am. A dissertation submitted after the maximum period will receive zero marks. Ethics documentation should be included in the Appendix if your dissertation has been judged to be Low Risk or High Risk. R (Please tick the box if you have included the documentation) A deduction of 3 marks will be applied for a dissertation if the required ethics documentation is not included in the appendix; and the same deduction will be applied if your research data has not been available for inspection when required. The deduction procedures are detailed in the INF6000 Module Outline and Dissertation Handbook. -
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. -
Beyond Security, Ethics and Violence
Downloaded by [University of Defence] at 20:40 09 May 2016 1111 2 Beyond Security, Ethics 3 4 and Violence 5 6 7 8 9 1011 1 2 3111 In a world plagued by war and terror, Beyond Security, Ethics and Violence 4 sounds a warning: not only are global patterns of insecurity, violence and 5 conflict getting ever more destructive and out of hand, but the ways we 6 understand and respond to them will only prolong the crisis. When security 7 is grounded in exclusion and alienation, ethics licenses killing and war, 8 and freedom is a mask for imperial violence, how should we act? 9 Anthony Burke offers a ground-breaking analysis of the historical roots 20111 of sovereignty and security, his critique of just war theory, and important 1 new essays on strategy, the concept of freedom and US exceptionalism. 2 He pursues searching critical engagements with thinkers such as Giorgio 3 Agamben, Hardt and Negri, Emmanuel Levinas, Carl von Clausewitz, Jean 4 Bethke Elshtain, Michael Walzer, Michel Foucault and William Connolly. 5 Combining a diversity of critical thought with analyses of the war on 6 terror, Iraq, the Israeli–Palestinian conflict, the Vietnam war, the Indonesian 7 crisis, globalisation and the new drive for empire, Burke refuses easy 8 answers, or to abandon hope. 9 This innovative study will be of key interest to students and researchers 30111 of politics and international relations, security studies, social and cultural 1 theory and philosophy. 2 3 Anthony Burke is Senior Lecturer in the School of Politics and 4 International Relations at the University of New South Wales, Sydney. -
Annual Report Our Mission Is to Create Value for Writers and to Bring Literature to People Contents
(Incorporated in the Cayman Islands with limited liability) Stock Code: 772 2019 ANNUAL REPORT OUR MISSION IS TO CREATE VALUE FOR WRITERS AND TO BRING LITERATURE TO PEOPLE CONTENTS 2 Corporate Information 4 Financial Summary and Operational Highlights 6 Chairman's Statement 10 Management Discussion and Analysis 22 Directors and Senior Management 27 Report of Directors 60 Corporate Governance Report 81 Environmental, Social and Governance Report 97 Independent Auditor's Report 107 Consolidated Statement of Comprehensive Income 108 Consolidated Statement of Financial Position 110 Consolidated Statement of Changes in Equity 112 Consolidated Statement of Cash Flows 114 Notes to the Consolidated Financial Statements 231 Definitions CORPORATE INFORMATION Board of Directors Strategy and Investment Committee Mr. Wu Wenhui (Chairman) Annual Report 2019 Executive Directors Mr. Liang Xiaodong • Mr. Wu Wenhui (Co-Chief Executive Officer) Mr. James Gordon Mitchell Mr. Liang Xiaodong (Co-Chief Executive Officer) Mr. Lin Haifeng (resigned on November 22, 2019) Ms. Chen Fei (appointed on May 17, 2019) Non-executive Directors Ms. Li Ming (retired on May 17, 2019) Mr. James Gordon Mitchell (Chairman) Mr. Cao Huayi (appointed on May 17, 2019) China Literature Limited Authorized Representatives Ms. Chen Fei (appointed on May 17, 2019) Mr. Liang Xiaodong Mr. Cheng Yun Ming Matthew Ms. Lai Siu Kuen (appointed on November 22, 2019) Ms. Li Ming (retired on May 17, 2019) Joint Company Secretaries Mr. Yang Xiang Dong (retired on May 17, 2019) Mr. Zhao Jincheng Mr. Lin Haifeng (resigned on November 22, 2019) Ms. Lai Siu Kuen Independent Non-executive Directors Legal Advisors Ms. Yu Chor Woon Carol As to Hong Kong laws: Ms. -
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No.1 October 2019 EDITORS-IN-CHIEF Tobias BIANCONE, GONG Baorong EDITORIAL BOARD MEMBERS (in alphabetical order by Pinyin of last name) Tobias BIANCONE, Georges BANU, Christian BIET, Marvin CARLSON, CHEN Jun, CHEN Shixiong, DING Luonan, Erika FISCHER-LICHTE, FU Qiumin, GONG Baorong, HE Chengzhou, HUANG Changyong, Hans-Georg KNOPP, HU Zhiyi, LI Ruru, LI Wei, LIU Qing, LIU Siyuan, Patrice PAVIS, Richard SCHECHNER, SHEN Lin, Kalina STEFANOVA, SUN Huizhu, WANG Yun, XIE Wei, YANG Yang, YE Changhai, YU Jianchun. EDITORS WU Aili, CHEN Zhongwen, CHEN Ying, CAI Yan CHINESE TO ENGLISH TRANSLATORS HE Xuehan, LAN Xiaolan, TANG Jia, TANG Yuanmei, YAN Puxi ENGLISH CORRECTORS LIANG Chaoqun, HUANG Guoqi, TONG Rongtian, XIONG Lingling,LIAN Youping PROOFREADERS ZHANG Qing, GUI Han DESIGNER SHAO Min CONTACT TA The Center Of International Theater Studies-S CAI Yan: [email protected] CHEN Ying: [email protected] CONTENTS I 1 No.1 CONTENTS October 2019 PREFACE 2 Empowering and Promoting Chinese Performing Arts Culture / TOBIAS BIANCONE 4 Let’s Bridge the Culture Divide with Theatre / GONG BAORONG STUDIES ON MEI LANFANG 8 On the Subjectivity of Theoretical Construction of Xiqu— Starting from Doubt on “Mei Lanfang’s Performing System” / CHEN SHIXIONG 18 The Worldwide Significance of Mei Lanfang’s Performing Art / ZOU YUANJIANG 31 Mei Lanfang, Cheng Yanqiu, Qi Rushan and Early Xiqu Directors / FU QIUMIN 46 Return to Silence at the Golden Age—Discussion on the Gains and Losses of Mei Lanfang’s Red Chamber / WANG YONGEN HISTORY AND ARTISTS OF XIQU 61 The Formation -
General Chairs' Welcome
General Chairs’ Welcome ACM Multimedia 2017 We warmheartedly welcome you to the 25th ACM Multimedia conference, which is hosted in the heart of Silicon Valley at the wonderful Computer History Museum in Mountain View, CA, USA. As you will notice, the second floor of the Computer History Museum is still nearly empty these days. 25 years later, the second floor will be filled with artifacts people have created today. Hopefully some of these artifacts are created by attendees of this conference. Let us work together and make history. We are celebrating our 25th anniversary with an extensive program consisting of technical sessions covering all aspects of the multimedia field in both form of oral and poster presentations, tutorials, panels, exhibits, demonstrations and workshops, bringing into focus the principal subjects of investigation, competitions of research teams on challenging problems, and an interactive art program stimulating artists and computer scientists to meet and discover together the frontiers of artistic communication. For our 25th ACM Multimedia conference, ACM Multimedia 2017, we unified for the first time the long and short papers into a single submission track and review process. In order to support the traditional short and long papers, the unified track has had a flexible range of paper lengths (6-8 pages plus references), which is not much longer than the previous short paper length (5 pages), while also supporting the traditional long papers with 8 pages plus references. This change was decided at the SIGMM Business Meeting at ACM Multimedia 2016 in Amsterdam. It aims at making the review process more consistent than the former short and long paper track. -
Staff and Students
KIB STAFF AND STUDENTS HAN Min CHEN Shao-Tian WANG Ying JI Yun-Heng Director: XUAN Yu CHEN Wen-Yun LI De-Zhu DUAN Jun-Hong GU Shuang-Hua The Herbarium Deputy Directors: PENG Hua (Curator) SUN Hang Sci. & Tech. Information Center LEI Li-Gong YANG Yong-Ping WANG Li-Song ZHOU Bing (Chief Executive) LIU Ji-Kai LI Xue-Dong LIU Ai-Qin GAN Fan-Yuan WANG Jing-Hua ZHOU Yi-Lan Director Emeritus: ZHANG Yan DU Ning WU Zheng-Yi WANG Ling HE Yan-Biao XIANG Jian-Ying HE Yun-Cheng General Administrative Offi ce LIU En-De YANG Qian GAN Fan-Yuan (Head, concurrent WU Xi-Lin post) ZHOU Hong-Xia QIAN Jie (Deputy Head) Biogeography and Ecology XIONG De-Hua Department Other Members ZHAO JI-Dong Head: ZHOU Zhe-Kun SHUI Yu-Min TIAN Zhi-Duan Deputy Head: PENG Hua YANG Shi-Xiong HUANG Lu-Lu HU Yun-Qian WU Yan CAS Key Laboratory of Biodiversity CHEN Wen-Hong CHEN Xing-Cai (Retired Apr. 2006) and Biogeography YANG Xue ZHANG Yi Director: SUN Hang (concurrent post) SU Yong-Ge (Retired Apr. 2006) Executive Director: ZHOU Zhe-Kun CAI Jie Division of Human Resources, Innovation Base Consultant: WU Master' s Students Zheng-Yi CPC & Education Affairs FANG Wei YANG Yun-Shan (secretary) WU Shu-Guang (Head) REN Zong-Xin LI Ying LI De-Zhu' s Group LIU Jie ZENG Yan-Mei LI De-Zhu ZHANG Yu-Xiao YIN Wen WANG Hong YU Wen-Bin LI Jiang-Wei YANG Jun-Bo AI Hong-Lian WU Shao-Bo XUE Chun-Ying ZHANG Shu PU Ying-Dong GAO Lian-Ming ZHOU Wei HE Hai-Yan LU Jin-Mei DENG Xiao-Juan HUA Hong-Ying TIAN Xiao-Fei LIU Pei-Gui' s Group LIANG Wen-Xing XIAO Yue-Qin LIU Pei-Gui QIAO Qin ZHANG Chang-Qin Division of Science and TIAN Wei WANG Xiang-Hua Development MA Yong-Peng YU Fu-Qiang WANG Yu-Hua (Head) SHEN Min WANG Yun LI Zhi-Jian ZHU Wei-Dong MA Xiao-Qing SUN Hang' s Group NIU Yang YUE Yuan-Zheng SUN Hang YUE Liang-Liang LI Xiao-Xian NIE Ze-Long LI Yan-Chun TIAN Ning YUE Ji-Pei FENG Bang NI Jing-Yun ZHA Hong-Guang XIA Ke HU Guo-Wen (Retired Jun. -
Les Trois Royaumes : Frères D'armes / Chi Bi / Red Cliff
Document generated on 09/29/2021 1:55 a.m. Séquences La revue de cinéma Les Trois Royaumes Frères d’armes Chi bi / Red Cliff — Chine 2008, 145 minutes Pascal Grenier Number 264, January–February 2010 URI: https://id.erudit.org/iderudit/63409ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this review Grenier, P. (2010). Review of [Les Trois Royaumes : frères d’armes / Chi bi / Red Cliff — Chine 2008, 145 minutes]. Séquences, (264), 55–55. Tous droits réservés © La revue Séquences Inc., 2010 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Critiques | Les films 55 Les Trois Royaumes Frères d’armes Pour son grand retour en sol asiatique après une absence de plus de quinze ans, John Woo a mis quatre ans de préparation pour adapter la plus grande bataille de son pays natal. Cette grande fresque épique, de plus de 4h30 et séparée en deux parties distinctes pour le marché asiatique, a donc été remontée pour le marché international. pasCal grenier oté d’un budget colossal (80 millions de dollars), Les Trois Royaumes plonge le spectateur directement dans le vif Dde l’action (an 208 en Chine). -
The Individual and the Crowd in Jia Zhangke's Films Jung Koo Kim A
Goldsmiths College University of London Cinema of Paradox: The Individual and the Crowd in Jia Zhangke’s Films Jung Koo Kim A thesis submitted for the degree of Doctor of Philosophy to the department of Media and Communications August 2016 1 DECLARATION I hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person nor material which has been accepted for the award of any other degree or diploma of the university or other institute of higher learning, except where due acknowledgment has been made in the text. Signed…… …………… Date….…10-Aug.-2016…… 2 ABSTRACT This thesis attempts to understand Chinese film director Jia Zhangke with the concept of “paradox.” Challenging the existing discussions on Jia Zhangke, which have been mainly centered around an international filmmaker to represent Chinese national cinema or an auteur to construct realism in post-socialist China, I focus on how he deals with the individual and the crowd to read through his oeuvre as “paradox.” Based on film text analysis, my discussion develops in two parts: First, the emergence of the individual subject from his debut feature film Xiao Wu to The World; and second, the discovery of the crowd from Still Life to his later documentary works such as Dong and Useless. The first part examines how the individual is differentiated from the crowd in Jia’s earlier films under the Chinese social transformation during the 1990s and 2000s. For his predecessors, the collective was central not only in so-called “leitmotif” (zhuxuanlü or propaganda) films to enhance socialist ideology, but also in Fifth Generation films as “national allegory.” However, what Jia pays attention to is “I” rather than “We.” He focuses on the individual, marginal characters, and the local rather than the collective, heroes, and the national. -
Luxury Goods
LUXURY GOODS China Online Boom: ...yet to come for Ostrich Luxury Brands 21 FEBRUARY 2017 at 05:29* We go back to surveying how western luxury goods brands are faring in the Chinese digital market, following up on our two previous reports: China Online Boom - No Country for Ostrich Brands; Best Luca Solca of: China Online Boom: Ostriches are lifting their heads from the sand. (+44) 203 430 8503 [email protected] China is the most advanced digital market in the world Melania Grippo Digital payment penetration in China is 50 times higher than in the USA, largely still relying on (+39) 02 89 63 1724 [email protected] plastic. FMCG online penetration has reached the mid-teens. Big-box retailing in China makes shopping malls and department stores in the USA look like the garden of Eden. Guido Lucarelli (+39) 02 89 63 1726 [email protected] Western luxury brands in China are still lagging behind Only 21 of the 34 brands we have analysed operate an e-commerce mono-brand website in China. Even more remarkable is that the largest brands, such as LV, Hermès, Gucci, Prada, Ralph Lauren and Swatch, do not have an ecommerce mono-brand site. For comparison, 31 out of 32 brands Specialist sales surveyed operate an e-commerce mono-brand website in the USA, and 30 out of 32 in the UK. David Tovar Digital proficiency in China is 46% – against 55% in our latest digital competitive map (DCM). (+44) 203 430 8677 Burberry, Michael Kors and Cartier are the only exceptions Contactlab Burberry stands out in China as strong leader on the Strategic Reach axis for exploiting all possible Marco Pozzi (+39) 02 28 31 181 ecommerce channels as well as on the Digital Customer Experience Axis, excelling in customer [email protected] service and style advisory. -
Xi Jinping's Inner Circle (Part 2: Friends from Xi's Formative Years)
Xi Jinping’s Inner Circle (Part 2: Friends from Xi’s Formative Years) Cheng Li The dominance of Jiang Zemin’s political allies in the current Politburo Standing Committee has enabled Xi Jinping, who is a protégé of Jiang, to pursue an ambitious reform agenda during his first term. The effectiveness of Xi’s policies and the political legacy of his leadership, however, will depend significantly on the political positioning of Xi’s own protégés, both now and during his second term. The second article in this series examines Xi’s longtime friends—the political confidants Xi met during his formative years, and to whom he has remained close over the past several decades. For Xi, these friends are more trustworthy than political allies whose bonds with Xi were built primarily on shared factional association. Some of these confidants will likely play crucial roles in helping Xi handle the daunting challenges of the future (and may already be helping him now). An analysis of Xi’s most trusted associates will not only identify some of the rising stars in the next round of leadership turnover in China, but will also help characterize the political orientation and worldview of the influential figures in Xi’s most trusted inner circle. “Who are our enemies? Who are our friends?” In the early years of the Chinese Communist movement, Mao Zedong considered this “a question of first importance for the revolution.” 1 This question may be even more consequential today, for Xi Jinping, China’s new top leader, than at any other time in the past three decades. -
<A>INTRODUCTION
Montgomery, L. & E. Priest (2016), “Copyright and China’s Digital Cultural Industries.” In Michael Keane (Ed) Handbook of the Cultural and Creative Industries in China. Cheltenham: Edward Elgar. <a>INTRODUCTION Economic and cultural sector reforms and engagement with international markets initiated by Deng Xiaoping since 1990 led to the rapid development of the PRC’s copyright law. Since China joined the World Trade Organization in December 2001, affluent Chinese consumers have become an important target market for both Chinese and international firms trading in creative and cultural products. While enforcement remains problematic, Chinese creators and businesses are adept at navigating the intellectual property system – developing business strategies that engage with the possibilities of digital technologies and copyright licensing; using copyright to support eXpansion into new markets; and adapting distribution approaches to reflect lessons provided by first-movers in digital spaces. This chapter eXplores how and why copyright’s role is eXpanding and changing in China, focusing on recent developments in digital content markets. It considers the impact of uneven media sector reform processes on the emergence of ‘born digital’ copyright industries in China. There are signs that the commercial benefits of copyright compliance are beginning to outweigh the advantages of operating outside the intellectual property system for many Chinese stakeholders. We argue that these developments – in particular the emergence of widespread exclusive licensing practices – signal a watershed moment for China’s cultural and creative industries, highlighting the potential for digital technology to create new markets for legitimate content and services, as well as the importance of global dynamics in the development of digital era copyright industries.