Annual School Report (2015-2016) Professional Development Programmes Were As Follows: Date & I
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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 -
2Ndind PAGE.Indd
Abstracts of the Psychonomic Society — Volume 11 — November 2006 47th Annual Meeting — November 16–19, 2006 — Houston, Texas Papers 1–8 Friday Morning Semantic Priming within-language associative priming effects were quite similar. Fi- Grand Ballroom JKL, Friday Morning, 8:00–9:20 nally, Experiment 3 showed a significant translation priming effect for noncognates. Thus, highly fluent bilinguals do develop between- Chaired by David A. Balota, Washington University language links with noncognates at the conceptual level. We examine the implications of these results for models of bilingual memory. 8:00–8:15 (1) Effects of Semantic Priming and Stimulus Quality: Insights From Judgment and Decision Making 1 RT Distributional Analyses. DAVID A. BALOTA & MELVIN J. YAP, Grand Ballroom ABC, Friday Morning, 8:00–10:00 Washington University—In a series of experiments, reaction time (RT) distribution analyses were used to examine the nature of the in- Chaired by Christine Ruva, University of South Florida fluence of semantic priming on lexical decision and word-naming per- formance. In contrast to variables that both shift and skew the RT dis- 8:00–8:15 (5) tributions (e.g., word frequency and lexicality), semantic relatedness Judgments of Functional Relationships in Systems of Three Vari- produces primarily a shift in the RT distribution, with no increase in ables. KENT L. NORMAN & BENJAMIN K. SMITH, University of skewing. In the standard clear target conditions, the shifting of the RT Maryland, College Park—The participants were told the relationship distribution suggests a constant influence of priming on lexical pro- between variables A and B and between B and C and then asked to cessing across all targets. -
Rouge (1988) Una Storia D'amore (E Di Fantasmi) Divisa Tra I Fasti Del Passato E La Quotidianità Del Presente
Rouge (1988) Una storia d'amore (e di fantasmi) divisa tra i fasti del passato e la quotidianità del presente. Un film di Stanley Kwan con Anita Mui, Leslie Cheung, Alex Man, Emily Chu, Kara Hui, Chia Yung Liu, Sin Hung Tam, Yin Tse, Irene Wan, Yue Wong. Genere Drammatico durata 93 minuti. Produzione Hong Kong 1988. Emanuele Sacchi - www.mymovies.it Hong Kong, 1987. La tranquilla quotidianità dell'editor Yuan (Alex Man) e della fidanzata Chu (Emily Chu) viene turbata dall'apparizione dello spettro di Fleur (Anita Mui), una cortigiana suicidatasi cinquant'anni prima insieme al suo amante Chen Chen-pang (Leslie Cheung). Essendo rimasta da sola all'Inferno, Fleur torna tra i vivi per scoprire quale sia stata la sorte dell'amato. Il fatto che 'Rouge' si intitoli come il primo film in lingua cantonese (anno 1925) chiarisce quali siano le ambizioni insite in quello che rimane, con ogni probabilità, il film-chiave per comprendere la poetica di Stanley Kwan. Caso emblematico di connubio tra esigenze autoriali, plauso della critica e successo commerciale - a produrre è un inatteso Jackie Chan - Rouge è stato per anni indicato come pietra di paragone per comprendere il cinema di Hong Kong (oltre ad aver acquisito una sinistra fama dopo la morte temporalmente ravvicinata di Cheung e della Mui nel 2003). Senza ricorrere a effetti speciali, infatti, senza stupire né ricorrere a scorciatoie di qualsivoglia natura, Kwan riesce a infondere una fortissima passionalità a una storia di fantasmi sui generis, o meglio a una storia di vivi (ma a tutti gli effetti morti nella speranza) e morti (il cui cuore non pulsa più, ma la cui passione è viva e inestinguibile). -
A Different Brilliance—The D & B Story
1. Yes, Madam (1985): Michelle Yeoh 2. Love Unto Wastes (1986): (left) Elaine Jin; (right) Tony Leung Chiu-wai 3. An Autumn’s Tale (1987): (left) Chow Yun-fat; (right) Cherie Chung 4. Where’s Officer Tuba? (1986): Sammo Hung 5. Hong Kong 1941 (1984): (from left) Alex Man, Cecilia Yip, Chow Yun-fat 6. It’s a Mad, Mad, Mad World (1987): (front row from left) Loletta Lee, Elsie Chan, Pauline Kwan, Lydia Sum, Bill Tung; (back row) John Chiang 7. The Return of Pom Pom (1984): (left) John Sham; (right) Richard Ng 8. Heart to Hearts (1988): (from left) Dodo Cheng, George Lam, Vivian Chow Pic. 1-8 © 2010 Fortune Star Media Limited All Rights Reserved Contents 4 Foreword Kwok Ching-ling, Wong Ha-pak 〈Chapter I〉 Production • Cinema Circuits 10 D & B’s Development: From Production Company to Theatrical Distribution Po Fung Circuit 19 Retrospective on the Big Three: Dickson Poon and the Rise-and-Fall Story of the Wong Ha-pak D & B Cinema Circuit 29 An Unconventional Filmmaker—John Sham Eric Tsang Siu-wang 36 My Days at D & B Shu Kei In-Depth Portraits 46 John Sham Diversification Strategies of a Resolute Producer 54 Stephen Shin Targeting the Middle-Class Audience Demographic 61 Linda Kuk An Administrative Producer Who Embodies Both Strength and Gentleness 67 Norman Chan A Production Controller Who Changes the Game 73 Terence Chang Bringing Hong Kong Films to the International Stage 78 Otto Leong Cinema Circuit Management: Flexibility Is the Way to Go 〈Chapter II〉 Creative Minds 86 D & B: The Creative Trajectory of a Trailblazer Thomas Shin 92 From -
Pocket Product Guide 2006
THENew Digital Platform EFM 2011 tm BERLIN POCKET ISSUE & PRODUCT OF FILM GUIDE New One Stop Product Guide Search at the Markets Paperless - Weightless - Green Read the Synopsis - Watch the Trailer BUSINESSConnect to Seller - Buy Product EFM 2011 Bumper Online - EFM Daily Editions - Unabridged EFM Product Guide + Stills The Visual is The Medium synopsisandtrailers.com makes it easy for you to Your Simplest Sales Tool read-watch-connect-buy like never before. S HOWCASING T RAILERS D AILY F EB 10-16 An end to site hopping. VISIT:thebusinessoffilmdaily.com For Buyers: Time is Money - View & Connect For Sellers: Attract Buyer Interest - Spend Your Time Promoting New Films November 2 - 9, 2011 Arrow Entertainment Sahamongkolfilm MGB Stand #120 MGB Stand #129 Vision Films Imageworks Ent. MGB Booth #127 Maritim Hotel Suite 9002 STEP UP to 21st Century The DIGITAL Platform PUBLISHING Is The FUTURE BERLIN PRODUCT GUIDE 2011 Writer: Laura Beccaria 6 SALES Producer: Abano Producion, Anera Films, 6 Sales, Alto de las cabañas 5 28231 Las Continental Producciones Rozas de Madrid. Tel: +34.91.636.10.54. Delivery Status: completed Fax: +34.91.710.35.93. www.6sales.es, E- Year of Production: 2010, Country of mail: [email protected] Origin: Spain Sales Agent Little MUMU’s journey towards her ulti- At EFM: Marina Fuentes (Partner), mate dream: to become a great star. Avraham Pirchi (Partner), Mar Abadin THE RUNWAY (Head of Sales) http://www.6sales.es/theRunaway.html Office: Washington Suite, office 100, Family comedy (100 min) Marriott Hotel, Tel: +49(0)30.22000.1127 -
Program PDF Version
Table of Contents Conference contacts 2 Conference at a Glance 3 Welcome Note 4 Plenary Session 5 International Program Boards 6 - 7 Proceedings 8 General Information 9 Conference Founder, General Chair Emeritus and Parallel Sessions 10 - 104 Scientific Advisor Sunday 19 July 2020, 17:00-21:30 10 - 25 Gavriel Salvendy Purdue University, USA Monday 20 July 2020, 09:00-13:30 26 - 41 Tsinghua University, P.R. China Tuesday 21 July 2020, 10:00-14:30 42 - 57 and University of Central Florida, USA Wednesday 22 July 2020, 11:00-15:30 58 - 72 Thursday 23 July 2020, 14:00- 18:30 73 - 88 General Chair Friday 24 July 2020, 17:00 – 21:30 89 - 104 Constantine Stephanidis University of Crete and ICS-FORTH, Greece Note: The times indicated are in Email: [email protected] “Central European Summer Time - CEST (Copenhagen)” Conference Administration Email: [email protected] Posters Program Administration Email: [email protected] Sunday, 19 July - Friday, 24 July 2020 106 - 126 Registration Administration Email: [email protected] Student Volunteer Administration Email: [email protected] Communications Chair, Exhibition Chair, HCI International News Editor Abbas Moallem Charles W. Davidson College of Engineering San Jose State University, USA Email: [email protected] 2 l HCI International 2013 TABLE OF CONTENTS Conference at a Glance Conference Program Overview The times indicated are in “Central European Summer Time - CEST (Copenhagen)” You can check and calculate your local time, using an online time conversion tool, such as -
Movie Museum APRIL 2008 COMING ATTRACTIONS
Movie Museum APRIL 2008 COMING ATTRACTIONS THURSDAY FRIDAY SATURDAY SUNDAY MONDAY SONG OF TIBET INTO THE WILD INTO THE WILD Hawaii Premiere! Hawaii Premiere! aka Yeshe Dolma (2007) (2007) Hindu New Year KHADAK (2000-China) in widescreen in widescreen HANUMAN (2006-Belgium/Germany/ in Mandarin/Tibetan with with Emile Hirsch, Marcia with Emile Hirsch, Marcia (1998-France/India) Netherlands) English subtitles in widescreen Gay Harden, Hal Holbrook, Gay Harden, Hal Holbrook, in French/English w/English in Mongolian with English with Danzengzhuoga, subtitles & in widescreen Jena Malone, Catherine Jena Malone, Catherine subtitles & in widescreen Laqiong, Dawangdui, with Robert Cavanah, Tabu, with Batzul Khayankhyarvaa, Keener, Vince Vaughn, Keener, Vince Vaughn, Renqingdunzhu, Dazhen, Nathalie Auffret, Khalid Tsetsegee Byamba, Cirenduoji, Basang. Kristen Stewart. Kristen Stewart. Tyabji, Sidney Kean. Banzar Damchaa. Directed and Co-Written by Directed and Co-Written by Directed and Co-Written by Directed by Directed & Written by Fei Xie. Sean Penn. Sean Penn. Fred Fougea. Peter Brosens & Jessica Hope Woodworth. 2, 4, 6 & 8pm 12:30, 3, 5:30 & 8pm 12:30, 3, 5:30 & 8pm 2, 4, 6 & 8pm 2, 4, 6 & 8pm 3 4 5 6 7 THERE WILL BE Hawaii Premiere! THERE WILL BE ROUGE JOHNNY STECCHINO BLOOD ANOTHER LIFE BLOOD aka Yin Ji Kau (1991-Italy) (2007) (2001-UK) (2007) (1987-Hong Kong) in Italian with English subtitles in widescreen in widescreen in widescreen in Cantonese with English & in widescreen with Daniel Day-Lewis, Paul with Natasha Little, Nick with Daniel Day-Lewis, Paul subtitles & in widescreen with Roberto Benigni, Dano, Kevin J. O'Connor, Moran, Ioan Gruffudd, Imelda Dano, Kevin J. -
17. Internationales Forum 33 Des Jungen Films Berlin 1987 Flk%S
17. internationales forum 33 des jungen films berlin 1987 %S flk Filme aus Hongkong Aus einem Interview mit Yim Ho HOMECOMING Als ich meinen ersten Film drehte, The Extras, wußte ich, daß das eigentlich nicht meine Art Film war, aber man verführte JUST LIKE WEATHER mich, diesen Film zu drehen. Dann unterschrieb ich einen zwei• jährigen Vertrag mit Golden Harvest für die Produktion von SHANGHAI BLUES ±*±« The Happenings.Dia mußte auch ein kommerzieller Film sein, aber zur gleichen Zeit wollte ich ihn auch persönlicher gestal• PEKING OPERA BLUES DÄI ten. Darum blieb dieser Film irgendwo in der Mitte zwischen beiden Extremen. Dann bedrängte man mich, eine weitere Ko• SOUL mödie zu machen, Wedding bells, wedding belies, die ein tota• ler Reinfall wurde. Ich nahm das als ein Zeichen des Himmels! A BETTER TOMORROW Aber ich brauchte erst noch die traumatische Erfahrung zweier weiterer Jahre, in denen ich versuchte, mich mit dem Tod mei• LOVE UNTO WASTE ifeTIf nes Vaters abzufinden, um etwas genauer darüber nachzudenken, was für einen Film ich eigentlich machen wollte. Ausgehend von dieser Erfahrung kam ich auf Begriffe wie Leben, Tod und Zer• brechlichkeit menschlicher Beziehungen. Die meisten Hongkong- Filme sind sehr dramatisch, haben viele Kamerabewegungen, HOMECOMING (SI SHUI LIU NIAN) <0?KOÎî*É Großaufnahmen und Schwenks. Mein Film hat sehr wenig von all dem. Ich glaube, daß ich von meinen Erfahrungen bei der Die Heimkehr (Wie Wasser fließen die Jahre) Inszenierung eines Theaterstücks beeinflußt wurde - O'Neills 'Desire under the Elms'. Ich versuchte, einen Vergleich zum Theater und zum Theaterpublikum herzustellen. Mit anderen Land Hongkong 1984 Worten, die Kamera sollte sich wie ein Zuschauer verhalten, die ganze Szene betrachten, aber auch die Hauptpersonen oder be• Produktion Bluebird/Target stimmte Momente der Haltung näher ins Auge fassen. -
2. Annual School Report (2018-2019)
2. Annual School Report (2018-2019) I. Management and Organization 1. Mission of the School Our school is a subsidized grammar girls' school run by the Daughters of Mary Help of Christians. Founded in 1973 and now in its 46th year, it has incorporated the educational philosophy of St. Mary Mazzarello and St. John Bosco of educating the young with a harmonious and joyous family spirit of loving kindness, reason and religion. The emphases of our mission are: a. With the teaching of Christ and values of the Gospel, we create an educational environment that is full of joy, love and care. We help our students to live with a clear sense of direction and to find the true meaning of life. b. We commit ourselves to the all-round formation of our students, putting equal stress on the importance of spirituality, virtue, wisdom, physique, sociability and aesthetic appreciation. c. We encourage our students to participate actively in the life-long learning process, to apply the acquired knowledge to everyday situations, to cherish their lives and to contribute to the community. 2. Class Organization and School Facilities There are altogether 24 classes with 4 classes each in S.1 to S.6. The total number of students is 721. The computer network in the school covers all 26 standard classrooms and 14 special rooms including 2 multi-media learning centres (MMLC/ITLC) each providing 44 sets of personal computers. The network also covers the library and the school hall. The Wifi network has also been set up covering all classrooms, special rooms, library, school hall and covered playgrounds. -
2011 Product Guide
Digital Platform AFM 2011 THEEstablished in 1980 tm SCREENING M TODAY L I F WEDNESDAY F O NOV 2 Contact Us Media Kit Submission Form Magazine Editions Editorial Comments Link to AFM Website THR.com Variety.com Screendaily.com Le Film Francais.com Trailers BUSINESS READ The Synopsis SYNOPSISandTRAILERS.com WATCH The Trailer The One-Stop Viewing Platform CONNECT To Seller click to view INNOVATION FIRST The Business of Film (TBOF) revolutionizes Film Trade Publishing again! DOWNLOAD THE QR READER APP to your Smartphone or iPad TODAY & START NOW at AFM a NEW way of VIEWING AVAILABLE CONTENT www.SynopsisAndTrailers.com for DISTRIBUTION PLATFORMS in your Territory Scan the QR code above using Barcode TBOF enables YOU as A BUYER Scanner on your ipad or smartphone and the TO TAKE MORE CONTROL link will be instantly Maximize YOUR Time Efficiently at AFM. accessible on your phone. The Business of Film — Thinking Forward www.synopsisandtrailers.com /AFM2011ProductGuide /AFMProductGuide.pdf Scan any of these Source - Select - Download QR codes using Barcode Powered by Scanner on your ipad Nu Image Millenium Films or smartphone and the link will be instantly accessible AFM 2011 TheWIFTS on your phone. Trailer Trailer Bumper Edition Foundation First Hand Films NonStop Films AFM PRODUCTPRODUCTwww.thebusinessoffilmdaily.comGUIDEGUIDE JOSE AND PILAR THE HAPPETS home. AKA: JOSE Y PILAR AKA: LA TROPA DE TRAPO YOUNG ONES Documentary (125 min) Animation (85 min) Thriller A Language: Portuguese, spanish Language: Spanish Language: English 6 SALES Director: Miguel Goncalves Mendes Director: Alex Colls Director: Jake Paltrow 6 Sales, Alto de las cabanas 5, Las Writer: Miguel Goncalves Mendes Writer: Lola Beccaria Writer: Jake Paltrow Rozas, Madrid 28231 Spain, Tel: Co-Production Partners: Jumpcut2011Co-Production Partners: Abano Producer: ARCADIA, 982 +34.91.636.10.54 Fax: Producer: Miguel Goncalves Mendes Producions, Anera Films, Continental Delivery Status: Pre-Production +34.91.710.35.93. -
Independent Filmmaking Across Borders in Contemporary Asia Independent Filmmaking Across Borders in Contemporary Asia Asian Visual Cultures
6 ASIAN VISUAL CULTURES Ma Borders in Contemporary Asia Independent Filmmaking across Ran Ma Independent Filmmaking across Borders in Contemporary Asia Independent Filmmaking across Borders in Contemporary Asia Asian Visual Cultures This series focuses on visual cultures that are produced, distributed and consumed in Asia and by Asian communities worldwide. Visual cultures have been implicated in creative policies of the state and in global cultural networks (such as the art world, film festivals and the Internet), particularly since the emergence of digital technologies. Asia is home to some of the major film, television and video industries in the world, while Asian contemporary artists are selling their works for record prices at the international art markets. Visual communication and innovation is also thriving in transnational networks and communities at the grass-roots level. Asian Visual Cultures seeks to explore how the texts and contexts of Asian visual cultures shape, express and negotiate new forms of creativity, subjectivity and cultural politics. It specifically aims to probe into the political, commercial and digital contexts in which visual cultures emerge and circulate, and to trace the potential of these cultures for political or social critique. It welcomes scholarly monographs and edited volumes in English by both established and early-career researchers. Series Editors Jeroen de Kloet, University of Amsterdam, The Netherlands Edwin Jurriëns, The University of Melbourne, Australia Editorial Board Gaik Cheng Khoo, University -
Nuovo Cinema Onlus
Fondazione Pesaro Nuovo Cinema Onlus XXXVI MOSTRA INTERNAZIONALE DEL NUOVO CINEMA Pesaro, 23 giugno - 1 luglio 2000 SOMMARIO Pesaro oltre il 2000 Introduzione al programma Pesaro beyond 2000 Programme introduction 9 di Giovanni Spagnoletti NUOVE PROPOSTE 13 FUORI PROGRAMMA 25 60’ (PIÙ O MENO) 37 PROPOSTE VIDEO 49 IL CINEMA EUROPEO DEL MÉTISSAGE 57 OMAGGIO A JACQUES DOILLON 119 STANLEY KWAN LA VIA ORIENTALE AL MELODRAMMA 145 MATTHIAS MÜLLER LA NUOVA AVANGUARDIA TEDESCA 165 INDICE DEI REGISTI E DEI FILM 201 PESARO OLTRE IL 2000 INTRODUZIONE AL PROGRAMMA PESARO BEYOND 2000 PROGRAMME INTRODUCTION Giovanni Spagnoletti Che cosa significa oggi “Nuovo Cinema”? Negli What does “New Cinema” mean today? In anni Sessanta, quando il Festival di Pesaro nasceva, the Sixties, when the Pesaro Film Festival was le cose erano abbastanza chiare: il cinema viveva getting started, the situation was relatively un momento di straordinaria e avvincente trasfor- clear: film was undergoing a moment of mazione dietro la spinta innovativa impressa dalla extraordinary and gripping transformation Nouvelle Vague francese, e il confine tra vecchio e because of the innovative thrust of the French nuovo era evidente a tutti. Oggi le cose sono molto New Wave, and the border between the old cambiate, c’è “molta confusione sotto il cielo”, and new was obvious to all. Today things anche in conseguenza di una rivoluzione invisibile have changed significantly, and there is “a lot ma al tempo stesso profondissima avviata dall’intro- of confusion under the stars,” also due to the duzione massificata del digitale che, alla distanza, invisible yet simultaneously profound revolu- si rivelerà forse della stessa importanza e profon- tion brought on by the mass introduction of dità dei precedenti mutamenti di pelle del medium digital video.