scholarly journals Hong Kong and Singapore 1997

1997 ◽  
Author(s):  
Hai Leong Toh
Keyword(s):  
Hong Kong ◽  
East Asia ◽  
Film Festival ◽  
Global Cinema ◽  
The World ◽  
The Republic ◽  
Asian Cinema ◽  
Selection Of

THE PRESTIGIOUS 21st HONG KONG International Film Festival, which concluded on 9 April 1997, presented its largest and perhaps the greatest collection of global cinema with some 280 films and video works. This year, this non-competitive festival attracted more than three hundred festival guests and major critics from all over the world with more than half of them coming from Japan and East Asia.  Its humbler counterpart, the Singapore International Film Festival (SIFF) is now in its 10th year. Some 220 films were shown there (including a number of fringe films and videos presented at the Goethe Institute, and a retrospective of François Truffaut's films screened at the Alliance Française). Film critics and festival directors flew over to the Republic to view the sensitive selection of Asian cinema by the festival programmer Philip Cheah. In its competitive section for Asian films, the SIFF honours the winners with its Silver...

scholarly journals Penang (Malaysia) 1997

1997 ◽  
Author(s):  
Jan Uhde
Keyword(s):  
Hong Kong ◽  
East Asia ◽  
Film Industry ◽  
Film Festival ◽  
Film And Television ◽  
The World ◽  
Ayatollah Khomeini ◽  
Children's Films

PENANG'S 1st EAST ASIA FILM AND TELEVISION FESTIVAL LIKE the Hong Kong film industry, Iran has already had fifty years of filmmaking, amounting to the production of 1,200 films in that time. Few national cinemas have had to go through the changes and pressures that Iranian filmmaking has been subjected to from the Shah era of the 1970s to the tumultuous revolutionary days of the Ayatollah Khomeini to the recent creative years. In fact as early as 1989, the Hong Kong International Film Festival was showing Iranian features like Mohsen Makhmalbaf's The Peddlar and Dariush Farhang's The Spell. Despite their difficulties, Iranian filmmakers have tenaciously held on to their art. This year, with much persistence, they have shown to the world that their cinema is more than children's films or propaganda. Even before Abbas Kiarostami's The Taste of Cherry (Ta'm-e Gilass) shared this May's Cannes Palme d'Or with The...

The Irresistible Rise of Asian Cinema 1

1994 ◽  
Author(s):  
Gerald Pratley
Keyword(s):  
Hong Kong ◽  
South Korea ◽  
Motion Pictures ◽  
The Philippines ◽  
New Wave ◽  
World Today ◽  
The World ◽  
Production Activity ◽  
Exciting Development ◽  
Asian Cinema

PRODUCTION ACTIVITY It was not so many years ago it seems when speaking of motion pictures from Asia meant Japanese films as represented by Akira Kurosawa and films from India made by Satyajit Ray. But suddenly time passes and now we are impressed and immersed in the flow of films from Hong Kong, Taiwan, China, South Korea, the Philippines, with Japan a less significant player, and India and Pakistan more prolific than ever in making entertainment for the mass audience. No one has given it a name or described it as "New Wave," it is simply Asian Cinema -- the most exciting development in filmmaking taking place in the world today. In China everything is falling apart yet it manages to hold together, nothing works yet it keeps on going, nothing is ever finished or properly maintained, and yes, here time does wait for every man. But as far...

scholarly journals Osian's Cinefan 2009

2010 ◽  
Author(s):  
Gönül Dönmez-Colin
Keyword(s):  
Arab World ◽  
Director General ◽  
Experimental Film ◽  
New Delhi ◽  
Film Festival ◽  
The World ◽  
Ingmar Bergman ◽  
Asian Cinema

OSIAN'S CINEFAN 2009 Celebrating its eleventh birthday in New Delhi, Osian's Cinefan Film Festival (25-30 October 2009) started its second decade with a new direction, well-known independent filmmaker Mani Kaul as the director-general, and an eclectic program that stretched over several continents. Founded in 1999 as a small festival of Asian cinema by Aruna Vasudev, the president of Netpac (Network for Promotion of Asian cinema) and the founder and editor-in-chief of the now defunct Cinemaya Asian Film Quarterly, Cinefan gradually enlarged its scope to include Arab cinema as well and has become one of the largest festivals of contemporary Asian and Arab cinema in the world. This year, the thirteen first, second or third films 'InCompetition' from Asian and Arab world included two films from Turkey: a highly experimental film, Knot by Uigur Asan and There by Hakk Kurtulu and Melik Saraçolu, with overt influences of Ingmar Bergman. The...

Autonomieforderungen und Sezessionsbestrebungen in Europa und der Welt

2020 ◽  
Keyword(s):  
Hong Kong ◽  
North America ◽  
Middle East ◽  
East Asia ◽  
Current Crisis ◽  
South Tyrol ◽  
The World ◽  
The Usa ◽  
Future Status

The current crisis in Catalonia and the issue of its future status is a well-known example of challenges which can be observed throughout Europe and the world: demands for autonomy and tendencies towards secession. The chapters in this volume deal with various examples of such phenomena in Europe (Catalonia, Corsica, Cyprus, Flanders, Scotland, South Tyrol, the former Czechoslovakia) and in other parts of the world: the Middle East (the case of the Kurdish people), North America (Québec and the USA) and East Asia (Hong Kong) With contributions by Elisabeth Alber, Heinz-Jürgen Axt, Helga E. Bories-Sawala, Frédéric Falkenhagen, Horst Förster, Martin Große Hüttmann, Rudolf Hrbek, Lukas Mariacher, Simon Meisch, Peter Pawelka, Sebastian Relitz, Sabine Riedel, Georg Schild, Markus Stoffels, Gunter Schubert

scholarly journals Human Rights in Hong Kong

1999 ◽  
Vol 29 (1) ◽  
pp. 45
Author(s):  
Robin Cooke
Keyword(s):  
Human Rights ◽  
Hong Kong ◽  
United Kingdom ◽  
New Zealand ◽  
Constitutional Law ◽  
Common Law ◽  
Human Rights Law ◽  
The United Kingdom ◽  
The World ◽  
The Republic

In this address to the UNDR commemorative seminar in April 1998 Lord Cooke speaks of human rights, his current judicial roles and the prospects for a common law of the world. Lord Cooke discusses the importance of human rights law in both substance and implementation. The author reports on the process of implementing constitutional law and human rights in New Zealand, Samoa, the Republic of Fiji, the United Kingdom, and Hong Kong. 

Metacinema

2021 ◽  
Keyword(s):  
Film Studies ◽  
Critical Study ◽  
Everyday Experience ◽  
Work Of Art ◽  
Avant Garde ◽  
Cultural Phenomenon ◽  
Global Cinema ◽  
The World ◽  
First Time ◽  
Selection Of

When a work of art shows an interest in its own status as a work of art—either by reference to itself or to other works—we have become accustomed to calling this move “meta.” While scholars and critics have, for decades, referred to reflexivity in films, it is only here, for the first time, that a group of leading and emerging film theorists joins to directly and systematically address with clarity and rigor the meanings and implications of the meta for cinema. In ten new essays and a selection of vital canonical works, contributors chart, explore, and advance the ways in which metacinema is at once a mode of filmmaking and a heuristic for studying cinematic attributes. What we have here, then, is not just an engagement with certain practices and concepts in widespread use in the movies (from Hollywood to global cinema, from documentary to the experimental and avant-garde), but also the development of a veritable and vital new genre of film studies. Since metacinema has become an increasingly prominent cultural phenomenon—a kind of art and logic familiar to everyday experience around the world—its abundance and pervasiveness draws our attention. With more and more films expressing reflexivity, recursion, reference to other films, mise en abîme, seriality, and exhibiting related intertextual traits, the time is overdue for the kind of capacious yet nuanced critical study now in hand.

Projecting Asian Cinema to the World

2020 ◽  
pp. 114-134
Author(s):  
Sangjoon Lee
Keyword(s):  
San Francisco ◽  
International Level ◽  
Film Festival ◽  
Film Festivals ◽  
South Korean ◽  
The World ◽  
American Society ◽  
The 1960S ◽  
Asian Cinema

This chapter examines Unheeded Cries, South Korea's official submission to the fourth San Francisco International Film Festival (SFIFF) in 1960, which tells the story of postwar orphans in the slums of Seoul. It discusses the Berlinale, San Francisco, and Asian Film festivals that consistently invited South Korean films to their competition sections during the first half of the 1960s. It also mentions the occupied force's cultural representative, Oscar Martay, who promoted Berlin as the Western cultural showcase of the East. The chapter reviews how SFIFF was organized and managed by Irving “Bud” Levin, whose ultimate aim was to raise his profile to become an international-level figure. It elaborates the Asia Foundation's (TAF) attempt to use SFIFF to showcase non-communist and ideologically correct Asian films for mainstream American society.

Wheat Breeding Research In The Zarafshan Oasis Of The Republic Of Uzbekistan

2020 ◽  
Vol 02 (10) ◽  
pp. 27-37
Author(s):  
Gaybullayev Gulom Saydalimovich ◽  
◽  
Bolbekov Makhsud Abduvakhobovich ◽  
Tuygunov Rasul Bolibekovich ◽  
◽  
...  
Keyword(s):  
Wheat Breeding ◽  
Climatic Conditions ◽  
World Collection ◽  
Breeding Research ◽  
The World ◽  
New Varieties ◽  
Primary Selection ◽  
The Creation ◽  
The Republic ◽  
Selection Of

The article describes the results of research on the selection of varieties suitable for the soil and climatic conditions of the Republic of Uzbekistan based on the study of samples of the world collection of wheat in the breeding process and the creation of new varieties and primary selection by mixing them with one variety.

International Co-movement of Housing Price Cycles in East Asia and Greater China

2016 ◽  
Vol 15 (1) ◽  
pp. 78-98 ◽  
Author(s):  
Kyung-Hwan Kim ◽  
Young-Joon Park
Keyword(s):  
Hong Kong ◽  
East Asia ◽  
Housing Price ◽  
Greater China ◽  
Credit Supply ◽  
Long Run ◽  
The World ◽  
Short Run ◽  
Specific Factors ◽  
Country Specific

This paper examines the characteristics of housing price cycles in East Asia and Greater China for the period from 2001:Q1 to 2010:Q1. We find that housing price cycles in East Asia (China, Hong Kong, Japan, Korea, Singapore, and Taiwan) are accounted for mainly by region-specific and country-specific factors. East Asia's regional housing price cycles co-move strongly with the world housing price cycle in the long run, but relatively weak co-movement is found in the short run. Housing cycles in Greater China (China, Hong Kong, and Taiwan) and Singapore co-move with Northeast Asia's regional housing price cycle in the long run, but this tendency fails to show up in the short run. Both domestic monetary and business-cycle effects are important in accounting for housing price cycles in China, Hong Kong, Japan, and Taiwan, while credit supply is crucial for Korea. Fiscal policy does not play a significant role. We find empirical evidence of a China effect in housing price cycles in Hong Kong, Taiwan, and Singapore.

scholarly journals Global film at global airlines

2018 ◽  
pp. 74-93
Author(s):  
Dina Iordanova
Keyword(s):  
East Asia ◽  
Political Context ◽  
Global Cinema ◽  
Feature Films ◽  
The World ◽  
Airline Passengers ◽  
Research Questions

In recent years, since the introduction of individually controlled multichannel entertainment systems on-board, it has become customary to see a growing range of international cinematic selections being made available to airline passengers. The film selection is no longer dominated by Hollywood fare; average long-haul flights now feature films sourced out of Bollywood, East Asia, and Europe, as well as from other cinematic traditions—and the selection grows in size and in variety, especially on flights that bridge together far-flung parts of the world. It is an unprecedented situation—to see global cinema “live”, as it were, on board of global airlines—that turns the airlines into territories of conviviality, as no similar levels of diversity are found in the actual geographical territories of the countries where the airlines are based. Some research questions that arise in this context include: is it possible to speculate that the programme that airlines make available to audiences on long-haul flights is reflective of a specific understanding of diversity and cosmopolitanism that underwrite their choices? What message does the multifaceted and multinational entertainment menu of global airlines convey in a political context that is defined by backlash against globalisation and cosmopolitanism? Can one claim that global airlines are now one of the few platforms where global cinema is recognised and represented in its largest assortment?

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