SCOP10 MS Round4.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Misrepresentation of Representation: in Defense of Regional Storytelling in Netflix's the New Legends of Monkey
The Misrepresentation of Representation: In Defense of Regional Storytelling in Netflix’s The New Legends of Monkey KATE MCEACHEN The 2018 Australian Broadcasting Corporation (ABC Me), Television New Zealand (TVNZ), and Netflix’s coproduction of the original series The New Legends of Monkey (2018) is a fantasy-based television series that reimagines Monkey (1978), a British Broadcasting Corporation (BBC) dubbing of the Japanese television series Saiyūki 西遊記. Saiyūki was an adaptation of the historically significant Chinese novel Xiyou ji (Wu Cheng’en, 1592), known in English as Journey to the West. Monkey gained a cult following in Australia, New Zealand, and other international markets leading to the 2018 reboot The New Legends of Monkey, which, unlike Monkey, was released in the United States (Flanagan). This new iteration prompted cultural confusion from those largely unfamiliar with the preceding series, the contexts in which it was introduced to English-speaking viewers in Australia and New Zealand, or the cult response that resulted. This article presents the recent series with this background in mind and within the context of locally produced television in New Zealand, where The New Legends of Monkey was filmed. Analysis of online discussions exposes the interpretive differences arising from this lack of context regarding the show’s connection to Monkey and highlights the problems viewers face interpreting stories outside of their local production markets—an increasingly relevant problem as more regional productions become accessible to a wide range of audiences through transnational streaming services like Netflix. The 2018 The New Legends of Monkey television adaptation, produced by and for the Australian and New Zealand markets and co-produced for international KATE MCEACHEN is currently pursuing her Doctoral Degree in Cultural Studies at The University of Southern Queensland in Australia. -
Essays on Monkey: a Classic Chinese Novel Isabelle Ping-I Mao University of Massachusetts Boston
University of Massachusetts Boston ScholarWorks at UMass Boston Critical and Creative Thinking Capstones Critical and Creative Thinking Program Collection 9-1997 Essays on Monkey: A Classic Chinese Novel Isabelle Ping-I Mao University of Massachusetts Boston Follow this and additional works at: http://scholarworks.umb.edu/cct_capstone Recommended Citation Ping-I Mao, Isabelle, "Essays on Monkey: A Classic Chinese Novel" (1997). Critical and Creative Thinking Capstones Collection. 238. http://scholarworks.umb.edu/cct_capstone/238 This is brought to you for free and open access by the Critical and Creative Thinking Program at ScholarWorks at UMass Boston. It has been accepted for inclusion in Critical and Creative Thinking Capstones Collection by an authorized administrator of ScholarWorks at UMass Boston. For more information, please contact [email protected]. ESSAYS ON MONKEY: A CLASSIC . CHINESE NOVEL A THESIS PRESENTED by ISABELLE PING-I MAO Submitted to the Office of Graduate Studies, University of Massachusetts Boston, in partial fulfillment of the requirements for the degree of MASTER OF ARTS September 1997 Critical and Creative Thinking Program © 1997 by Isabelle Ping-I Mao All rights reserved ESSAYS ON MONKEY: A CLASSIC CHINESE NOVEL A Thesis Presented by ISABELLE PING-I MAO Approved as to style and content by: Delores Gallo, As ciate Professor Chairperson of Committee Member Delores Gallo, Program Director Critical and Creative Thinking Program ABSTRACT ESSAYS ON MONKEY: A CLASSIC CHINESE NOVEL September 1997 Isabelle Ping-I Mao, B.A., National Taiwan University M.A., University of Massachusetts Boston Directed by Professor Delores Gallo Monkey is one of the masterpieces in the genre of the classic Chinese novel. -
Bamcinématek Presents Stephen Chow: the King of Comedy, Oct 6—12
BAMcinématek presents Stephen Chow: The King of Comedy, Oct 6—12 “The reigning king of Hong Kong comedy.”—J. Hoberman Co-presented with the Hong Kong Economic and Trade Office in New York. The Wall Street Journal is the title sponsor for BAM Rose Cinemas and BAMcinématek. Brooklyn, NY/Sep 8, 2014—From Monday, October 6 through Sunday, October 12, BAMcinématek presents Stephen Chow: The King of Comedy, an eight-film retrospective of the Hong Kong actor, writer, and director. Chow’s audaciously anarchic comedies combine surreal sight gags, non sequiturs, extensive pop culture quoting, and gravity-defying martial arts to sublimely silly effect. Endlessly inventive, the reigning king of Hong Kong mo lei tau (―nonsense comedy‖) yields unfiltered cinematic pleasure. Initially prominent as a children’s television star, Chow became synonymous with mo lei tau, a style of film comedy in which traditional melodramas and kung fu tales are peppered with rapid- fire, fourth-wall-breaking slapstick bits and corny puns. A bigger box-office draw in his homeland than Jackie Chan or Jet Li, Chow—who cites Spielberg and Kubrick, along with Jim Carrey, as influences—has used his clout in recent years to fashion himself as an auteur, scripting, editing, and directing a series of high-budget, homage-filled blockbusters. Typical of Chow’s earliest hits, Johnnie To’s Justice, My Foot! (1992—Oct 8) casts the actor as a fast-talking lawyer whose mouth gets him into trouble, and whose kung fu-fighting wife gets him out of it—one of many tough, smart heroines Chow uses as foils for his feckless alter egos. -
MIT China Care Club the Magical Monkey King: Havoc in the Heaven!
MIT China Care Club The Magical Monkey King: Havoc in the Heaven! Casts: Narrator (N) Sun Wukong Little Monkeys Emperor of Jade Messenger Heavenly Soldiers White Planet Lord Fairy Maidens Erlang Shen Taishang Laojun ------- N: Long ago, the Monkey King lived in the Cave of the Water Curtain on the Mountain of Flowers and Fruits, Hua Guo Shan. The Monkey King, who was also called Sun Wukong, was very powerful in his skills and magic tricks. He could transform himself into 72 different things, including fish, bug, trees, houses… He could also plug a hair from his head and transform it into a duplicate of himself! This Monkey King was also very fast – he traveled by riding on a cloud and could jump over 180,000 miles in one somersault. With his great skills, he even bullied the Sea Dragon King into giving him the Holy Needle of the Eastern Sea, a golden bar that could be transformed into any shape. Little Monkeys: Master! Master! Show us your new weapon! I want to see, I want to see!! Sun: Well, little ones, stand back then! – (Sun took the golden bar from behind his ear and transformed it into a great column that extends all the way to the sky) Little Monkeys: Wow-wee!! It’s so big! No one can beat us now – we are going to be the most powerful in the world! Sun: The most powerful in the world, eh? (contemplates for a few seconds and laughs) Of course, lil’ ones, we are the most powerful in the world! I am the king of the world! I’m the Great Sage Equal to the Heaven! Little Monkey: Wow-weeeee! Great Sage Equal to the Heaven!? You’re the Great Sage Equal to the Heaven, master! (chants) Great Sage! Great Sage!.. -
Fiction-2-2018-2.Pdf
Journey the the West (With a Twist) Quarry Bay School, Bratton, Luke - 8 t was a usual evening. Sun Wukong, Zhu Bajie, White Dragon Horse and Tang Sanzang were all happily sitting around the Dining table feasting on a banquet. Everyone was having a good time. They I were telling jokes and reminding everyone about good times. Except for one thing. Zhu Bajie was acting very strangely. He just wasn't being himself. Tang Sanzang seemed to be the only one who noticed Zhu Bajie and his unusual behaviour. As it got late, they all accidentally fell asleep at the table. Sun Wukong was exhausted but just couldn't fall asleep. Out of the darkness, he saw a mysterious figure move around. When it left, Sun Wukong woke up White Dragon Horse and Tang Sanzang but Zhu Bajie was nowhere to be found. Sun Wukong explained everything about how he saw a mysterious shadow and how Zhu Bajie had disappeared. That is when Tang Sanzang joined into the conversation. He told Sun Wukong and White Dragon Horse about how he noticed that Zhu Bajie was acting strangely during dinner. The three of them decided that the next day the second they woke up they were going to search for Zhu Bajie. It was dawn. White Dragon Horse, Tang Sanzang and Sun Wukong set off for their terrific quest. White Dragon Horse agreed to carry all the supplies. Even though they knocked on every door they could find and asked if anyone had seen Zhu Bajie. But the truth fell upon them. -
Monkey King: an Adventure Enrichment Works
Monkey King: An Adventure Enrichment Works Our Mission Enrichment Works creates Classroom Connections and presents theater to Synopsis legend of a Monkey King who inspire learning. Monkey King is the most became “The Great Sage beloved character in China and Equaling Heaven.” They will perhaps all of Asia and the follow him on his journey from Asian diaspora. He has ordinary monkey to King, inspired operas, circuses, TV Sage, prisoner, then bodyguard shows, comics and more. and friend. “Monkey King: An Monkey’s journey to India as Adventure” teaches students the supernatural bodyguard to that nobody is perfect, that a Buddhist priest named everyone can learn from Sanzang was a favorite of others, and it is important to Chinese storytellers for trust your friends. For they decades until it was written can be the difference between down in the 16th century. life and death. The story also Journey to the West fills 100 teaches us not to judge a book chapters, each one more by its cover. A demon is not elegant, bizarre and action- always a little girl and a pig is packed then the last not always a demon. Sometimes friendship is the In “Monkey King: An best way to truly know who Adventure,” students learn the someone is. Noga Wind as Sanzang and About the Artists Ariyan Kassam as the Monkey King Noga Wind (Buddha; Sanzang; King of Trolls): is a theater maker, actor, clown, drag king, and queer activist from Jerusalem. Her work focuses on merging queer activism and art. Her original show Red And Boiling- Real stories of queer women, has performed in multiple festivals in the U.S and abroad. -
The Journey to the West a Platform for Learning About China Past and Present
A painting in the Long Corridor in the Summer Palace in Beijing, China. It depicts the four protagonists, from left to right: Sun Wukong (Monkey King), Xuanzang (on the White Dragon Horse), Zhu Bajie (Pigsy), and Sha Wujing (Sandy). Source: Wikimedia Commons at https://tinyurl.com/y59sbz9y. Photo by Rolf Müller. The Journey to the West A Platform for Learning about China Past and Present By Jianfen Wang and Gordon Gray n US college students’ first course on China, the challenge for instructors is to pack the maximum amount of punch into the experience so that the course will inspire them to seek more opportunities to learn about China Iat and beyond the college level. One way to achieve this goal is to use a rich text with many applications to help students unpack the complexities of Chinese history, language, politics, economics, and thought. For this purpose, the six- teenth-century novel The Journey to the West, with its many incarnations, is ide- al.1 It features a rousing adventure story, which can be read as historical fiction, political satire, and religious allegory. The novel has been reproduced for many types of audiences in many different media, including children’s books, puppet shows, operas, comics, TV series, and movies; each version is different enough to allow instructors to discuss them in the context of important Chinese histori- cal events and cultural elements. Because well-told stories help us make sense of the world, instructors can use this novel as a foundational element to facilitate students’ connections with and between the various elements of the course. -
The Monkey King (D0151)
Upper-Intermediate - The Monkey King (D0151) A: 我们h+»S½毛球'。 Womenˇ zhoum¯ o` qu` daˇ yumˇ aoqi´ u´ ba. Let’s go and play badminton this weekend. B: 不L,我有很Í要的事。 Bux` ´ıng, woˇ youˇ henˇ zhongy` ao` de sh`ı. Can’t do. I have something very important planned. A: 有¦会? Youˇ yuehu¯ `ı? You have a date? B: 我要看《西8记》。 Woˇ yao` kan` X¯ıyouj´ `ı . I am going to watch ”Journey to the West”. A: )ê!都ÍÇ几~M了。`还要看! Tianna!¯ Dou¯ chongb´ o¯ guo jˇıbaiˇ bian` le. Nˇı haiy´ ao` kan!` My goodness! It’s been rerun hundreds of times. And you still want to watch it! Visit the Online Review and Discussion(text version). c 2007 Praxis Language Ltd. 1 B: 我最喜"《西8记》了。小时候,我还不Æ W,1迷上了《西8记》连¯;。£*时候, 我的¦想1/跟唐僧、Y悟z他们一w»西) 取Ï。 Woˇ zu`ı xˇıhuan X¯ıyouj´ `ı le. Xiaoshˇ ´ıhou, woˇ hai´ bu` sh´ız`ı, jiu` m´ıshang` le X¯ıyouj´ `ı lianhu´ anhu´ a.` Nage` sh´ıhou, woˇ de mengxi` angˇ jiush` `ı gen¯ Tang´ seng,¯ Sun¯ Wuk` ong¯ tamen¯ y¯ıqˇı qu` x¯ıtian¯ qujˇ ¯ıng. ‘Journey to the West’ is my favorite. When I was a kid and couldn’t read yet, I loved looking at the picture book version. Back then, my dream was to go with Tang Seng and Sun Wukong on a pilgrimage to the Western Par- adise. A: £倒/。Ï*º都喜"这Í)lLz的E事。 唐僧,Y悟z,沙和尚, *k戒ÏÇ妖T< *设¡的kA一难,最后È于0西)取0了Ï f。E事不F:激,而且还激±º。 Na` daosh` `ı. Meigerˇ en´ dou¯ xˇıhuan zhezh` ongˇ tianm¯ axˇ ´ıng- kong¯ de gushi.` Tang´ Seng,¯ Sun¯ Wuk` ong,¯ Sha¯ heshang,´ Zhu¯ Baji¯ e` j¯ıngguo` yaom¯ ogu´ ˇıguai` shej` `ı de bash¯ ´ı y¯ı nan,` zu`ıhou` zhongy¯ u´ dao` x¯ıtian¯ qudˇ ao` le j¯ıngshu.¯ Gushi` bu-` dan` c`ıj¯ı, erqi´ eˇ hai´ j¯ıl`ı ren.´ True. -
Download Article
Advances in Social Science, Education and Humanities Research, volume 144 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017) Application of Color and Musical Language in Chinese Contemporary Animation Film Peng Jing Academy of Arts and Films Chengdu University Chengdu, China 610106 Abstract—With quickening space of domestic modernization gradual transition from the original two-dimensional way of construction, people’s material and culture life standard gets presentation to popularization of 3D film is completed. promoted continuously and art industry also obtains extremely Undoubtedly, in the development process of film, color rapid development. As an important branch of art, contemporary language plays an important role, being an excellent catalyst animation film develops with an objective speed under current for development of film art. It can be said that as an important social background. In terms of the essence of animation film, as means of expression for film creation, color language can two important elements, application of color and musical effectively convey the emotion, idea and thought contained in language must be excellent. Their application is mainly directly the film, thus reflecting value orientation and aesthetic needs in related to film theme, creation background, creator's personal emotion and so on. Based on the above elements influencing color the work. Based on it, since animation film has the and musical language, the author starts with three aspects: characteristic of non-live shot, the expressive force of color in nationality and strengthening of folk characteristics, realism and the corresponding animation work is even more prominent. reproduction, and symbolism and personalization, and Therefore, application of color language has to achieve the goal systematically analyzes application of color language and musical of expressing roles' emotion and building scene atmosphere. -
Asia Now on B Y Jon R Ei N F U Rt Ill U Strati
RT U F N EI Y JON R B Asia ON strati U Now ILL 2016 IN THIS ISSUE 3 Action! 5 Pakistan Film Industry Defies Extremists 6 Portrait of Wealth: Hong Kong Becomes a Key Player in the Global Art Market 7 Dogged Pursuits 8 Fries with that? Fast Food Appeal Catching on Quickly 9 Ready for Takeoff 10 Vietnam Advances to the Fore as a Golf Destination 10 Playing on the World Stage 11 Feel the Burn 12 China’s Goal: Soccer Superstardom 13 Korea: Electronic Gaming as a Spectator Sport 14 The Dark Side of Leisure The Leisure & Entertainment Issue Newly affluent Asians are looking for diversions. Businesses that can answer the demand stand to prosper. hus for the first time since his creation man will be faced with “This real, his permanent problem—how to use his freedom from pressing economic cares, how to occupy the leisure, which science and compound interest will have won for him, to live wisely and agreeably and well.” John Maynard Keynes, Economic Possibilities for our Grandchildren (1930) Investing in international and emerging markets may involve additional risks, such as social and political instability, market illiquidity, exchange-rate fluctuations, a high level of volatility and limited regulation. Fixed income investments are subject to additional risks, including, but not limited to, interest rate, credit and inflation risks. In addition, single-country and sector strategies may be subject to a higher degree of market risk than diversified strategies because of concentration in a specific industry, sector or geographic location. Investing in small- and mid-size companies is more risky than investing in large companies as they may be more volatile and less liquid than large companies. -
The Reciprocal Actions of the Film Works of Osamu Tezuka and Television Samuel Kaczorowski
The reciprocal actions of the film works of Osamu Tezuka and television Samuel Kaczorowski To cite this version: Samuel Kaczorowski. The reciprocal actions of the film works of Osamu Tezuka and television. Inter- national Japanese Studies, 2010. hal-02158512 HAL Id: hal-02158512 https://hal.archives-ouvertes.fr/hal-02158512 Submitted on 18 Jun 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. 02カクゾロフスキー_P000-000_02カクゾロフスキー 10/06/18 17:30 ページ 1 初 校 THE RECIPROCAL ACTIONS OF THE FILM WORKS OF OSAMU TEZUKA AND TELEVISION 1 THE RECIPROCAL ACTIONS OF THE FILM WORKS OF OSAMU TEZUKA AND TELEVISION Samuel Kaczorowski 1961: The Japanese artist Osamu Tezuka founded “Mushi Production studio” in order to create a series in animation, especially for television. The device he invented with his team revolutionized the traditional methods (limiting the number of colors to accelerate colorization, multiplication Fig. 1 of still shots on backdrops, loops, Tezuka Productions (Editor), The Animation camera scans accompanied by sound filmography of Tezuka Osamu and Tezuka Productions (3rd edition), Tezuka Productions, effects, recoveries of backgrounds, 2006. Tezuka Productions © etc..). When the cartoon Tetsuwan Atom1 (“Astro boy”, Fig. -
China's Creative Industries and Intellectual
Creativity and Its Discontents Creativity and Its Discontents China’s Creative Industries and Intellectual Property Rights Offenses Laikwan Pang Duke University Press Durham and London 2012 © 2012 Duke University Press All rights reserved Printed in the United States of America on acid-free paper ♾ Typeset in Minion and Hypatia Sans by Tseng Information Systems, Inc. Library of Congress Cataloging-in- Publication Data appear on the last printed page of this book. Duke University Press gratefully acknowledges the support of the Chiang Ching-Kuo Foundation for International Scholarly Exchange, which provided funds toward the production of this book. Contents Acknowledgments vii Introduction 1 Part I UnderstandIng CreatIvIty 1 Creativity as a Problem of Modernity 29 2 Creativity as a Product of Labor 47 3 Creativity as a Construct of Rights 67 Part II ChIna’s CreatIve IndUstrIes and IPr Offenses 4 Cultural Policy, Intellectual Property Rights, and Cultural Tourism 89 5 Cinema as a Creative Industry 113 6 Branding the Creative City with Fine Arts 133 7 Animation and Transcultural Signification 161 8 A Semiotics of the Counterfeit Product 183 9 Imitation or Appropriation Arts? 203 Notes 231 Bibliography 261 Index 289 Acknowledgments It took me a long time to come up with a page of acknowledgments for my first book. But the list of people I feel obliged to thank grows as my research broadens, and I realize that the older I get, the more people I am indebted to. This is a good feeling. Several scholars have read parts of the manuscript in different stages and offered me their valuable comments and criticisms.