I Wish I Knew Pressbook
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Mao's War Against Nature: Politics and the Environment In
Reviews Mao’s War Against Nature: Politics and the Environment in Revolutionary China, by Judith Shapiro, Cambridge: Cambridge University Press (2001), xvii, 287 pp. Reviewed by Gregory A. Ruf, Associate Professor, Chinese Studies and Anthropology Stony Brook State University of New York In this engaging and informative book, Judith Shapiro takes a sharp, critical look at how development policies and practices under Mao influenced human relationships with the natural world, and considers some consequences of Maoist initiatives for the environment. Drawing on a variety of sources, both written and oral, she guides readers through an historical overview of major political and economic campaigns of the Maoist era, and their impact on human lives and the natural environment. This is a bold and challenging task, not least because such topics remain political sensitive today. Yet the perspective Shapiro offers is refreshing, while the problems she highlights are disturbing, with significant legacies. The political climate of revolutionary China was pervaded by hostile struggle against class enemies, foreign imperialists, Western capitalists, Soviet revisionists, and numerous other antagonists. Under Mao and the communists, “the notion was propagated that China would pick itself up after its long history of humiliation by imperialist powers, become self-reliant in the face of international isolation, and regain strength in the world” (p.6). Militarization was to be a vehicle through which Mao would attempt to forge a ‘New China.’ His period of rule was marked by a protracted series of mass mobilization campaigns, based around the fear of perceived threats, external or internal. Even nature, Shapiro argues, was portrayed in a combative and militaristic rhetoric as an obstacle or enemy to overcome. -
Annual Report and Accounts 2004/2005
THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to -
Master for Quark6
Special Feature s e v i a t Realisms within Conundrum c n i e h The Personal and Authentic Appeal in Jia Zhangke’s Accented Films (1) p s c r e ESTHER M. K. CHEUNG p With persistent efforts on constructing personal and collective memories arising from the unprecedented transformations in post-socialist China, Jia Zhangke has produced an ensemble of realist films with an impressive personal and authentic appeal. This paper examines how his films are characterised by a variety of accents, images of authenticity, a quotidian ambience, and a new sense of materiality within the local-global nexus. Within a tripartite model of truth, identity, and performance, Jia’s oeuvres demonstrate the powerful performativity of different modes of realism arising out of a state of conundrum when China undergoes a transition from planned economy into wholesale marketisation and globalisation. The appeal of Jia Zhangke’s fined to documentary realism. His films serve to write up a accented cinema history of his generation: rom his first feature Xiao Wu (aka The Pickpocket , I made these films because I wanted to compensate 1997) to 24 City (2008), Jia Zhangke’s films have for what was not fulfilled. I must also emphasise that Fbeen characterised by an impressive personal and au - apart from the realist mode, there are other kinds of thentic appeal. As viewers, in about a decade’s time we have representation that can be called “visual memory”; for observed an ongoing process of the director’s negotiation example, Dali’s surrealist images in the early twentieth with realism as a mode of film representation. -
Warriors As the Feminised Other
Warriors as the Feminised Other The study of male heroes in Chinese action cinema from 2000 to 2009 A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Chinese Studies at the University of Canterbury by Yunxiang Chen University of Canterbury 2011 i Abstract ―Flowery boys‖ (花样少年) – when this phrase is applied to attractive young men it is now often considered as a compliment. This research sets out to study the feminisation phenomena in the representation of warriors in Chinese language films from Hong Kong, Taiwan and Mainland China made in the first decade of the new millennium (2000-2009), as these three regions are now often packaged together as a pan-unity of the Chinese cultural realm. The foci of this study are on the investigations of the warriors as the feminised Other from two aspects: their bodies as spectacles and the manifestation of feminine characteristics in the male warriors. This study aims to detect what lies underneath the beautiful masquerade of the warriors as the Other through comprehensive analyses of the representations of feminised warriors and comparison with their female counterparts. It aims to test the hypothesis that gender identities are inventory categories transformed by and with changing historical context. Simultaneously, it is a project to study how Chinese traditional values and postmodern metrosexual culture interacted to formulate Chinese contemporary masculinity. It is also a project to search for a cultural nationalism presented in these films with the examination of gender politics hidden in these feminisation phenomena. With Laura Mulvey‘s theory of the gaze as a starting point, this research reconsiders the power relationship between the viewing subject and the spectacle to study the possibility of multiple gaze as well as the power of spectacle. -
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 -
Hearing on China's Military Reforms and Modernization: Implications for the United States Hearing Before the U.S.-China Economic
HEARING ON CHINA'S MILITARY REFORMS AND MODERNIZATION: IMPLICATIONS FOR THE UNITED STATES HEARING BEFORE THE U.S.-CHINA ECONOMIC AND SECURITY REVIEW COMMISSION ONE HUNDRED FIFTEENTH CONGRESS SECOND SESSION THURSDAY, FEBRUARY 15, 2018 Printed for use of the United States-China Economic and Security Review Commission Available via the World Wide Web: www.uscc.gov UNITED STATES-CHINA ECONOMIC AND SECURITY REVIEW COMMISSION WASHINGTON: 2018 U.S.-CHINA ECONOMIC AND SECURITY REVIEW COMMISSION ROBIN CLEVELAND, CHAIRMAN CAROLYN BARTHOLOMEW, VICE CHAIRMAN Commissioners: HON. CARTE P. GOODWIN HON. JAMES TALENT DR. GLENN HUBBARD DR. KATHERINE C. TOBIN HON. DENNIS C. SHEA MICHAEL R. WESSEL HON. JONATHAN N. STIVERS DR. LARRY M. WORTZEL The Commission was created on October 30, 2000 by the Floyd D. Spence National Defense Authorization Act for 2001 § 1238, Public Law No. 106-398, 114 STAT. 1654A-334 (2000) (codified at 22 U.S.C. § 7002 (2001), as amended by the Treasury and General Government Appropriations Act for 2002 § 645 (regarding employment status of staff) & § 648 (regarding changing annual report due date from March to June), Public Law No. 107-67, 115 STAT. 514 (Nov. 12, 2001); as amended by Division P of the “Consolidated Appropriations Resolution, 2003,” Pub L. No. 108-7 (Feb. 20, 2003) (regarding Commission name change, terms of Commissioners, and responsibilities of the Commission); as amended by Public Law No. 109- 108 (H.R. 2862) (Nov. 22, 2005) (regarding responsibilities of Commission and applicability of FACA); as amended by Division J of the “Consolidated Appropriations Act, 2008,” Public Law Nol. 110-161 (December 26, 2007) (regarding responsibilities of the Commission, and changing the Annual Report due date from June to December); as amended by the Carl Levin and Howard P. -
Yeo, Su-Anne. 2016. Transnational Screens and Asia Pacific Public
Yeo, Su-Anne. 2016. Transnational Screens and Asia Pacific Public Cultures: Vancouver, Toronto, and Hong Kong, 1997-2007. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/18872/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] 1 Transnational Screens and Asia Pacific Public Cultures: Vancouver, Toronto, and Hong Kong, 1997-2007 Su-Anne YEO Thesis submitted to Goldsmiths, University of London for the Degree of Doctor of Philosophy July 2016 2 Declaration I declare that the work presented in this thesis is my own. Name: Su-Anne Yeo Signature: __________________________________ Date: __________________________________ 3 Acknowledgements This thesis would not have been possible with the generosity of several organizations and many individuals both in the UK and overseas. First, I would like to acknowledge the contribution of the many people who agreed to participate in this study by being interviewed or by sharing archival materials. Their assistance has been invaluable. For financial support, I thank the Overseas Research Student Award (ORSAS), the University of London Central Research Fund, and the Daiwa Charitable Foundation of Hong Kong. I am forever indebted to my thesis supervisor, Chris Berry, who taught by example, read closely and critically, and never lost faith in my abilities, especially when I doubted myself. -
The London School of Economics and Political Science a Neoliberalizing
The London School of Economics and Political Science A neoliberalizing Chinese cinema: political economy of the Chinese film industry in post-WTO China Xiaoxi Zhu A thesis submitted to the Department of Media and Communications of the London School of Economics for the degree of Doctor of Philosophy London, March 2019 1 Declaration I certify that the thesis I have presented for examination for the MPhil/PhD degree of the London School of Economics and Political Science is solely my own work other than where I have clearly indicated that it is the work of others (in which case the extent of any work carried out jointly by me and any other person is clearly identified in it). The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without my prior written consent. I warrant that this authorisation does not, to the best of my belief, infringe the rights of any third party. I declare that my thesis consists of 71012 words. 2 Abstract This thesis aims to investigate the industry restructuration of the Chinese film industry in the context of China integrating into the global neoliberal capitalist system since its WTO entry in 2002. By interrogating the power dynamics between the Party-state, domestic capital and transnational media capital, this thesis explores respective roles each of the three stakeholders have played in shaping the commercialization and marketization of the Chinese film industry. Methodically, this thesis primarily relies on elite interviews with industry professionals, together with critical discourse analysis of one key policy document, and secondary data collected from news outlets, trade publications, industry reports, etc. -
The Monopack Revolution, Global Cinema and Jigokumon/Gate of Hell (Kinugasa Teinosuke, 1953)
Research How to Cite: Street, S. 2018. The Monopack Revolution, Global Cinema and Jigokumon/Gate of Hell (Kinugasa Teinosuke, 1953). Open Screens, 1(1): 2, pp. 1–29, DOI: https://doi.org/10.16995/os.2 Published: 06 June 2018 Peer Review: This article has been peer reviewed through the double-blind process of Open Screens, which is a journal published by the Open Library of Humanities. Copyright: © 2018 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. See http://creativecommons.org/licenses/by/4.0/. Open Access: Open Screens is a peer-reviewed open access journal. Digital Preservation: The Open Library of Humanities and all its journals are digitally preserved in the CLOCKSS scholarly archive service. Street, S. 2018. The Monopack Revolution, Global Cinema and Jigokumon/Gate of Hell (Kinugasa Teinosuke, 1953). Open Screens, 1(1): 2, pp. 1–29, DOI: https://doi.org/10.16995/os.2 RESEARCH The Monopack Revolution, Global Cinema and Jigokumon/Gate of Hell (Kinugasa Teinosuke, 1953) Sarah Street University of Bristol, UK [email protected] This article discusses the impact of cheaper colour film stocks introduced in the 1950s on the global film market. After a contextual overview the cases of India and China are briefly considered before a more detailed examination of conditions in Japan, and how the world’s attention was drawn to the achievements of Jigokumon/Gate of Hell (Kinugasa Teinosuke, 1953) as an exemplary colour film that was influenced by both Japanese culture and Hollywood melodrama, particularly The Mississippi Gambler (Rudolph Maté, 1953), an American film that was notable for its display of different colours, fabrics and silken textures illuminated by lighting. -
China-Latin America Military Engagement: Good Will, Good Business, and Strategic Position
Visit our website for other free publication downloads http://www.StrategicStudiesInstitute.army.mil/ To rate this publication click here. STRATEGIC STUDIES INSTITUTE The Strategic Studies Institute (SSI) is part of the U.S. Army War College and is the strategic-level study agent for issues related to national security and military strategy with emphasis on geostrate- gic analysis. The mission of SSI is to use independent analysis to conduct strategic studies that develop policy recommendations on: • Strategy, planning, and policy for joint and combined employment of military forces; • Regional strategic appraisals; • The nature of land warfare; • Matters affecting the Army’s future; • The concepts, philosophy, and theory of strategy; and • Other issues of importance to the leadership of the Army. Studies produced by civilian and military analysts concern topics having strategic implications for the Army, the Department of De- fense, and the larger national security community. In addition to its studies, SSI publishes special reports on topics of special or immediate interest. These include edited proceedings of conferences and topically-oriented roundtables, expanded trip re- ports, and quick-reaction responses to senior Army leaders. The Institute provides a valuable analytical capability within the Army to address strategic and other issues in support of Army par- ticipation in national security policy formulation. SSI MONOGRAPH CHINA-LATIN AMERICA MILITARY ENGAGEMENT: GOOD WILL, GOOD BUSINESS, AND STRATEGIC POSITION R. Evan Ellis August 2011 The views expressed in this report are those of the author and do not necessarily reflect the official policy or position of the Depart- ment of the Army, the Department of Defense, or the U.S. -
Filmkrantindex 0-166
Inhoud/Toelichting 1 INDEX NR 0 T/M 166 T/M 0 INDEX NR Deze index op de nummers 0 tot en met 166 van de Filmkrant is ingedeeld in de hieronder vermelde categorieën. Elke categorie is gealfabetiseerd: op trefwoord, op titel of op naam. De alfabetisering volgt het 'computer-systeem', d.w.z. dat begonnen wordt met leestekens ('Crocodile' Dundee), vervolgens cijfers (06) en daarna letters (A demain). Artikelen .............................................................................. 2 Filmrecensies ................................................................... 20 U vindt hier artikelen en series (b.v. Flashback) die buiten In deze categorie vindt u uitsluitend echte recensies met alle andere categorieën vallen. Géén filmbesprekingen of credits. de inhoud van de rubrieken 'Nieuws' of 'Geruchten- machine'. Films op video ................................................................ 37 Sinds kort de rubriek waar films worden besproken die Boekrecensies ................................................................... 8 wel op video maar niet in de bioscoop worden uitge- Hier vindt u echte boekrecensies, niet de rubrieken van bracht. U vindt hier geen credits, alleen de uitbreng- Jan Hilkemeijer en Anita Snoek. datum en de distributeur. Columns ............................................................................... 10 Interviews .......................................................................... 39 Persoonlijke notities van Jan Beijsterbos, Jan Heijs, Ian U treft hier, naast interviews met filmmakers over hun Kerkhof, -
I WISH I KNEW a Film by Jia Zhangke
presents I WISH I KNEW A film by Jia Zhangke **Official Selection, Un Certain Regard, Cannes Film Festival 2010** **Official Selection, Locarno Film Festival 2010** **Official Selection, Toronto International Film Festival, 2010** China / 2010 / 118 minutes / Color / Chinese with English subtitles Publicity Contacts: David Ninh, [email protected] Distributor Contact: Chris Wells, [email protected] Kino Lorber, Inc. 333 West 39th St., Suite 503 New York, NY 10018 (212) 629-6880 Short Synopsis: Shanghai, a fast-changing metropolis, a port city where people come and go. Eighteen people recall their lives in Shanghai. Their personal experiences, like eighteen chapters of a novel, builds a vivid picture of Shanghai life from the 1930s to 2010. Long Synopsis: Shanghai's past and present flow together in Jia Zhangke's poetic and poignant portrait of this fast-changing port city. Restoring censored images and filling in forgotten facts, Jia provides an alternative version of 20th century China's fraught history as reflected through life in the Yangtze city. He builds his narrative through a series of eighteen interviews with people from all walks of life-politicians' children, ex-soldiers, criminals, and artists (including Taiwanese master Hou Hsiao-hsien) -- while returning regularly to the image of his favorite lead actress, Zhao Tao, wandering through the Shanghai World Expo Park. (The film was commissioned by the World Expo, but is anything but a piece of straightforward civic boosterism.) A richly textured tapestry full of provocative juxtapositions. - Metrograph Director’s Biography: Jia Zhangke was born in Fenyang, Shanxi, in 1970 and graduated from Beijing Film Academy.