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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. -
The Cultural Politics of Tobacco Control in Hong Kong
Lingnan University Digital Commons @ Lingnan University Theses & Dissertations Department of Cultural Studies 2009 Beyond public health : the cultural politics of tobacco control in Hong Kong Wai Yin CHAN Follow this and additional works at: https://commons.ln.edu.hk/cs_etd Part of the Critical and Cultural Studies Commons, Health Policy Commons, and the Social Control, Law, Crime, and Deviance Commons Recommended Citation Chan, W. Y. (2009).Beyond public health : the cultural politics of tobacco control in Hong Kong (Doctor's thesis, Lingnan University, Hong Kong). Retrieved from http://dx.doi.org/10.14793/cs_etd.4 This Thesis is brought to you for free and open access by the Department of Cultural 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. BEYOND PUBLIC HEALTH: THE CULTURAL POLITICS OF TOBACCO CONTROL IN HONG KONG CHAN WAI YIN PHD LINGNAN UNIVERSITY 2009 BEYOND PUBLIC HEALTH: THE CULTURAL POLITICS OF TOBACCO CONTROL IN HONG KONG by CHAN Wai Yin A thesis submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy in Cultural Studies Lingnan University 2009 ABSTRACT Beyond Public Health: The Cultural Politics of Tobacco Control in Hong Kong by CHAN Wai Yin Doctor of Philosophy This work provides cultural and political explanations on how and why cigarette smoking has increasingly become an object of intolerance and control in Hong Kong. -
Independent Cinema in the Chinese Film Industry
Independent cinema in the Chinese film industry Tingting Song A thesis submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy Faculty of Creative Industries Queensland University of Technology 2010 Abstract Chinese independent cinema has developed for more than twenty years. Two sorts of independent cinema exist in China. One is underground cinema, which is produced without official approvals and cannot be circulated in China, and the other are the films which are legally produced by small private film companies and circulated in the domestic film market. This sort of ‘within-system’ independent cinema has played a significant role in the development of Chinese cinema in terms of culture, economics and ideology. In contrast to the amount of comment on underground filmmaking in China, the significance of ‘within-system’ independent cinema has been underestimated by most scholars. This thesis is a study of how political management has determined the development of Chinese independent cinema and how Chinese independent cinema has developed during its various historical trajectories. This study takes media economics as the research approach, and its major methods utilise archive analysis and interviews. The thesis begins with a general review of the definition and business of American independent cinema. Then, after a literature review of Chinese independent cinema, it identifies significant gaps in previous studies and reviews issues of traditional definition and suggests a new definition. i After several case studies on the changes in the most famous Chinese directors’ careers, the thesis shows that state studios and private film companies are two essential domestic backers for filmmaking in China. -
Big Four Coming to the Venetian Macao for Third Time Hong Kong Cantopop Stars to Perform at Venetian Theatre
Big Four Coming to The Venetian Macao for Third Time Hong Kong Cantopop stars to perform at Venetian Theatre (Macao, Oct. 30, 2014) – Cantopop stars Big Four will perform one night only at The Venetian® Macao’s Venetian Theatre on Friday, Nov. 21 with its WOW An Evening date with Big Four. Tickets go on sale Oct. 31 at all Cotai Ticketing box offices*. The band’s return to The Venetian Macao is part of an exciting weekend of superstar entertainment at the popular integrated resort. Sunday, Nov. 23 will also see the return of boxing icon Manny Pacquiao, as he takes on the undefeated Chris Algieri at Clash in Cotai II. Tickets are still available, priced HKD/MOP 880-24,080, so fans are urged to grab tickets now at www.cotaiticketing.com. Both events give visitors a chance to experience spectacular live entertainment while enjoying the convenience of The Venetian Macao’s diverse selection of world-class shopping and dining choices. Formed in 2009, Big Four is made up of friends Dicky Cheung, Andy Hui, William So and Edmond Leung. The Hong Kong actor-singers are set to entertain the Macao audience this November with WOW An Evening date with Big Four, a concert filled with their greatest hits, including “Big Four,” “Powerless to Help,” “The Pain of Men,” and “Man Should Not Make Woman Cry.” Tickets for the 8 p.m., Nov. 21 performance of WOW An Evening date with Big Four at the Venetian Theatre go on sale Friday, Oct. 31 via Cotai Ticketing and can be purchased for HKD/MOP 780 (A Reserve), 580 (B Reserve) and 380 (C Reserve); HKD/MOP 88 adds a round trip Cotai Water Jet ferry ticket between Hong Kong and * The Venetian Macao – Cotai Arena and Main Lobby box offices; Four Seasons Hotel Macao – The Plaza™ Macao box office; Sands® Macao – L1 box office; Sands® Cotai Central – Sheraton Main Lobby and Holiday Inn Main Lobby Page 1 of 3 Macao. -
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. -
Global Cities, Local Knowledge
Formatting and Change in East Asian Television Industries: Media Globalization and Regional Dynamics Lim, Wei Ling Tania Patricia BSocSc (Hons), MSc (Media & Comms) Creative Industries Research and Applications Centre Queensland University of Technology Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy 2005 Keywords Circuit of cultural production, East Asian popular culture, Television industries, Field of broadcasting, Formatting, Local knowledge, Media capitals, Neo-networks, Regional dynamics, TV Formats, martial arts dramas, teenage idol soap operas, game-shows. ii Abstract Television is increasingly both global and local. Those television industries discussed in this thesis transact in an extensive neo-network of flows in talents, financing, and the latest forms of popular culture. These cities attempt to become media capitals but their status waxes and wanes, depending on their success in exporting their Asian media productions. What do marital arts dramas, interactive game-shows, children’s animation and teenage idol soap operas from East Asian television industries have in common? Through the systematic use of TV formatting strategies, these television genres have become the focus for indigenous cultural entrepreneurs located in the East Asian cities of Hong Kong, Singapore and Taipei to turn their local TV programmes into tradable culture. This thesis is a re-consideration of the impact of media globalisation on Asian television that re-imagines a new global media order. It suggests that there is a growing shift in perception and trade among once-peripheral television industries that they may be slowly de-centring Hollywood’s dominance by inserting East Asian popular entertainment into familiar formats or cultural spaces through embracing global yet local cultures of production. -
Shaw Brothers Films List
The Shaw Brothers Collection of Films on DVD Distributed by Celestial Pictures Collection 23 Titles grouped by year of original theatrical release (Request titles by ARSC Study Copy No.) ARSC Study Film Id English Title Chinese Title Director Genre Year Casts Copy No. Lin Dai 林黛, Chao Lei 趙雷, Yang Chi-ching 楊志卿, Lo Wei 1 DVD5517 M 156012 Diau Charn 貂蟬 Li Han-hsiang 李翰祥 Huangmei Opera 1956 羅維 DVD5518 M 1.1 (Karaoke Diau Charn 貂蟬 disc) Lin Dai 林黛, Chao Lei 趙雷, Chin Chuan 金銓, Yang Chi- 2 DVD5329 M 158005 Kingdom And The Beauty, The 江山美人 Li Han-hsiang 李翰祥 Huangmei Opera 1958 ching 楊志卿, Wong Yuen-loong 王元龍 Enchanting Shadow Lo Tih 樂蒂, Chao Lei 趙雷, Yang Chi-ching 楊志卿, Lo Chi 3 DVD5305 M 159005 倩女幽魂 Li Han-hsiang 李翰祥 Horror 1959 洛奇 Rear Entrance Butterfly Woo 胡蝶, Li Hsiang-chun 李香君, Chao Ming 趙明, 4 DVD5149 M 159016 後門 Li Han-hsiang 李翰祥 Drama 1959 (B/W) Chin Miao 井淼, Wang Ai-ming 王愛明, Wang Yin 王引 Lin Dai 林黛, Chao Lei 趙雷, Hung Por 洪波,Wang Yueh-ting 5 DVD5212 M 159021 Beyond The Great Wall 王昭君 Li Han-hsiang 李翰祥 Huangmei Opera 1959 王月汀, Chang Tsui-yin 張翠英, Li Yin 李英 Lin Dai 林黛, Chen Ho 陳厚, Fanny Fan 范麗, Kao Pao-shu 6 DVD5209 M 160004 Les Belles 千嬌百媚 Doe Chin 陶秦 Musical 1960 高寶樹, Mak Kay 麥基 7 DVD5433 M 160006 Magnificent Concubine, The 楊貴妃 Li Han-hsiang 李翰祥 Huangmei Opera 1960 Li Li-hua 李麗華, Yen Chuan 嚴俊, Li Hsiang-chun 李香君 Li Li-hua 李麗華, Chao Lei 趙雷, Chiao Chuang 喬莊, Lo Chi 8 DVD5452 M 160011 Empress Wu 武則天 Li Han-hsiang 李翰祥 Period Drama 1960 洛奇, Yu Feng-chi 俞鳳至 Loh Tih 樂蒂, Diana Chang Chung-wen 張仲文, Ting Ning 9 DVD5317 M 160020 Bride Napping, The -
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. -
Review of Operations
REVIEW OF OPERATIONS HONG KONG TV BROADCASTING As the most watched platform in Hong Kong, TVB channels continue to attract a diversified advertiser Hong Kong TV broadcasting business continued to be base. The fast moving consumer goods (“FMCG”) the largest revenue contributor, accounting for 65% of category continued to dominate our client base. the Group’s revenue. This segment includes Hong Kong Overall, the rankings of the key advertisers in the terrestrial TV broadcasting and the co-production of spending league table were maintained stable with drama serials partnering with leading Chinese online the five top spending categories mirroring those of last video platforms. During the year, segment revenue year. Milk powder secured the top spending position from external customers increased by HK$105 million but witnessed a further decline this year as the retail or 4% year-on-year from HK$2,818 million to HK$2,923 sales had persistently been affected by enforcement of million mainly due to higher co-production income the hand-carry limit for infant formula across border, earned during the year. a law introduced back in 2013. The second largest category, loan and mortgage companies continued ADVERTISING REVENUE to use TV commercials for their image-building campaigns and had increased spending from last year. The year of 2018 started on a fairly optimistic tone. Skincare category, secured the third position with an However, tensions arising from US-China trade disputes ad-spend growth reversing the downward trend since intensified since mid-year, bringing volatilities to 2014. But it is still too early to conclude a turnaround the stock markets around the world and dampening for this category. -
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. -
Hindu – Buddhist Philosophy on Conflict Avoidance & Environment
Not for Sale Not for Sale Sale © VIF Vivekananda International Foundation 3 San Martin Marg, Chanakyapuri New Delhi-110021, India info@vifindia.org Follow us @VIFINDIA www.vifindia.org First published 2017 for Photographs courtesy VIF All rights reserved. No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means—electronic, mechanical, photocopying, recording or otherwise—without the prior permission of the author/s and the publisher. ISBN 978-81-8328-511-7 Published by Wisdom Tree 4779/23, Ansari Road Darya Ganj, New Delhi-110Not 002 Ph.: 011-23247966/67/68 [email protected] Printed in India Contents Sale Introduction 1. Welcome Address: NC Vij 3 2. Benediction: Sri Sri Ravi Shankar 5 3. Ashin Nyanissara 9 4. Shinzo Abe 13 5. Minoru Kiuchi 15 6. Chandrika Bandaranaike Kumaratunga 17 7. Narendra Modi for 25 8. Vote of Thanks: Masahiro Akiyama 31 Conflict Avoidance 1. S Gurumurthy 43 2. Lokesh Chandra 131 3. Arayawongso 137 4. Khy Sovanratana 143 5. Kripasur Sherpa 147 6. Nivedita Raghunath Bhide 149 7. M Bataa Not 177 8. Karsten Schmidt 181 9. Tsuneo Watanabe 193 10. SN Balagangadhara 197 11. Jean-Pierre Lehmann 201 12. Sai Sam Kham 205 13. Swami Govind Dev Giri 209 14. Concluding Remarks: Thich Nhat Tu 213 Environment Consciousness 1. Jangchup Choeden 227 2. Lyonpo Namgay Dorji 241 3. Sangajav Bayartsogt 245 4. Nirmalanandanatha Swamiji 249 5. Bellanwila Wimalaratana Thero 253 6. Barbara Maas 257 7. Naresh Man Bajracharya Sale263 8. Sudha Murty 267 9. Tenzin Palmo 273 10.