DOCSLIB.ORG

Online Film Production in China Using Blockchain and Smart

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Online Film Production in China Using Blockchain and Smart International Series on Computer Entertainment and Media Technology Patrice Poujol Online Film Production in China Using Blockchain and Smart Contracts The Development of Collaborative Platforms for Emerging Creative Talents International Series on Computer Entertainment and Media Technology Series Editor Newton Lee Institute for Education, Research, and Scholarships Los Angeles, CA, USA The International Series on Computer Entertainment and Media Technology presents forward-looking ideas, cutting-edge research, and in-depth case studies across a wide spectrum of entertainment and media technology. The series covers a range of content from professional to academic. Entertainment Technology includes computer games, electronic toys, scenery fabrication, theatrical property, costume, lighting, sound, video, music, show control, animation, animatronics, interactive environments, computer simulation, visual effects, augmented reality, and virtual reality. Media Technology includes art media, print media, digital media, electronic media, big data, asset management, signal processing, data recording, data storage, data transmission, media psychology, wearable devices, robotics, and physical computing. More information about this series at http://www.springer.com/series/13820 Patrice Poujol Online Film Production in China Using Blockchain and Smart Contracts The Development of Collaborative Platforms for Emerging Creative Talents Patrice Poujol Run Run Shaw Creative Media Centre City University of Hong Kong Kowloon Tong, Kowloon, Hong Kong ISSN 2364-947X ISSN 2364-9488 (electronic) International Series on Computer Entertainment and Media Technology ISBN 978-3-030-02467-3 ISBN 978-3-030-02468-0 (eBook) https://doi.org/10.1007/978-3-030-02468-0 Library of Congress Control Number: 2018960876 © Springer Nature Switzerland AG 2019 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors, and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. This Springer imprint is published by the registered company Springer Nature Switzerland AG The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland Abstract The entry of China in the World Trade Organization (WTO) in 2001 marked its growing integration into the global economy. After its WTO accession, the central government, some selected online companies and the creative industries have col- laborated to form the largest online film circulation platforms in the world such as iQiyi (under the umbrella of Baidu), Tencent Video, LeTV or Youku Tudou (with Alibaba as owner) with hundreds of millions of Internet and mobile viewers. Meanwhile, China’s political-economic system has remained under the control of the Chinese Government. The monitoring of online content has increased. This has resulted in the shutdown of foreign competitors (such as YouTube) and local pirate online platforms. While replicating almost all of the successful Western start- ­up models such as Google, Facebook, YouTube or Amazon, China has nurtured its own champions including Alibaba, Youku Tudou, Baidu and Tencent. China has also been developing cutting-edge blockchain and smart contract-­ decentralised technologies such as NEO at a rapid pace. Blockchain and smart con- tract technologies have increased tenfold over a few months from a total market capitalisation of US$10 billion to over US$100 billion in July 2017 (Shin 2017), mostly through crowdfunding.1 This unprecedented phenomenon has contributed to generate dozens of creative concepts, raising between US$30 million and over US$300 million in initial coin offerings (ICOs). However, despite all these converging developments, the Chinese creative indus- tries and the central government have not yet developed and supported an indepen- dent creative crowdfunding/crowdsourcing system like US-based Kickstarter or Indiegogo to finance, produce, promote and circulate film and creative works online. In this context, the present study will answer the following key research ques- tions: Can there be a distributed online-based participatory system of independent creative production in China where the government, the industry and the audience can all contribute and benefit? Are platforms such as Youku Tudou (YT), NEO, Alibaba’s Yulebao and Zhongchou preliminary steps in this direction? What are the 1 Since then, the total cryptocurrency market valuation has reached a peak of c. US$700 billion in early January 2018 (Martin 2018). v vi Abstract basic characteristics and key issues of such a system, especially in relation to the Internet and mobile film circulation and the involvement and interaction of the young urban audiences in China? Beyond this, how can such notions as IP, piracy, value and collective creativity be redefined in the networked economy? This book also proposes to discuss key questions about the development and the adoption of new digital platforms – such as the implications for the future of copy- right and the production of creative content which circulates on these distribution windows in China. Beyond these points, this research observes the change in media consciousness amongst the young urban Chinese audiences’ and the emergence of a participatory and creative online community. These key questions will be studied through primary data collected from urban China and case studies on film production and online platform.2 In the end, this research proposes solutions on how these young local creative talents can be identi- fied and supported early on, particularly within new disintermediated and distrib- uted crowdfunding/crowdsourcing online ecosystems. References Martin, Will. 2018. “Cryptocurrency Market Passes $700 Billion on January 3, Bitcoin Rises - Business Insider.” Business Insider, January 3. http://www.businessinsider.com/ bitcoin-price-global-cryptocurrency-market-capitalisation-january-3-2018-1?r=UK&IR=T. Shin, Laura. 2017. “The Emperor’s New Coins: How Initial Coin Offerings Fueled A $100 Billion Crypto Bubble.” Forbes. July. https://www.forbes.com/sites/laurashin/2017/07/10/ the-emperors-new-coins-how-initial-coin-offerings-fueled-a-100-billion-crypto- bubble/2/#33af01a1b2cc. 2 These findings are occasionally combined with relevant and targeted elements of comparison with Hong Kong, Europe and the USA. Keywords China; Alibaba Pictures; Youku Tudou; Yulebao; Zhongchou; P2P; Blockchain technology; Smart contracts; Tokenisation; Bitcoin; Cardano, Ethereum; NEO; Cryptocurrencies; Distributed production systems; Decentralised production sys- tems; Creative audiences; Emerging creative talent; Creative industries; Censorship; Copyrights; Intellectual Property (IP); Crowdfunding; Crowdsourcing; Digital technology; Digital filmmaking; Film finance; Film production; Film distribution; Film circulation; Film production chain; Online media conglomerates; Platformisation; Piracy; Political economy; World Trade Organization (WTO); Young urban audiences; Value in creative productions and filmmaking; Initial Coin Offering (ICO); Security Token Offering (STO) vii Acknowledgements I start this book as a celebration to my mother, Rosita Ruiz, who gave me life, unconditional support, love, taste for creativity and the world; to my grandparents, George Geneste, Eugenio Ruiz and Pilar Manzanas, who survived two wars and have been a great example of courage, wisdom and compassion to follow through- out my life; to my family and, particularly, my cousin, Eric Lagarde, who supported me and advised me since I was a child, like a real brother; to my cousin, Jean-Paul Florenty, and his family for their professional advice; and to my father, Bernard Poujol, who finally learnt how to accept my life choices and not to be so anxious about my future: Qui vivra verra… I am reserving a very special place to my dear friend, Prof. James Francis Kenny, for his precious personal and academic advice not only throughout the PhD but since I first met him 10 years ago. He gave me the inspiration and the will to reach for my dreams and helped me build strong foundations to make it happen. He largely contributed to get me back on my feet when I got knocked down along the way; this I will never forget. I don’t think that I would have succeeded to finish this work without his help and advice. To Winnie Leung who gave me the strategies and the strength to go through the past 3 years of my life. To Brett Westwood for his honesty, courage, and creativity. To Dr. Robert Ellis-Geiger for
Load more

Recommended publications
  • 9780367508234 Text.Pdf
    Development of the Global Film Industry The global film industry has witnessed significant transformations in the past few years. Regions outside the USA have begun to prosper while non-traditional produc- tion companies such as Netflix have assumed a larger market share and online movies adapted from literature have continued to gain in popularity. How have these trends shaped the global film industry? This book answers this question by analyzing an increasingly globalized business through a global lens. Development of the Global Film Industry examines the recent history and current state of the business in all parts of the world. While many existing studies focus on the internal workings of the industry, such as production, distribution and screening, this study takes a “big picture” view, encompassing the transnational integration of the cultural and entertainment industry as a whole, and pays more attention to the coordinated develop- ment of the film industry in the light of influence from literature, television, animation, games and other sectors. This volume is a critical reference for students, scholars and the public to help them understand the major trends facing the global film industry in today’s world. Qiao Li is Associate Professor at Taylor’s University, Selangor, Malaysia, and Visiting Professor at the Université Paris 1 Panthéon- Sorbonne. He has a PhD in Film Studies from the University of Gloucestershire, UK, with expertise in Chinese- language cinema. He is a PhD supervisor, a film festival jury member, and an enthusiast of digital filmmaking with award- winning short films. He is the editor ofMigration and Memory: Arts and Cinemas of the Chinese Diaspora (Maison des Sciences et de l’Homme du Pacifique, 2019).
    [Show full text]
  • “Mission: Impossible – Rogue Nation” Movie
    Alibaba Pictures to Invest in Paramount Pictures’ “Mission: Impossible – Rogue Nation” Movie Beijing, China, ---- 24 June 2015 - Alibaba Pictures Group Limited (SEHK code: 1060; "Alibaba Pictures"; the "Company") announced today that it has signed an agreement with Paramount Pictures Corporation (“Paramount Pictures”), under which Alibaba Pictures will invest in its first Hollywood blockbuster Mission: Impossible – Rogue Nation, and become an official partner for the promotion of the movie in China. Alibaba Pictures and Paramount Pictures will collaborate in the areas of online ticketing, merchandising and promotion of the movie. The investment in Mission: Impossible – Rogue Nation is the start of Alibaba Pictures’ international journey as the Company continues to explore collaborative opportunities with more movie studios overseas. Alibaba Pictures has established a presence in Los Angeles to pursue investment and other forms of collaboration in Hollywood, the hub for the global film industry. The cooperation with Paramount Pictures is a strong alliance that has deep synergies for both parties. It also reflects Alibaba Pictures’ commitment to developing and distributing high-quality content to moviegoers. By integrating Alibaba Group’s big data technology, understanding of the Chinese consumers and overarching e-commerce ecosystem, Alibaba Pictures looks to tailor high-impact, integrated promotional campaigns for Mission: Impossible - Rogue Nation, to effectively engage China’s hundreds of millions of moviegoers. Alibaba Group’s Taobao Movie, an application that allows online ticketing and advance seat selection, will be one of the major ticketing platforms for Mission: Impossible - Rogue Nation. Taobao Movie also interlinks with Alibaba Group’s mobile shopping app Mobile Taobao with significant user bases, and a related third-party online payment platform Alipay, which provides consumers with various access to Taobao Movie to buy tickets.
    [Show full text]
  • Over the Past Century Numerous Waves of Transnational Media
    IN FOCUS: China’s Rise Introduction by MICHAEL CURTIN, editor ver the past century numerous waves of transnational media have washed across East Asia, with cycles emanating from vari- ous centers of cultural production such as Tokyo, Hong Kong, O and Seoul. Most recently the People’s Republic of China (PRC) has begun to exert growing infl uence over the production and fl ow of screen media, a phenomenon tied to the increasing size and power of its overall economy. The country’s rising status achieved truly global recognition during the 2008 Beijing Olympics. In the seven years lead- ing up to the event, the Chinese economy tripled in size, expanding from $1.3 trillion to almost $4 trillion, a fi gure that made it the world’s third largest economy, slightly behind Japan but decisively ahead of its European counterparts, Germany, France, and the United King- dom. The scale and speed of this transformation are stunning. Just as momentous are the changes in its fi lm, television, and digital media markets, which now fi gure prominently in the calculations of produc- ers throughout East Asia. China’s “peaceful rise” is the organizing theme of the government’s economic and foreign policies and, quite strikingly, it was also the em- phatic message of the Olympic ceremonies staged by Zhang Yimou, the PRC’s most internationally renowned fi lm director. Named artistic advisor to the Games during the early planning stage, Zhang later won the competition to design the opening and closing spectacles, ul- timately spending an estimated $300 million and employing 15,000 performers to produce undeniably the most visually striking ceremo- nies in the history of the Olympics.
    [Show full text]
  • I CHINESE INVESTMENT in the UNITED STATES: IMPACTS AND
    i CHINESE INVESTMENT IN THE UNITED STATES: IMPACTS AND ISSUES FOR POLICYMAKERS HEARING BEFORE THE U.S.-CHINA ECONOMIC AND SECURITY REVIEW COMMISSION ONE HUNDRED FIFTEENTH CONGRESS FIRST SESSION THURSDAY, JANUARY 26, 2017 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: 2017 ii U.S.-CHINA ECONOMIC AND SECURITY REVIEW COMMISSION CAROLYN BARTHOLOMEW, CHAIRMAN HON. DENNIS C. SHEA, VICE CHAIRMAN Commissioners: ROBIN CLEVELAND HON. JONATHAN STIVERS HON. BYRON L. DORGAN HON. JAMES TALENT HON. CARTE P. GOODWIN DR. KATHERINE C. TOBIN DANIEL M. SLANE MICHAEL R. WESSEL MICHAEL R. DANIS, Executive Director 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.
    [Show full text]
  • World Cinema Beyond the Periphery : Developing Film Cultures in Bhutan, Mongolia, and Myanmar
    Lingnan University Digital Commons @ Lingnan University Theses & Dissertations Department of Visual Studies 10-17-2016 World cinema beyond the periphery : developing film cultures in Bhutan, Mongolia, and Myanmar Nis GRØN Follow this and additional works at: https://commons.ln.edu.hk/vs_etd Part of the Visual Studies Commons Recommended Citation Grøn, N. (2016). World cinema beyond the periphery: Developing film cultures in Bhutan, Mongolia, and Myanmar (Doctor's thesis, Lingnan University, Hong Kong). Retrieved from http://commons.ln.edu.hk/ vs_etd/8 This Thesis is brought to you for free and open access by the Department of Visual Studies at Digital Commons @ Lingnan University. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of Digital Commons @ Lingnan University. Terms of Use The copyright of this thesis is owned by its author. Any reproduction, adaptation, distribution or dissemination of this thesis without express authorization is strictly prohibited. All rights reserved. WORLD CINEMA BEYOND THE PERIPHERY DEVELOPING FILM CULTURES IN BHUTAN, MONGOLIA, AND MYANMAR NIS GRØN PhD LINGNAN UNIVERSITY 2016 WORLD CINEMA BEYOND THE PERIPHERY DEVELOPING FILM CULTURES IN BHUTAN, MONGOLIA, AND MYANMAR by Nis GRØN A thesis submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy in Visual Studies LINGNAN UNIVERSITY 2016 ABSTRACT World Cinema Beyond the Periphery Developing Film Cultures in Bhutan, Mongolia, and Myanmar by Nis GRØN Doctor of Philosophy According to UNESCO’s Universal Declaration on Cultural Diversity there exists a need in light of the “imbalances in flows and exchanges of cultural goods and services at the global level” to enable “all countries, especially developing countries and countries in transition, to establish cultural industries that are viable and competitive at a national and international level” (2001).
    [Show full text]
  • 1 Skydance Media and Alibaba Pictures Join Forces To
    SKYDANCE MEDIA AND ALIBABA PICTURES JOIN FORCES TO FINANCE AND PRODUCE FLYING TIGERS FEATURE FILM Oscar-Nominated Writer Randall Wallace to Script _____________________________________________________________________________ Santa Monica, CA and Beijing, China – April 6, 2016 – Skydance, a diversified media company that creates elevated, event-level entertainment for global audiences, and Alibaba Pictures, Alibaba Group’s entertainment affiliate, today announced that they will join forces to finance and produce a Flying Tigers feature film for global release. It has been designated by Skydance Media and Alibaba Pictures as a high-priority development project. The screenplay will be written by Oscar-nominated writer Randall Wallace (Braveheart) and the film will be produced by David Ellison and Dana Goldberg of Skydance together with a team from Alibaba Pictures. The Flying Tigers – formally known as the 1st American Volunteer Group of the Chinese Air Force – was a group of volunteer pilots from the U.S. Air Force, Navy and Marine Corps. Led by Captain Claire Lee Chennault, the group fought alongside the Chinese during World War II. The Flying Tigers project will tell the story of the unique brotherhood formed by these intrepid soldiers. “This production partnership with Alibaba Pictures on Flying Tigers marks an important next step in our strategy to expand the reach of the Skydance brand on a global basis,” said David Ellison, Chief Executive Officer of Skydance Media. “We could not be more excited to work with the incomparable Randall Wallace to bring to life the extraordinary, untold story of the great commitment and sacrifices made by this courageous group of pilots.” “Flying Tigers carries with it a rich legacy and a movie about this subject matter has been highly anticipated for a very long time,” added Zhang Wei, President of Alibaba Pictures.
    [Show full text]
  • Promotion Cooperation Framework Agreement
    Hong Kong Exchanges and Clearing Limited and The Stock Exchange of Hong Kong Limited take no responsibility for the contents of this announcement, make no representation as to its accuracy or completeness and expressly disclaim any liability whatsoever for any loss howsoever arising from or in reliance upon the whole or any part of the contents of this announcement. (Incorporated in Bermuda with limited liability) (Stock Code: 1060) CONTINUING CONNECTED TRANSACTIONS - PROMOTION COOPERATION FRAMEWORK AGREEMENT PROMOTION COOPERATION FRAMEWORK AGREEMENT The Board announces that Shanghai TPP, a consolidated subsidiary of the Company, entered into the Promotion Cooperation Framework Agreement with Shanghai Rajax, a consolidated entity of AGH, on January 25, 2019 for a term commencing from January 25, 2019 to March 31, 2020. Pursuant to the Promotion Cooperation Framework Agreement, Shanghai TPP and Shanghai Rajax agree to provide advertising resources and/or services to each other for promoting brand names of the other party and/or their respective clients on their respective apps/platforms on the basis that the total market prices of such advertising resources and/or services provided to each other are equal, subject to the annual caps of the market price of the advertising resources and/or services concerned, and thus neither party has to pay the other party a cash consideration. LISTING RULES IMPLICATIONS Shanghai Rajax is a consolidated entity of AGH. AGH is the ultimate sole shareholder of Ali CV, which is a substantial shareholder and a connected person of the Company holding approximately 49% of the issued share capital of the Company as at the date of this announcement.
    [Show full text]
  • IMAX CHINA HOLDING, INC. (Incorporated in the Cayman Islands with Limited Liability) (Stock Code: 1970)
    Hong Kong Exchanges and Clearing Limited and The Stock Exchange of Hong Kong Limited take no responsibility for the contents of this announcement, make no representation as to its accuracy or completeness and expressly disclaim any liability whatsoever for any loss howsoever arising from or in reliance upon the whole or any part of the contents of this announcement. IMAX CHINA HOLDING, INC. (Incorporated in the Cayman Islands with limited liability) (Stock Code: 1970) BUSINESS UPDATE WANDA CINEMA LINE CORPORATION LIMITED AGREES TO ADD 150 IMAX THEATRES The board of directors of IMAX China Holding, Inc. (the “Company”) announces that the Company (through its subsidiaries) has entered into an agreement (“Installation Agreement”) with Wanda Cinema Line Corporation Limited (“Wanda Cinema”). Under the Installation Agreement, 150 IMAX theatres will be built throughout China over six years, starting next year. With the Installation Agreement, the Company’s total number of theatre signings year to date has reached 229 in China and the total backlog will increase nearly 60 percent. The Installation Agreement is in addition to an agreement entered into between the Company and Wanda Cinema in 2013 (“Previous Installation Agreement”). Under the Previous Installation Agreement, Wanda Cinema committed to deploy 120 new IMAX theatres by 2020. The key commercial terms of the Installation Agreement are substantially similar to those under the Previous Installation Agreement. The Company made a press release today regarding the Installation Agreement. For
    [Show full text]
  • To Be Young, Queer and Chinese
    FILM AT REDCAT PRESENTS Mon Nov 30 | 8:00 PM | ONLINE Jack H. Skirball Series $10 [members $8] To get tickets, visit: To Be Young, Queer and Chinese To Be Young, Queer and Chinese Program curated by Jenny Man Wu, with Popo Fan and Yang Yang Presented in collaboration with Love Queer Cinema Week (former Beijing Queer Film Festival, BJQFF) Love Queer Cinema Week was funded in 2001 by university students as the first LGBTQ film festival in mainland China – where it remains one of the few grassroots events involved in independent queer film screenings and cultural exchange, providing a platform for sexual and other minorities worldwide. It has hosted international guests and offered travel grants to young Chinese participants. It has created ties with queer film festivals/events in Brazil, Belgium, Italy and Denmark, and the Berlinale Teddy Awards. Often harassed by the authorities and forced to change locations, it has survived as a site of resistance for social, cultural and artistic fluidity. Three festival organizers will hold a panel discussion on the evolution of queer media in China. Also: screening of Popo Fan’s The Drum Tower (Gu Lou Xi, 2019) and Yang Yang’s Our Story - 10-year "Guerrilla Warfare" of Beijing Queer Film Festival (Wo men de gu shi, 2011) In person via Zoom from Beijing and Berlin: Director on Duty Jenny Man Wu (rotating position), Committee Members Yang Yang and Popo Fan “… what made the BJQFF screening among the most moving and memorable experiences we’ve had on the festival circuit was the realization that it was more than an entertainment, it was a statement.
    [Show full text]
  • Arts & Culture
    ARTS & CULTURE ART P42 ART P48 IN PRINT P52 CINEMA P56 STAGE that’smags www.thebeijinger.com Novemberwww. 200 thatsbj.com8 / the Beijinger Sept. 200541 Hovering Child by American artist Fran Forman. See Preview, p46; photo courtesy of Common Ground All event listings are accurate at time of press and subject to change For venue details, see directories, p43 Send events to [email protected] by Nov 10 Nov 8-30 its over 150 art pieces of contem- porary art around the world from Wang Jie the 1960s to the present day. The By eliminating human figures in curatorial approach of the show is rt his paintings, Wang Jie’s emphasis basically chronological, showing is on clothes – our “second skin.” the historical development of the New Age Gallery (5978 9282) world of contemporary art that A Nov 8-Dec 21 parallels the trajectory of the Swiss Chinese Contemporary Art Awards bank’s tastes throughout the dec- ades. Expect big names including ART 2008 Founded in 1997 by Uli Siggs, CCAA Damien Hirst, Andy Warhol, Lucien has awarded Liu Wei this year as Freud, Jasper Johns, as well as its pick for “Best Artist” and Tseng emerging Chinese artists including Yu-chin as “Best Young Artist” (see Cao Fei, Qiu Anxiong and Xu Zhen. Feature, p44). Ai Weiwei has also National Art Museum of China been given a lifetime achievement (6401 2252/7076) award. The works of these three Until Nov 12 artists will be exhibited at the larg- Coats! est art space in 798. Ullens Center Until Jan 10: Edward Burtynsky’s China Beijing is the third stop – after for Contemporary Art (6438 6576) Berlin and Tokyo – for this exhibi- A fresh take on manufacturing art.
    [Show full text]
  • Chronos 2016
    C H R O N O S T H E S Y R A C U S E U N I V E R S I T Y U N D E R G R A D U A T E H I S T O R Y J O U R N A L 2 TABLE OF CONTENTS 4… Girl Power: Feminism and Class Stratification in the British Eugenics Movement by Luke Foley 16… The Wind Rises: A Swirling Controversy by Sean Mowry 26… Deng and Carter: The Normalization of Sino-American Relations by Yan Zhang 39… The Origin and Lifespan of Food Assistance Programs during the Great Depression by Vincent Gottfried Wisehoon 54… Meeting or Beating Gendered Expectations During the Holocaust by Katarina Andersen 3 Letter From the Editors This edition of Chronos was brought together by a team of dedicated members with a new and exciting vision for the magazine. Through digitizing this edition, as well as creating a website, we hoped to make the journal more accessible. Staying true to years past, the articles selected are a reflection of the undergraduate history department at Syracuse University. The articles in this year’s Chronos include topics ranging from feminism in Nazi Germany, to international relations between the United States and China during the Carter administration. We would like to thank Chronos Advisor, Professor Osamah Khalil, for his patience and emotional support throughout this process. We would also like to thank Brooke Winckelmann, for guiding us through the website making process, as well as Mary Collier for her continuous assistance.
    [Show full text]
  • Alibaba Group Completes Full Acquisition and Integration of Ucweb
    Alibaba Group Completes Full Acquisition and Integration of UCWeb Beijing, China, June 11, 2014 – UCWeb Inc., the No. 1 mobile browser company in China, and Alibaba Group (“Alibaba”) announced today that Alibaba has fully acquired UCWeb and will form the UC mobile business group under the leadership of Yu Yongfu, chairman and chief executive of UCWeb. Prior to this, Alibaba held approximately 66% of the economic interests of UCWeb in the form of convertible preferred shares. The consideration for the acquisition of the remaining equity interest in UCWeb that Alibaba does not already own will be in the form of Alibaba shares and cash. The move highlights the comprehensive integration of Alibaba and UCWeb following Alibaba’s investment in UCWeb in 2009 and 2013, and will enables deeper synergies between the companies by marrying Alibaba’s strengths in e-commerce, cloud computing and big data technology and UCWeb’s leading market position and technology in mobile. The UC mobile business group of Alibaba will oversee the browser, mobile search, location-based services, mobile gaming, app store and mobile reader operations. “We are excited to welcome nearly 3000 new colleagues to the Alibaba family who share the same mission and passion as our team. Alibaba and UCWeb both hold firm to our beliefs and share a vision to improve people’s lives through the power of the Internet,” said Jack Ma, executive chairman of Alibaba Group. “Alibaba has unconditionally supported UCWeb’s endeavors’ over the course of past five years and we are excited to become a part of the team,” said Yu Yongfu, chairman and chief executive of UCWeb.
    [Show full text]