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Paper Number: 63 May 2007 Before and After the Fall: Mapping Hong
Paper Number: 63 May 2007 Before and after the Fall: Mapping Hong Kong Cantopop in the Global Era Stephen Yiu-wai Chu Hong Kong Baptist University The author welcome comments from readers. Contact details: Stephen Yiu-wai Chu, Department of Chinese Language and Literature, Hong Kong Baptist University, Hong Kong Email: [email protected] David C. Lam Institute for East-West Studies (LEWI) Hong Kong Baptist University (HKBU) LEWI Working Paper Series is an endeavour of David C. Lam Institute for East-West Studies (LEWI), a consortium with 28 member universities, to foster dialogue among scholars in the field of East-West studies. Globalisation has multiplied and accelerated inter-cultural, inter-ethnic, and inter-religious encounters, intentionally or not. In a world where time and place are increasingly compressed and interaction between East and West grows in density, numbers, and spread, East-West studies has gained a renewed mandate. LEWI’s Working Paper Series provides a forum for the speedy and informal exchange of ideas, as scholars and academic institutions attempt to grapple with issues of an inter-cultural and global nature. Circulation of this series is free of charge. Comments should be addressed directly to authors. Abstracts of papers can be downloaded from the LEWI web page at http://www.hkbu.edu.hk/~lewi/publications.html. Manuscript Submission: Scholars in East-West studies at member universities who are interested in submitting a paper for publication should send an article manuscript, preferably in a Word file via e-mail, as well as a submission form (available online) to the Series Secretary at the address below. -
China's Soft Power in East Asia
the national bureau of asian research nbr special report #42 | january 2013 china’s soft power in east asia A Quest for Status and Influence? By Chin-Hao Huang cover 2 The NBR Special Report provides access to current research on special topics conducted by the world’s leading experts in Asian affairs. The views expressed in these reports are those of the authors and do not necessarily reflect the views of other NBR research associates or institutions that support NBR. The National Bureau of Asian Research is a nonprofit, nonpartisan research institution dedicated to informing and strengthening policy. NBR conducts advanced independent research on strategic, political, economic, globalization, health, and energy issues affecting U.S. relations with Asia. Drawing upon an extensive network of the world’s leading specialists and leveraging the latest technology, NBR bridges the academic, business, and policy arenas. The institution disseminates its research through briefings, publications, conferences, Congressional testimony, and email forums, and by collaborating with leading institutions worldwide. NBR also provides exceptional internship opportunities to graduate and undergraduate students for the purpose of attracting and training the next generation of Asia specialists. NBR was started in 1989 with a major grant from the Henry M. Jackson Foundation. Funding for NBR’s research and publications comes from foundations, corporations, individuals, the U.S. government, and from NBR itself. NBR does not conduct proprietary or classified research. The organization undertakes contract work for government and private-sector organizations only when NBR can maintain the right to publish findings from such work. To download issues of the NBR Special Report, please visit the NBR website http://www.nbr.org. -
New Media in New China
NEW MEDIA IN NEW CHINA: AN ANALYSIS OF THE DEMOCRATIZING EFFECT OF THE INTERNET __________________ A University Thesis Presented to the Faculty of California State University, East Bay __________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in Communication __________________ By Chaoya Sun June 2013 Copyright © 2013 by Chaoya Sun ii NEW MEOlA IN NEW CHINA: AN ANALYSIS OF THE DEMOCRATIlING EFFECT OF THE INTERNET By Chaoya Sun III Table of Contents INTRODUCTION ............................................................................................................. 1 PART 1 NEW MEDIA PROMOTE DEMOCRACY ................................................... 9 INTRODUCTION ........................................................................................................... 9 THE COMMUNICATION THEORY OF HAROLD INNIS ........................................ 10 NEW MEDIA PUSH ON DEMOCRACY .................................................................... 13 Offering users the right to choose information freely ............................................... 13 Making free-thinking and free-speech available ....................................................... 14 Providing users more participatory rights ................................................................. 15 THE FUTURE OF DEMOCRACY IN THE CONTEXT OF NEW MEDIA ................ 16 PART 2 2008 IN RETROSPECT: FRAGILE CHINESE MEDIA UNDER THE SHADOW OF CHINA’S POLITICS ........................................................................... -
On Lav Diaz‟S a Lullaby to the Sorrowful Mystery
―Textual Mobilities: Diaspora, Migration, Transnationalism and Multiculturalism‖ | Lullaby of Diasporic Time: On Lav Diaz‟s A Lullaby to the Sorrowful Mystery Christian Jil R. Benitez Ateneo de Manila University Philippines [email protected] Abstract Lav Diaz is a Filipino independent filmmaker notable as a key figure in the contemporary slow cinema movement. Of his oeuvre, one of the longest is A Lullaby to the Sorrowful Mystery (Filipino: Hele sa Higawang Hapis), a 2016 epic film that runs for 8 hours, orchestrating narratives derived from what are conveniently sung as mythology (i.e., Jose Rizal‘s El filibusterismo and Philippine folklore) and history (i.e., Philippine history and artifacts). The movie competed in the 66th Berlin International Film Festival, where it won the Alfred Bauer Prize. This success has earned Diaz‘s the spotlight in the Filipino mainstream culture, enabling the film to be distributed to and showcased in mainstream platforms, albeit primarily garnering attention from the Filipino audience for its runtime and international attention. The movement of the film, as a text, from the local Philippines toward the international and returning home, incurs in it a textuality that disrupts the phenomenology of time diasporically, scatteringly: that as much as its 8-hour languor ―opens new perspective in the cinematic arts‖ according to the international rendition of this time, it is also the 8-hour whose value in the Philippine time is that of a day‘s labor, and thus the exoticization of its cinematic experience as a ―challenge,‖ having to endure an entire working day of slow cinematography. This diaspora of time is of no cacophony; on the contrary, it is the lullaby, sorrowful and mysterious, that finally slows Diaz in to become a filmmaker attuned to both the spaces of the local and the international. -
Kung Fu Panda Movie Download in Tamil
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Iacs2017 Conferencebook.Pdf
Contents Welcome Message •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 4 Conference Program •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 7 Conference Venues ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 10 Keynote Speech ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 16 Plenary Sessions •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 20 Special Sessions •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 34 Parallel Sessions •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 40 Travel Information •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 228 List of participants ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 232 Welcome Message Welcome Message Dear IACS 2017 Conference Participants, I’m delighted to welcome you to three exciting days of conferencing in Seoul. The IACS Conference returns to South Korea after successful editions in Surabaya, Singapore, Dhaka, Shanghai, Bangalore, Tokyo and Taipei. The IACS So- ciety, which initiates the conferences, is proud to partner with Sunkonghoe University, which also hosts the IACS Con- sortium of Institutions, to organise “Worlding: Asia after/beyond Globalization”, between July 28 and July 30, 2017. Our colleagues at Sunkunghoe have done a brilliant job of putting this event together, and you’ll see evidence of their painstaking attention to detail in all the arrangements -
Archiving Movements: Short Essays on Materials of Anime and Visual Media V.1
Contents Exhibiting Anime: Archive, Public Display, and the Re-narration of Media History Gan Sheuo Hui ………… 2 Utilizing the Intermediate Materials of Anime: Royal Space Force: The Wings of Honnêamise Ishida Minori ………… 17 The Film through the Archive and the Archive through the Film: History, Technology and Progress in Royal Space Force: The Wings of Honnêamise Dario Lolli ………… 25 Interview with Yamaga Hiroyuki, Director of Royal Space Force: The Wings of Honnêamise What Do Archived Materials Tell Us about Anime? Kim Joon Yang ………… 31 Exhibiting Manga: Impulses to Gain from the Archiving/Unearthing Anime Project Jaqueline Berndt ………… 36 Analyzing “Regional Communities” with “Visual Media” and “Materials” Harada Ken’ichi ………… 41 About the Archive Center for Anime Studies in Niigata University ………… 45 Exhibiting Anime: Archive, Public Display, and the Re-narration of Media History Gan Sheuo Hui presumably, the majority are in various storage Background of the Project places after their production cycles. It is not The exhibition “A World is Born: The uncommon that they are forgotten, displaced or Emerging Arts and Designs in 1980s Japanese eventually discarded due to the expenses incurred Animation” (19-31 March 2018) hosted at DECK, for storage. In many ways, these materials an independent art space in Singapore, is encompass an often forgotten yet significant part of an ongoing research collaboration research resource essential for understanding between the researchers from Puttnam School key aspects of Japanese animation production of Film and Animation in Singapore and the cultures and practices. Archive Center for Anime Studies in Niigata “A World is Born” was an exhibition focusing University (ACASiN). -
Warriors As the Feminised Other
Warriors as the Feminised Other The study of male heroes in Chinese action cinema from 2000 to 2009 A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Chinese Studies at the University of Canterbury by Yunxiang Chen University of Canterbury 2011 i Abstract ―Flowery boys‖ (花样少年) – when this phrase is applied to attractive young men it is now often considered as a compliment. This research sets out to study the feminisation phenomena in the representation of warriors in Chinese language films from Hong Kong, Taiwan and Mainland China made in the first decade of the new millennium (2000-2009), as these three regions are now often packaged together as a pan-unity of the Chinese cultural realm. The foci of this study are on the investigations of the warriors as the feminised Other from two aspects: their bodies as spectacles and the manifestation of feminine characteristics in the male warriors. This study aims to detect what lies underneath the beautiful masquerade of the warriors as the Other through comprehensive analyses of the representations of feminised warriors and comparison with their female counterparts. It aims to test the hypothesis that gender identities are inventory categories transformed by and with changing historical context. Simultaneously, it is a project to study how Chinese traditional values and postmodern metrosexual culture interacted to formulate Chinese contemporary masculinity. It is also a project to search for a cultural nationalism presented in these films with the examination of gender politics hidden in these feminisation phenomena. With Laura Mulvey‘s theory of the gaze as a starting point, this research reconsiders the power relationship between the viewing subject and the spectacle to study the possibility of multiple gaze as well as the power of spectacle. -
7015 B Program P.Indd
From the Queen to the Chief Executive: May 4–6 Hong Kong Films 2007 10 Years After the Handover 香港電影縱橫﹕ 展與談 1 I am absolutely thrilled to welcome you to our fi rst Hong Kong fi lm Schedule at a glance festival, From the Queen to the Chief Executive: Hong Kong Films Ten Years After the Handover. This important event fi rst and foremost celebrates the friday, may 4 2:30 pm–4:15 pm achievements of Hong Kong fi lm and its impact on a new and ever- Banana Bruises; Royal Ontario Museum changing global culture. From the Queen to the Chief Executive also provides Dumplings Theatre, 100 Queen’s Park a forum to contemplate developments on Hong Kong since its historic 4:15 pm–5:15 pm 6:15 pm–7:15 pm return to China in 1997. Film is a lens through which to understand the Horror Panel VIP Reception dynamics of a changing society and the world around it. Film provides 5:15 pm–6:30 pm Royal Ontario Museum – an important platform, a medium, for telling peoples’ stories. In this Dinner Break Glass Room on the respect, fi lm is both critical and celebratory, it challenges and re- 4th Floor 6:30 pm–8:35 pm affi rms. Its impact is political, social, economic, cultural and often Venues 7:00 pm Eastbound; Welcome leaves legacies of historical import. Doors Open Lost in Time to the First 7:30 pm–7:40 pm 8:35 pm–9:00 pm The Asian Institute is an inter-disciplinary home to scholars working iiX iiX iiX iiX Break Waddg Waddg Welcoming Remarks University on Asia, comprising leading scholars in the humanities and social VkZcjZgY YZdch]^gZea 7:40 pm–9:30 pm 9:00 pm–11:00 pm sciences. -
Japan Content Showcase2016 マーケットレポート
Market Report 2016 Focused on latest trends 18,330 participants conducted various business meetings PARTICIPANTs Japan Content Showcase is a leading multi-content market in Asia featuring music, films, TV and animation. JCS celebrated 5th anniversary in 2016 as a joint market with TIFFCOM (the affiliated market of Tokyo International Film Festival*1), Tokyo International Music Market (TIMM) and Tokyo International Anime Festival (TIAF) and highest recorded, 18,330 participants visited the market*2. In addition to many buyers and sellers, producers and other various professionals from different fields also attended JCS 2016. *1 The only film festival in Japan approved by the International Federation of Film Producers Associations *2 Excluding live showcase outside the market Breakdown of Participants' Profession Valid responses 3,139 : Buyer's VOICE PRODUCER's VOICE Buyer's VOICE Buyer(Acquisitions) 1,189 Film Commission Film Fund 5 1 / Mary Alana Gibson Pancha Charam.P NALLIAH Irene Lloren Seller 423 Talent Management 37 Digital Media Rights LLC / USA MALAYSIAN FILM PRODUCERS ASSOCIATION /Malaysia Primetrade Asia, Inc. / Philippines Producer 340 Legal Expert/Clerk 30 The market is pretty A well organized I think it is great nice bacause I can t i m e . B e c a u s e Content Creator 299 Public Relations/Journalist 25 focus more on the event. Bravo! Asian content and buyers can actually Marketing 2 1 2 Translator/Interpreter 23 Anime. There are lots cross over from of local companies Director 74 Government Agency/Embassy 20 music to film. It t h e U S h a s n eve r wo u l d b e g re a t Festival/Market 66 Publisher 1 8 worked with before and that is kind of o p p o r t u n i t y fo r Filmmaker 57 Other 223 important. -
ALSO LIKE LIFE: the FILMS of HOU HSIAO-HSIEN New Addition: Hou Hsiao-Hsien in Conversation at BFI Southbank – Monday 14 September
ALSO LIKE LIFE: THE FILMS OF HOU HSIAO-HSIEN New addition: Hou Hsiao-Hsien In Conversation at BFI Southbank – Monday 14 September Thursday 13 August 2015, London The BFI is delighted to announce that one of the leading figures of the Taiwanese New Wave Hou Hsiao-Hsien, whose latest film The Assassin won Best Director at this year’s Cannes Film Festival, will make a very rare visit to the UK to take part in an In Conversation event at BFI Southbank. The event, which takes place on Monday 14 September, is part of Also Life Life: The Films of Hou Hsiao- Hsien, a major retrospective celebrating Hou’s work, which takes place from 2 Sept – 6 Oct 2015 at BFI Southbank. Hou-Hsiao-Hsien has helped put Taiwanese cinema on the international map with work that explores the island’s rapidly changing present as well as its turbulent, often bloody past, and is one of the best examples in world cinema of a director who found his own distinctive style and voice while working on the job. The season will kick off with Cute Girl (1980), Cheerful Wind (1981) and The Green Green Grass of Home (1982), all starring Hong Kong pop star Kenny Bee; these early films offer a mixture of comedy and romance and begin to show Hou’s interest in Taiwan’s regional differences, a key theme of his later films. Hou’s other early films such as The Sandwich Man (1983) and The Boys from Fengkuei (1983) dramatised engaging life stories – including his own in The Time to Live and the Time to Die (1985). -
FEFF 23 Will Be Taking Place in Udine and Online from Thursday 24 June to Friday 2 July
2 3 PRESS RELEASES FILM STILLS & FESTIVAL PICS VIDEOS TO DOWNLOAD FROM WWW.FAREASTFILM.COM PRESS AREA Press Office/Far East Film Festival 20 Gianmatteo Pellizzari & Ippolita Nigris Cosattini +39/347/0950890 [email protected] - [email protected] 4 24 June/2 July 2021 - Udine, Italy, Visionario & Cinema Centrale FAR EAST FILM FESTIVAL 23: MOVING FORWARD! 63 titles from 11 countries and regions: the proof of a cinema industry that is back on its feet and looking to the future. FEFF 23 will be taking place in Udine and online from Thursday 24 June to Friday 2 July. Press release for 9 June, 2021 For immediate publication/release UDINE – A throwdown is when you get knocked to the ground. It's an action, and even more a state of mind, that inspired one of Johnnie To's masterpieces and which perfectly captures the dynamics - social, political, health and emotional - of the last year and a half. There's no need to go over why - what we need, what we really need, is to stay focused on the "after" part. The action, and even more so the state of mind, that every throw down triggers: that instinct to get back up. The instinct to not stay down there, where the body blows of history have made us fall. That's the idea - we might even call it the operational philosophy - behind the Far East Film Festival 23: documenting the “after”. Showing a world, the world of Asian cinema, which refuses to resign itself to immobility and is intent on getting back on its feet again..