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The History and Politics of Taiwan's February 28
The History and Politics of Taiwan’s February 28 Incident, 1947- 2008 by Yen-Kuang Kuo BA, National Taiwan Univeristy, Taiwan, 1991 BA, University of Victoria, 2007 MA, University of Victoria, 2009 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in the Department of History © Yen-Kuang Kuo, 2020 University of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee The History and Politics of Taiwan’s February 28 Incident, 1947- 2008 by Yen-Kuang Kuo BA, National Taiwan Univeristy, Taiwan, 1991 BA, University of Victoria, 2007 MA, University of Victoria, 2009 Supervisory Committee Dr. Zhongping Chen, Supervisor Department of History Dr. Gregory Blue, Departmental Member Department of History Dr. John Price, Departmental Member Department of History Dr. Andrew Marton, Outside Member Department of Pacific and Asian Studies iii Abstract Taiwan’s February 28 Incident happened in 1947 as a set of popular protests against the postwar policies of the Nationalist Party, and it then sparked militant actions and political struggles of Taiwanese but ended with military suppression and political persecution by the Nanjing government. The Nationalist Party first defined the Incident as a rebellion by pro-Japanese forces and communist saboteurs. As the enemy of the Nationalist Party in China’s Civil War (1946-1949), the Chinese Communist Party initially interpreted the Incident as a Taiwanese fight for political autonomy in the party’s wartime propaganda, and then reinterpreted the event as an anti-Nationalist uprising under its own leadership. -
IMAX China Holdings Soft Momentum After Avengers
14 June 2018 Hong Kong EQUITIES IMAX China Holdings 1970 HK Neutral Soft momentum after Avengers Price (at 06:39, 13 Jun 2018 GMT) HK$27.60 Valuation HK$ 26.00-29.00 Key points - PER Downgrade to Neutral with TP lowered to HK$27.77 12-month target HK$ 27.77 We expect IMAX China’s BO growth to slow down after Avengers with its Upside/Downside % +0.6 network expansion peaking 12-month TSR % +1.8 We expect earnings to drop by 4% YoY in 2H18, with a 4% 18-20E CAGR Volatility Index High GICS sector Media Market cap HK$m 9,903 Event Market cap US$m 1,246 Downgrade to Neutral. IMAX China’s share price has rallied by 45% from the Free float % 32 trough earlier this year (vs +4% for HSI), on the good box office (BO) 30-day avg turnover US$m 5.1 performance of Avengers and strong 1Q. However, we expect the earnings Number shares on issue m 358.8 growth momentum going forward to inevitably slow down on the expected soft film slate and more importantly, the peaking of network installations. We expect Investment fundamentals its earnings to decline by 4% YoY in 2H18, after a +36% YoY in 1H18E, with a Year end 31 Dec 2017A 2018E 2019E 2020E Revenue m 126.5 138.6 146.9 150.7 4% 18-20E earnings CAGR. Downgrade to Neutral from Outperform. EBIT m 57.3 65.1 68.7 70.4 EBIT growth % 20.7 13.5 5.6 2.4 Impact Reported profit m 43.7 49.0 51.8 53.1 Softer momentum after Avengers. -
Music-Based TV Talent Shows in China: Celebrity and Meritocracy in the Post-Reform Society
Music-Based TV Talent Shows in China: Celebrity and Meritocracy in the Post-Reform Society by Wei Huang B. A., Huaqiao University, 2013 Extended Essays Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the School of Communication (Dual Degree in Global Communication) Faculty of Communication, Art & Technology © Wei Huang 2015 SIMON FRASER UNIVERSITY Summer 2015 Approval Name: Wei Huang Degree: Master of Arts (Communication) Title: Music-Based TV Talent Shows in China: Celebrity and Meritocracy in the Post-Reform Society Examining Committee: Program Director: Yuezhi Zhao Professor Frederik Lesage Senior Supervisor Assistant Professor School of Communication Simon Fraser University Baohua Wang Supervisor Professor School of Communication Communication University of China Date Defended/Approved: August 31, 2015 ii Abstract Meritocracy refers to the idea that whatever our social position at birth, society should offer the means for those with the right “talent” to “rise to top.” In context of celebrity culture, it could refer to the idea that society should allow all of us to have an equal chance to become celebrities. This article argues that as a result of globalization and consumerism in the post-reform market economy, the genre of music-based TV talent shows has become one of the most popular TV genres in China and has at the same time become a vehicle of a neoliberal meritocratic ideology. The rise of the ideology of meritocracy accompanied the pace of market reform in post-1980s China and is influenced by the loss of social safety nets during China’s transition from a socialist to a market economy. -
China Mengniu Dairy Company Limited 中國蒙牛乳業有限公司
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. CHINA MENGNIU DAIRY COMPANY LIMITED 中國蒙牛乳業有限公司* (Incorporated in the Cayman Islands with limited liability) (Stock Code: 2319) ANNOUNCEMENT OF THE INTERIM RESULTS FOR THE SIX MONTHS ENDED 30 JUNE 2018 HIGHLIGHTS • Mengniu, for the tenth consecutive year, made it on the “Global Dairy Top 20” list published by Rabobank, continuing to place itself among the top 10 of dairy industry. It was named one of the top 20 in the BrandZTM list of the most valuable Chinese brands for the fourth consecutive year and ranked first on the brand contribution list. • Mengniu, as an Official 2018 FIFA World CupTM Sponsor, was able to push forward with its international brand building and promote four categories comprising a total of 161 products under 27 brands through its large scale all-channel integrated marketing activity. The “FIFA World Cup Fun, Scan the code for Red Packet 100%” (“Scan the Code for Red Packet”) activity received overwhelming responses with accumulatively more than 230 million times of code scanning. • Mengniu’s room temperature and chilled products further strengthened their market leadership. Room temperature products continued to push for high-end brand upgrades. Room temperature yogurt achieved satisfactory growth in sales driven by launch of new products. -
Press Release LI YIFENG NAMED NEW BOSS BRAND
Press Release LI YIFENG NAMED NEW BOSS BRAND AMBASSADOR Shanghai/Metzingen, January 8, 2020. HUGO BOSS is pleased to announce that Li Yifeng, famous actor and singer, has been named brand ambassador for BOSS. The new Spring/Summer 2020 BOSS campaign starring Li Yifeng will be featured across Chinese media and BOSS stores as well as other point of sales. “Li Yifeng shows multiple styles and unique individuality. The roles he played bear witness to his boundless potential. His confidence and attitude is the epitome of BOSS men who are on their way to greatness. We are looking forward to the partnership with Li Yifeng and believe that he will fully embody the eternal yet ever- evolving BOSS DNA by impeccably interpreting from formal wear, casual to athleisure, “said Ingo Wilts, Chief Brand Officer HUGO BOSS AG. “I’m honored to become the brand ambassador of BOSS. For me, BOSS has been a trusted and desirable brand. The brand value and spirit it represents inspire me to keep trying and strive forward,” said Li Yifeng, ambassador for BOSS. The images show Li Yifeng wearing the BOSS 2020 Chinese New Year Capsule collection, a collection that embodies classic styles and signature color ways. The campaign images of the BOSS Spring/Summer 2020 collection will be unveiled globally in February 2020. Born in Sichuan Chengdu, China, Li Yifeng made his debut as a singer in 2007, and gained extensive attention for his role in the TV series Swords of Legends (2014). Later, he made a name for himself by taking on various roles in the TV series Legend of Fragrance Noble Aspirations, The Lost Tomb and Sparrow. -
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. -
Online Literature in China
CREATe Working Paper 2019-02 (March 2019) Online Literature in China Authors Shen, X Williams, R Zheng, S Li, Y Liu, Y Gerst, M CREATe Working Paper Series 10.5281/zenodo.2590572. This release was supported by the RCUK funded Centre for Copyright and New Business Models in the Creative Economy (CREATe), AHRC Grant Number AH/K000179/1. !1 Convergence or differentiation in IP protection? A case study of new models for digital film, music and e-fiction production and distribution in China An Introductory Note These CREATe working papers comprise three reports, Online Music in China, Online Literature in China and Online Film in China. They are part of the deliverables from the most exciting research project I have conducted in the last nearly thirty years, “Convergence or differentiation in IP protection? A case study of new models for digital film, music and e- fiction production and distribution in China”.1 I was very fortunate to have a strong team of passionate colleagues in China and in the UK to work with me. There were two AHRC research grants - (1) the AHRC China Digital Copyright Centre and Newton Fund (RGS 116357) and (2) the RCUK Research Centre for Copyright and New Business Models in the Creative Economy (CREATe) (AH/K000179/1) that enabled us to conduct the field investigation in China during the period from December 2015 to April 2017. To describe the research as “the most exciting project” is not, to whichever extent, an overstatement. While testing the interests of local players to the research topic for preparing the research proposal, we had already had some understandings for interview with potential respondents from Internet intermediaries and IP professionals in China. -
Chinese Social Media Landscape 2018 with 40 Brand Case Studies
Chinese Social Media Landscape 2018 With 40 Brand Case Studies Produced by Luxion Media – www.luxion.com.au Contents Introduction .................................................................................................................................................. 3 Section One | WeChat and Weibo ................................................................................................................ 6 WeChat ..................................................................................................................................................... 6 1. Overview ........................................................................................................................................... 6 2. Statistics ............................................................................................................................................ 8 3. Analysis ............................................................................................................................................. 8 1. Overview ......................................................................................................................................... 23 2. Statistics .......................................................................................................................................... 24 3. Analysis ........................................................................................................................................... 24 Section One Wrap-Up ............................................................................................................................ -
Compilation of Abstract Titles from ASCO Annual Meeting 2021 (Oral, Poster Discussion, Posters, Mains Track by Cancer Types Only)
Bertrand DELSUC / Biotellytics / @bertrandbio Compilation of abstract titles from ASCO Annual Meeting 2021 (oral, poster discussion, posters, mains track by cancer types only) Table of Content I. ORAL PRESENTATIONS ............................................................................................................................................ 4 Plenary Session ........................................................................................................................................................... 4 Developmental Therapeutics—Molecularly Targeted Agents and Tumor Biology ...................................... 7 Lung Cancer—Non-Small Cell Metastatic ............................................................................................................ 10 Sarcoma ...................................................................................................................................................................... 13 Hematologic Malignancies—Leukemia, Myelodysplastic Syndromes, and Allotransplant ...................... 15 Pediatric Oncology I ................................................................................................................................................. 18 Melanoma/Skin Cancers ......................................................................................................................................... 21 Lung Cancer—Non-Small Cell Local-Regional/Small Cell/Other Thoracic Cancers .................................... 25 Breast Cancer—Local/Regional/Adjuvant -
Introduction of Marketing Strategies in China China’S GDP Growth Rate
Introduction of Marketing Strategies in China China’s GDP Growth Rate In recent 5 years, global economic situation became worse. Meanwhile, China’s GDP growth fell from 18.5% to 6.4%. China’s GDP and Growth Rate GDP(billion RMB) Growth Rate(%) 80,000 23.1 25 68,551 70,000 64,397 18.2 18.3 18.5 59,524 20 17.8 17.1 60,000 54,037 15.7 48,930 50,000 15 12.9 41,303 40,000 10.7 10.6 34,908 10.4 10.2 9.8 31,952 9.3 30,000 27,023 8.2 10 21,944 6.4 18,732 20,000 16,184 13,742 10,028 11,086 12,172 5 10,000 0 0 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 Source: National Bureau of Statistics of the People's Republic of China China’s GDP Structure The proportion of service industry in China’s GDP increased in 2015, taking more than half share. It was marked as a new phase of China’s economy and social development, meaning that China’s industrial structure and consumption structure have upgraded to a new level. China’s GDP Structure Primary Industry Secondary Industry Tertiary Industry 100% 39.8% 41.2% 42.2% 42.0% 41.2% 41.3% 41.8% 42.8% 44.3% 44.1% 44.2% 45.3% 46.7% 47.8% 50.2% 90% 80% 70% 60% 45.5% 44.8% 45.9% 47.0% 44.5% 45.6% 47.6% 46.9% 46.9% 46.4% 46.4% 50% 45.9% 45.3% 44.0% 43.1% 40.9% 40% 30% 20% 10% 14.7% 14.0% 13.3% 12.3% 12.9% 11.6% 10.6% 10.3% 10.3% 9.8% 9.5% 9.4% 9.4% 9.3% 9.1% 8.9% 0% 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 Source: National Bureau of Statistics of the People's Republic of China China’s Global Market Positioning With the rapid development of Chinese economy and acceleration of economic globalization, China market has become the apple in the eyes of global marketers. -
2020 International Joint Conference on Neural Networks (IJCNN)
2020 International Joint Conference on Neural Networks (IJCNN) Welcome Message Table of Contents Technical Papers Authors Index 2020 Please visit website for more information! CONFERENCE wcci2020.org PROCEEDINGS ISBN: 978-1-7281-6926-2 Part Number: CFP20IJS-ART Technical Support © Copyright 2020 IEEE. Personal use of this material is permitted. However, permission to reprint/republish this material for advertising or promotional purposes or for creating new collective works for resale or redistribution to servers or lists, or to use any copyrighted Phone: +1 352 872 5544 component of this work in other work must be obtained from the IEEE. [email protected] © 2020 IEEE 2020 International Joint Conference on Neural Networks (IJCNN) © 2020 IEEE. Personal use of this material is permitted. However, permission to reprint/republish this material for advertising or promotional purposes or for creating new collective works for resale or redistribution to servers or lists, or to reuse any copyrighted component of this work in other works must be obtained from the IEEE. Additional copies may be ordered from: IEEE Service Center 445 Hoes Lane Piscataway, NJ 08855-1331 USA +1 800 678 IEEE (+1 800 678 4333) +1 732 981 1393 +1 732 981 9667 (FAX) email: [email protected] Copyright and Reprint Permission: Abstracting is permitted with credit to the source. Libraries are permitted to photocopy beyond the limit of U.S. copyright law for private use of patrons those articles in this volume that carry a code at the bottom of the first page, provided the per-copy fee indicated in the code is paid through Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923. -
Hollywood and the Chinese Film Market: Crosscultural Communication Or Commercial Transaction?
Hollywood and the Chinese Film Market: Crosscultural Communication or Commercial Transaction? Yafei Lyu A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Cultural Studies The University of Canterbury 2020 Abstract Globalisation as a cultural as well as an economic phenomenon has led to more frequent communication and exchange across cultures. Hollywood has long been familiar with exporting American cultural values internationally as a means of soft power, but faces particular challenges in its attempts to enter the Chinese film market, the largest and potentially the most lucrative audience in the world. In order to be released and screened in China, Hollywood films must comply with a strict set of cultural policies. These include a quota system, which permits the importation of foreign films on a revenue-sharing basis, but limits them to 34 films per year, censorship by the film regulating sector in China before distribution and exhibition, and an uncertain release schedule. China has been the fastest-growing film market since 2008, hence, despite the restrictive cultural policies that they encounter, Hollywood producers, attracted by the promise of increased revenue, have developed various aesthetic and commercial strategies to please the Chinese film regulators and audiences in order to gain access to the Chinese film market, such as producing Chinese-themed Hollywood films, incorporating plots about China, casting Chinese renowned actors in cameo roles, adding Chinese film locations, placing Chinese products, and seeking China-US co-productions. For the large Hollywood studios, these methods provide effective strategies to circumvent Chinese cultural policies in the film sector; for China, they offer methods to export its cultural soft power and change the Orientalist stereotypes and images of China which have long circulated in the international community.