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After the Livestock Revolution Free-Grazing Ducks and Influenza Uncertainties in South China
ARTICLE After the livestock revolution Free-grazing ducks and influenza uncertainties in South China Lyle Fearnley Abstract Since the 1970s, virologists have pointed to South China as a hypothetical ‘epicenter’ of influenza pandemics. In particular, several key studies highlighted the farming practice of ‘free-grazing’ ducks (fangyang) as the crucial ecological factor driving the emergence of new flu viruses. Following the emergence of highly pathogenic avian influenza viruses in 1997 and 2004, free-grazing ducks became a primary target of biosecurity interventions from global health agencies and China’s national government. This article compares the global health ‘problematization’ of free-grazing ducks as a pandemic threat with the manner in which duck farmers around Poyang Lake, China, engage with the dangers of disease in their flocks. Showing how both global health experts and duck farmers configure the uncertainty of disease against ideal modes of ordering the relations among species, I conclude by examining how these two problematizations interact in ways that mutually intensify – rather than moderate – uncertainty. Keywords pandemics, influenza, agrarian change, multispecies, human-animal relations, uncertainty Medicine Anthropology Theory 5 (3): 72–98; https://doi.org/10.17157/mat.5.3.378. © Lyle Fearnley, 2018. Published under a Creative Commons Attribution 4.0 International license. Medicine Anthropology Theory 73 Out in the rice fields and waterways that surround China’s enormous Poyang Lake, located in southern Jiangxi Province, ducks are a common sight. The lowland environment of the lake region, filled with canals and small ponds, is certainly suitable for the husbandry of waterfowl. Provincial planning reports from the 1980s called for the lake region to be developed as a ‘production base’ for commercial waterfowl (Studies on Poyang Lake Editorial Committee 1988). -
Gender and the Family in Contemporary Chinese-Language Film Remakes
Gender and the family in contemporary Chinese-language film remakes Sarah Woodland BBusMan., BA (Hons) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2016 School of Languages and Cultures 1 Abstract This thesis argues that cinematic remakes in the Chinese cultural context are a far more complex phenomenon than adaptive translation between disparate cultures. While early work conducted on French cinema and recent work on Chinese-language remakes by scholars including Li, Chan and Wang focused primarily on issues of intercultural difference, this thesis looks not only at remaking across cultures, but also at intracultural remakes. In doing so, it moves beyond questions of cultural politics, taking full advantage of the unique opportunity provided by remakes to compare and contrast two versions of the same narrative, and investigates more broadly at the many reasons why changes between a source film and remake might occur. Using gender as a lens through which these changes can be observed, this thesis conducts a comparative analysis of two pairs of intercultural and two pairs of intracultural films, each chapter highlighting a different dimension of remakes, and illustrating how changes in gender representations can be reflective not just of differences in attitudes towards gender across cultures, but also of broader concerns relating to culture, genre, auteurism, politics and temporality. The thesis endeavours to investigate the complexities of remaking processes in a Chinese-language cinematic context, with a view to exploring the ways in which remakes might reflect different perspectives on Chinese society more broadly, through their ability to compel the viewer to reflect not only on the past, by virtue of the relationship with a source text, but also on the present, through the way in which the remake reshapes this text to address its audience. -
Western Criticism, Labelling Practice and Self-Orientalised East Asian Films
Travelling Films: Western Criticism, Labelling Practice and Self-Orientalised East Asian Films Goldsmiths College University of London PhD thesis (Cultural Studies) Ji Yeon Lee Abstract This thesis analyses western criticism, labelling practices and the politics of European international film festivals. In particular, this thesis focuses on the impact of western criticism on East Asian films as they attempt to travel to the west and when they travel back to their home countries. This thesis draws on the critical arguments by Edward Said's Orientalism: Western Conceptions of the Orient (1978) and self-Orientalism, as articulated by Rey Chow, which is developed upon Mary Louise Pratt's conceptual tools such as 'contact zone' and 'autoethnography'. This thesis deals with three East Asian directors: Kitano Takeshi (Japanese director), Zhang Yimou (Chinese director) and 1m Kwon-Taek (Korean director). Dealing with Japanese, Chinese and Korean cinema is designed to show different historical and cultural configurations in which each cinema draws western attention. This thesis also illuminates different ways each cinema is appropriated and articulated in the west. This thesis scrutinises how three directors from the region have responded to this Orientalist discourse and investigates the unequal power relationship that controls the international circulation of films. Each director's response largely depends on the particular national and historical contexts of each country and each national cinema. The processes that characterise films' travelling are interrelated: the western conception of Japanese, Chinese or Korean cinema draws upon western Orientalism, but is at the same time corroborated by directors' responses. Through self-Orientalism, these directors, as 'Orientals', participate in forming and confirming the premises of western Orientalism. -
10883-APG-Portland Place School-Strive Year 9 V4.Indd
STRIVE YEAR 9 WHY? FOSTER YOUR PASSION STRETCH AND ENTHUSIASM YOUR FOR THE SUBJECTS LEARNING YOU LOVE IN FUN OUTSIDE THE AND EXCITING CLASSROOM. WAYS. BEGIN THINKING AND EXPERIMENTING DEVELOP WITH DIFFERENT STRATEGIES FOR WAYS OF INDEPENDENT LEARNING. LEARNING WHICH WILL BE ESSENTIAL FOR SUCCESS. Portland Place | Strive | Year 9 | Why? 3 We will give you recommendations based on what you can: STRIVE READ WATCH At Portland Place we want to provide you with the opportunity to: CONTENTS • Excite and broaden your mind on your favourite topics and subjects. ART 6 Stretch your learning far beyond the classroom. • COMPUTER SCIENCE 7 • Empower you to set your own learning direction. DRAMA 8 • Inspire and motivate you. DESIGN TECHNOLOGY 9 We want to provide you with the opportunity to explore topics ENGLISH 10 and issues further, to develop a sense of questioning and GEOGRAPHY 11 curiosity. When we are curious, we see things differently, making HISTORY WWI 12 connections and experiencing moments of insight and meaning — all of which provide the foundation for rich and satisfying HISTORY WWII 13 life experiences. HISTORY HOLOCAUST 14 This booklet outlines The Strive Programme, allowing you to HISTORY THE COLD WAR 14 harness your curiosity and deepen your interest and engagement HISTORY CIVIL RIGHTS 15 of a particular subject through closer study. Each subject has MATHEMATICS 16 suggestions about things you can,WATCH, READ, LISTEN, SEE LISTEN SEE MATHS & ARTS 17 AND DO to foster your passion and enthusiasm for the subjects you love and develop strategies for independent learning. The MUSIC 18 - 19 tasks are designed to be done at your pace and in your own time. -
WORLD CINEMA Streaming Video Collection
WORLD CINEMA Streaming Video Collection More than 485 classic and contemporary feature films from Africa, Asia, Europe, Latin America, the Caribbean, the Middle East, and the United States. This unique collection includes the best of the silent • Unlimited access from any location— era, groundbreaking international directors, American on campus or off and European masterpieces from the mid-20th century, • Easily embed videos into Canvas, award-winning contemporary films from Global Lens, Blackboard, Moodle, or other CMS and films from Africa and the African diaspora from ArtMattan Productions. The collection shines a light • Public performance rights and no on the history of cinema while also providing a glimpse copyright infringement worries into the cultures and issues of countries around the • Includes masterpieces and award world—making it useful beyond film studies departments winners directed by: by bringing value to programs in area studies, political science, history, world languages, and more. Fritz Lang Ousmane Sembène All foreign language films Georges Méliès Federico Fellini are accompanied by English Jean Renoir Roberto Rossellini subtitles. Using Films On Luis Buñuel Zhang Yimou Demand’s Custom Segment Akira Kurosawa King Hu tool, faculty and students Yasujiro Ozu Glauber Rocha may create customized segments of specific Sergei Eisenstein Yilmaz Güney scenes from a film, which Alfred Hitchcock Satyajit Ray can be embedded, shared, Ida Lupino …and many more! and saved. Some World Cinema titles contain mature themes or content; viewer discretion is advised. CALL: (800) 322-8755 [email protected] FREE TRIAL: www.Infobase.com/Trial FAX: (646) 349-9687 www.Films.com • www.Infobase.com 0517 More than 485 feature films from around the globe. -
19 .01 .12 > 29 .01
SAMURAI SPY CALENDARIO DE PROYECCIONES (異聞猿飛佐助 / Ibun Sarutobi Sasuke, 1965) Director: Masahiro Shinoda jueves 19 enero .12 Guión: Yoshiyuki Fukuda, basado en la novela de Koji Nakada The Dry Lake 17:00 / Pale Flower 19:30 / Assassination 22:00 Intérpretes: Koji Takahashi (Sarutobi Sasuke), Eiji Okada (Ta- 01 . tewaki Koriyama), Siji Miyaguchi (Horikawa Kazutaka ‘Jinnai’), Kei Sato (Takanosuke Nojiri) viernes 20 enero [blanco y negro, 100’] Samurai Spy 17:00 / My Face Is Red in the Sun 19:30 / A Fla- 29 Cinta histórica encuadrable en el género chambara o de espa- me at the Pier 22:00 dachines que sirve nuevamente a Shinoda para elaborar un pa- ralelismo con la etapa contemporánea. Nos remontamos a los sábado 21 enero años posteriores a la batalla de Sekigahara (1600), en los que el .12 > Himiko 17:00 / Pale Flower 19:30 / The Dry Lake 22:00 clan Togukawa instaura una hegemonía que durará dos siglos. El protagonista, un espía al servicio del clan, se ve envuelto en una 01 terrible lucha de poder. Una de las películas más estéticas y estili- domingo 22 enero . zadas del realizador. Samurai Spy 17:00 / Assassination 19:30 / A Flame at the Pier 22:00 19 jueves 26 enero A Flame at the Pier 17:00 / My Face Is Red in the Sun 19:30 / Himiko 22:00 viernes 27 enero My Face Is Red in the Sun 17:00 / Himiko 19:30 / Pale Flower 22:00 sábado 28 enero Assassination 17:00 / The Dry Lake 19:30 / Himiko 22:00 domingo 29 enero himikO, © 1974, Art Theatre Guild of Japan Co., Ltd. -
Chinese Audio DESCRIPTIONS
Chinese Audio DESCRIPTIONS Beginning Chinese I, Audio to follow Professor Chang’s textbook. Available Chapters 1-9 from website http://llc.mtsac.edu . Go to “Materials”>>”Online Audio/Video”. Choose “Chinese1.” Password is china. Beginning Chinese II, Audio to follow Professor Chang’s textbook. Available Chapters 1-5 from website http://llc.mtsac.edu . Go to “Materials”>>”Online Audio/Video”. Choose “Chinese2.” Password is china. Intermediate Chinese Level 3 - 2007 Chapters 1-Audio to follow Professor Chang’s textbook. Available 4 from website http://llc.mtsac.edu . Go to “Materials”>>”Online Audio/Video”. Choose “Chinese3.” Password is china. Intermediate Chinese Level 4 – 2007 Chapters 5- Audio to follow Professor Chang’s textbook. Available 8 from website http://llc.mtsac.edu . Go to “Materials”>>”Online Audio/Video”. Choose “Chinese4.” Password is china. Whole New World 1 Chinese Audio 12/5/2012 Chinese Internet Sites DESCRIPTIONS Chinese Character Search Engine http://search.yahoo.com/search?p=Chinese+Character+Search+E ngine&type= Internet _ Oxford Dictionary http://www.oxfordlanguagedictionaries.com/Home.html?direction= b-zh-en Learn Chinese Online http://www.csulb.edu/~txie/online.htm Learn Real Chinese Online - BBC http://www.bbc.co.uk/languages/chinese/real_chinese/ Prof. Dong Chinese 3 – Integrated Chinese – http://video.csupomona.edu/mdong/cheng-tsui.htm LVL 1 – Part 2 Quia _ Practice Chinese by subject http://www.quia.com/shared/search?category=9&adv_search=true Quizlet _ Chinese http://quizlet.com/subject/chinese/ Translate Chinese http://search.yahoo.com/search?p=Translate+Chinese&type= Translate to or from Chinese http://babelfish.yahoo.com/ Watch Taiwanese TV on line http://www.ttv.com.tw/videocity/ Zhongwen Website http://www.zhongwen.com 2 Chinese Internet 12/5/2012 CHINESE DVD DESCRIPTIONS Court Love Girls On the golf links, two boys and eight girls don’t know each other well. -
Unseen Femininity: Women in Japanese New Wave Cinema
UNSEEN FEMININITY: WOMEN IN JAPANESE NEW WAVE CINEMA by Candice N. Wilson B.A. in English/Film, Middlebury College, Middlebury, 2001 M.A. in Cinema Studies, New York University, New York, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of PhD in English/Film Studies University of Pittsburgh 2015 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Candice N. Wilson It was defended on April 27, 2015 and approved by Marcia Landy, Distinguished Professor, Film Studies Program Neepa Majumdar, Associate Professor, Film Studies Program Nancy Condee, Director, Graduate Studies (Slavic) and Global Studies (UCIS), Slavic Languages and Literatures Dissertation Advisor: Adam Lowenstein, Director, Film Studies Program ii Copyright © by Candice N. Wilson 2015 iii UNSEEN FEMININITY: WOMEN IN JAPANESE NEW WAVE CINEMA Candice N. Wilson, PhD University of Pittsburgh, 2015 During the mid-1950s to the early 1970s a subversive cinema, known as the Japanese New Wave, arose in Japan. This dissertation challenges critical trends that use French New Wave cinema and the oeuvre of Oshima Nagisa as templates to construct Japanese New Wave cinema as largely male-centered and avant-garde in its formal aesthetics. I argue instead for the centrality of the erotic woman to a questioning of national and postwar identity in Japan, and for the importance of popular cinema to an understanding of this New Wave movement. In short, this study aims to break new ground in Japanese New Wave scholarship by focusing on issues of gender and popular aesthetics. -
Deficit Forecast Fall Convocation
The rector talked at some length about the expenses of operating the university as the focus of instruction move!] forward. It was an old problem and one which the university discussed publicly in its report on the' projected development of the university to the Q_uebec go'{.ernment last summer. Excerpts: . "With the elimination of the first year of the old undergraduate program,..;the focus of instruction within the University has CONCORDIA UNIVERSITY Volume 2, number 11 November 20, 1975 moved appreciably forward ... calling for additional support 'by way of smaller cla_sses, mqre seminars and tutorials, more soph~ticated laboratory equipment, bet the current year is based on the cost of last ter library collections, etc. In other words, Deficit Forecast year's level df university operation additional resources are needed to serve increased to include. salary increases and I the same, or even a smaller, number of The Board of Governors at its meeting adjustments, as well as taking account of students. last Thursday evening released the rising costs generally. It does not include " '!fhere is normally and properly a wide statement concerning the university's additional university departmental re gap in per student grants between the projected deficit, appearing below. At a quests amounting to $1,247,000. collegial and university level. However, press gathering the following day, the " 'The government has indicated recent grants to the two institutions which rector pointed out the uncertainty v.i.jth allowable expenditures for this year now compose Concordia University do not which the university faced its future and amounting to $32,472,000" board Chairman reflect this differentiation. -
1/14 Lost in Beijing: Ruthless Profiteer and Decadence of Family Values
2012 American Comparative Literature Association Annual Meeting Ho Lost in Beijing: Ruthless Profiteer and Decadence of Family Values as Social Commentary and Its Limits Lost in Beijing: Ruthless Profiteer and Decadence of Family Values as Social Commentary and Its Limits ©Wing Shan Ho Speedy economic development in neo-liberal China has generated significant anxiety about the impact of the prevalent money-oriented economic order on subjectivity and the private sphere. As Chinese citizens from all walks of life become more conscious of profits/benefits (li), the urge to acquire money and the pressure to strive for a viable livelihood might be felt more keenly by the social underclass. How do members of the underclass respond to the changing economic order? What are they willing to sacrifice for economic survival and in the pursuit of affluence? How have the concepts of self, family, and community changed accordingly? These questions lead me to examine the state-criticized film Lost in Beijing (Pingguo) (Li Yu, 2007), which portrays a ruthless economic subjects who destroys family bonds and affection. This article offers a contextualized, close reading of Lost in Beijing and explores how filmic representation offers social commentary through dramatized conflicts between money and family values. I argue that Lost in Beijing, which portrays the selling of a son, critiques the logic of capitalism and monetary profit for the way in which it reduces human beings and affective bonding to mere commodities. Such a critical attitude results in not only portrayals of a ruthless economic subject but also sympathy of female victims of China’s economic growth whose depictions elicit the state’s censure. -
Teaching Chinese Film in an Advanced Language Class
30 Guest-Edited Section—Teaching About Asia Teaching Chinese Film in an Advanced Language Class Luying Chen St. Olaf College Instructors often face a dilemma when using film in language classes. While film is appealing for the rich cultural and linguistic information it offers, finding the balance between teaching content and building language skills can present significant challenges for an instructor. Common approaches to using film in courses taught in English, such as screening one film a week, reading critical essays about the films, and class discussions and lectures, seldom offer the same benefits in a foreign language course due to the fact that students with only three years of foreign language study frequently lack the language skills necessary to discuss films in a foreign language. Yanfang Tang and Qianghai Chen, authors of the textbook Advanced Chinese: Intention, Strategy, & Communication (2005), have argued that “[n]either interpreting textual meanings nor decoding linguistic patterns leads naturally to the productive skills needed” for communicating in the target language at the advanced level.1 They further suggest that “practice, in a conscious but meaningful way is the key to successful transformation of input knowledge into productive output skills.”2 When we use films in language classes, the focus is for students to understand the textual meanings and linguistic patterns within the film, but training productive output skills in students, while fostering cultural proficiency and developing critical thinking skills, can prove to be somewhat difficult to accomplish within normal classroom time constraints. Recently published textbooks, including Readings in Contemporary Chinese Cinema (Chou, 2008, hereafter Readings)3 and Discussing Everything Chinese (Li-li Teng Foti, et al., 2007, hereafter Discussing)4, have recognized this challenge and ASIANetwork Exchange Teaching Chinese Film in an Advanced Language Class 31 experimented with different approaches to using Chinese film in advanced language classes. -
Study Guide Written by Robert Hamilton and Qi Zhang (Manchester Metropolitan University)
Study Guide written by Robert Hamilton and Qi Zhang (Manchester Metropolitan University) Projector: Community Languages in collaboration with Routes into is supported by: Languages North West (COLT) st st / INTRODUCTION This study guide is relevant to GCSE and equivalent level Mandarin. GCSE LEVEL TOPICS: School life, daily routine and social conventions (courtship, village life). Themes include: personal relationships, love, death rituals, customs and traditions, and the Culture Revolution. PLOT: Set in rural China before the Cultural Revolution, a young city dweller returns home for the funeral of his father. As he and his elderly mother make preparations, the story of his parents’ courtship emerges. A heartfelt reflection upon love, family, culture and change. / CREDITS Director Zhang, Yimou Country China Year 2000 Length 100 mins Genre Family Drama Script Bao Shi Music San Bao Photography Hou Yong Cast Zhang Ziyi (Zhao Di, Young), Sun Honglei (Luo Yusheng), Zheng Hao (Luo Changyu), (Zhao Di, Old) Zhao Yulian. 2 / BEFORE THE FILM Pre-viewing activities / Director 1. Decide whether the following statements are True False a b c d e 3 2. Can you find a synonym for the word / Synopsis 3. Decide whether the following statements are True False a b c d 4 4. Look at the two posters and answer the questions a. Group work: examine the poster layouts and spot the difference b. Look at the Chinese poster & translate the title of the film. What do you notice? 5 c. Group work: Can you find other examples of where the Chinese poster differs from the English? 6 / DURING THE FILM While-viewing activities 5.