Log in

Relevant bibliographies by topics / Visual communication Asia / Journal articles

Journal articles on the topic 'Visual communication Asia'

To see the other types of publications on this topic, follow the link: Visual communication Asia.

Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Visual communication Asia.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Yecies, Brian, Michael Keane, and Terry Flew. "East Asian audio-visual collaboration and the global expansion of Chinese media." Media International Australia 159, no. 1 (April 11, 2016): 7–12. http://dx.doi.org/10.1177/1329878x16640105.

Full text

Abstract:

This article investigates the significant re-orientation of audio-visual production in East Asia over the last few years brought about by the rise of China, beginning with the proposition that unprecedented change is occurring in East Asian media production. While the ‘Sinophone world’ has been the locus of critical analysis in the past, all eyes are now focused on China. Flows of knowledge, expertise and content are becoming significant in this mediascape, yet this dimension has been overlooked by most scholarship in the field. Conceptual and theoretical frameworks based on cross-border consumption of East Asian content require urgent revision. This article shows how media collaborations are changing global media practice and East Asian media flows through a variety of contemporary international collaborations, as well as relevant policy frameworks that impact, positively or negatively, productions by international partners working in film, television and online and mobile video content.

APA, Harvard, Vancouver, ISO, and other styles

2

Lim, Song Hwee. "New cinemas from Asia." New Cinemas: Journal of Contemporary Film 2, no. 2 (September 1, 2004): 71–72. http://dx.doi.org/10.1386/ncin.2.2.71/0.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Lent, John A. "Animation in South Asia." Studies in South Asian Film & Media 1, no. 1 (May 1, 2009): 101–17. http://dx.doi.org/10.1386/safm.1.1.101_1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Abikeeva, Gul'nara, Birgit Beumers, Joël Chapron, and Martina Malacrida. "Special Feature: Central Asia." Studies in Russian and Soviet Cinema 4, no. 2 (July 2010): 187–90. http://dx.doi.org/10.1386/srsc.4.2.187_7.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Cevallos-Solórzano, Gabriela, and Natalia Bailon-Moscoso. "Asia (2021)." Revista de Medicina y Cine 18, no. 4 (December 20, 2022): 411–18. http://dx.doi.org/10.14201/rmc.28954.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Rai, Amit S. "DIY Media in South Asia." BioScope: South Asian Screen Studies 12, no. 1-2 (June 2021): 64–67. http://dx.doi.org/10.1177/09749276211026061.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Ross, Fiona. "Historical Technological Impacts on the Visual Representation of Language with Reference to South-Asian Typeforms." Philological Encounters 3, no. 4 (November 27, 2018): 441–68. http://dx.doi.org/10.1163/24519197-12340054.

Full text

Abstract:

Abstract The scripts of South Asia, which mainly derive from the Brahmi script, afford a visible voice to the numerous linguistic communities that form over one fifth of the world’s population. However, the transition of these visually diverse scripts from chirographic to typographic form has been determined by historical processes that were rarely conducive to accurately rendering non-Latin scripts. This essay provides a critical evaluation of the historical technological impacts on typographic textual composition in South-Asian languages. It draws on resources from relevant archival collections to consider within a historical context the technological constraints that have been crucial in determining the textural appearance of South-Asian typography. In so doing, it seeks to elucidate design decisions that either purposely or unwittingly shaped subsequent and current typographic practice and questions the validity of the continued legacy of historical technological impacts for contemporary vernacular communication.

APA, Harvard, Vancouver, ISO, and other styles

8

Hudson, Dale. "Songs from India and Zanzibar: Documenting the Gulf in migration." Studies in South Asian Film & Media 10, no. 2 (December 1, 2019): 91–112. http://dx.doi.org/10.1386/safm_00008_1.

Full text

Abstract:

Abstract With a primarily South Asian population, including both middle-class families and 'bachelors', the Gulf states unsettle assumptions about the Middle East and South Asia developed from western area studies. This article examines three documentaries ‐ From Gulf to Gulf to Gulf, Champ of the Camp and Sounds of the Sea ‐ that layer visual images of the Gulf with songs from India and Zanzibar. They document the inequities and the ways in which vulnerable populations navigate them to find dignity in a world that often dismisses them as victims (e.g., exploited migrants, oppressed women) or uses them to legitimize segregation in allegedly overcrowded cities. They reconfigure documentary practice to allow subjects to speak indirectly, protecting them from possible retaliation or stigma. By documenting through nonwestern popular songs, these films contribute to a recovery of connections between South Asia, the Gulf and East Africa that were interrupted by British colonialism and US imperialism.

APA, Harvard, Vancouver, ISO, and other styles

9

Lee, Sangjoon. "Creating an anti-communist motion picture producers’ network in Asia: the Asia Foundation, Asia Pictures, and the Korean Motion Picture Cultural Association." Historical Journal of Film, Radio and Television 37, no. 3 (March 10, 2016): 517–38. http://dx.doi.org/10.1080/01439685.2016.1157292.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Daliot-Bul, Michal. "Uncle Leo’s adventures in East Asia." Target. International Journal of Translation Studies 31, no. 1 (August 24, 2018): 25–49. http://dx.doi.org/10.1075/target.17114.dal.

Full text

Abstract:

Abstract The best-selling children’s book series Uncle Leo’s Adventures by Yannets Levi became a sensation in Israel when it was translated into several Asian languages including Korean, Chinese, English for the Indian sub-continent, and Japanese. More than just a simple story of cross-cultural exchange, the globalization of the series allows for a look into the ways editors and translators in different cultures handle translation as a cultural and economic opportunity. This article focuses on the Gordian knot that links translation to culturally specific preferences. Combining interviews with a comparative study of the different solutions to the translation of literary and visual elements used in Uncle Leo, it explores the relations between entrepreneurship and culture, the politics of culture, and the universality/cultural specificity of imagination and of being a child.

APA, Harvard, Vancouver, ISO, and other styles

11

Dew, Oliver. "Asia Extreme: Japanese cinema and British hype." New Cinemas: Journal of Contemporary Film 5, no. 1 (April 30, 2007): 53–73. http://dx.doi.org/10.1386/ncin.5.1.53_1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Davis, Darrell William. "Compact Generation: Vcd markets in Asia." Historical Journal of Film, Radio and Television 23, no. 2 (June 2003): 165–76. http://dx.doi.org/10.1080/0143968032000091095.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Vasudevan, Ravi S., Rosie Thomas, Neepa Majumdar, and Moinak Biswas. "A Vision for Screen Studies in South Asia." BioScope: South Asian Screen Studies 1, no. 1 (January 2010): 5–9. http://dx.doi.org/10.1177/097492760900100102.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Khoo, Gaik Cheng. "What is Diasporic Chinese cinema in Southeast Asia?" Journal of Chinese Cinemas 3, no. 1 (January 2009): 69–71. http://dx.doi.org/10.1386/jcc.3.1.69_7.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Shamoon, Deborah. "Casshernand the spectre of Japan's war crimes in Asia." Journal of Japanese and Korean Cinema 2, no. 2 (January 2011): 147–62. http://dx.doi.org/10.1386/jjkc.2.2.147_1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Vlassis, Antonios. "Global online platforms, COVID-19, and culture: The global pandemic, an accelerator towards which direction?" Media, Culture & Society 43, no. 5 (February 18, 2021): 957–69. http://dx.doi.org/10.1177/0163443721994537.

Full text

Abstract:

The article proposes to consider the COVID-19 global pandemic as new major development for cultural industries and policies and to highlight timely and crucial trends due to the lockdown measures. Thus, it attempts to stimulate the scholarship debate regarding the consequences of the pandemic to the action of global online platforms, as well as to policy and economic aspects of cultural sectors. Taking as case study the audio-visual sector, the article explores whether the US global streaming platforms are the winning players of the lockdown measures and emphasizes the multifaceted strategies developed by US-based platforms in order to strengthen their soft power. Focusing on China and the European Union, the article also argues that the overwhelming action of US-based online platforms triggers the potential emergence of media platform regionalization in the context of COVID-19 pandemic. Finally, it highlights the regulatory challenges and how the new empirical trends are expected to shape the current audio-visual policy framework. The analysis focuses on the period between the beginning of global pandemic in Asia-Pacific in January 2020 and the progressive easing of lockdown measures in North America, Europe and Asia-Pacific in July 2020.

APA, Harvard, Vancouver, ISO, and other styles

17

Yu, Kiki Tianqi, and Alisa Lebow. "Feminist approaches in women’s first person documentaries from East Asia." Studies in Documentary Film 14, no. 1 (January 2, 2020): 1–6. http://dx.doi.org/10.1080/17503280.2020.1720085.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Nakano, Yoshiko. "Who initiates a global flow? Japanese popular culture in Asia." Visual Communication 1, no. 2 (June 2002): 229–53. http://dx.doi.org/10.1177/147035720200100207.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Monteiro, Stephen. "‘Welcome to selfiestan’: identity and the networked gaze in Indian mobile media." Media, Culture & Society 42, no. 1 (May 9, 2019): 93–108. http://dx.doi.org/10.1177/0163443719846610.

Full text

Abstract:

This article examines selfie culture and visual social media in India by exploring how smartphone marketing and the performativity of the user–device interface intersect with the cultural influence of the Hindu ritual of darshan and the recent political success of populist Hindu nationalism. Darshan, a long-standing, everyday Hindu practice entailing an active visual and physical exchange between worshiper and devotional image or object, bears striking overlaps with the mechanics and conditions of the networked visuality of the self. Taking a critical technology approach, this article places scholarship on selfies and their production methods in conversation with anthropological descriptions of darshan and existing theories of darshan’s impact on media in South Asia. Theoretical exploration of concepts and practices is augmented by content analysis of social media imagery related to darshan. In arguing that aspects of traditional visual regimes may endure in personal networked media use in India, this work underscores the need for balancing globalized affordances and applications, on one hand, with culturally specific meanings and ideological frames, on the other, particularly as these converge in the visual performance of networked identity.

APA, Harvard, Vancouver, ISO, and other styles

20

Kitamura, Hiroshi. "Coproducing Asia: Locating Japanese-Chinese Regional Film and Media." Historical Journal of Film, Radio and Television 36, no. 1 (January 2, 2016): 110–12. http://dx.doi.org/10.1080/01439685.2016.1138616.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Belodubrovskaya, Maria. "Screening Soviet Nationalities: Kulturfilms from the Far North to Central Asia." Studies in Russian and Soviet Cinema 11, no. 3 (September 2017): 263–64. http://dx.doi.org/10.1080/17503132.2017.1366073.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Smaill, Belinda. "A death in the Asia Pacific: three documentaries by Annie Goldson." Studies in Documentary Film 8, no. 1 (January 2, 2014): 21–32. http://dx.doi.org/10.1080/17503280.2014.898360.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Rendell, James. "Extreme Asia: the rise of cult cinema from the Far East." New Review of Film and Television Studies 14, no. 2 (February 5, 2016): 280–83. http://dx.doi.org/10.1080/17400309.2016.1143191.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Jibril, Ahmed Tanimu. "Mediating Electronic Dangerscapes: A Multimodal Analysis of a State-sponsored Newspaper Warning Advertisement in Nigeria." Journal of Creative Communications 15, no. 1 (September 13, 2019): 53–64. http://dx.doi.org/10.1177/0973258619866347.

Full text

Abstract:

In recent years, Nigeria’s image has always been negatively depicted in the global media, as the country’s name is associated with some of the world’s most sophisticated cybercriminals. The situation with the country’s perceived dented reputation, most especially in the Southeast Asia, Western Europe and the United States of America, is ripe for the anti-cybercrime discourse to take root, and subsequently, become a fertile ground for various parties to contribute to the grand discourse from different perspectives. This article highlights the way Nigerian government, through its revenues generating agency, the Federal Inland Revenue Services (FIRS), utilizes a print media warning advertisement (WA) to discursively construct and showcase its efforts in combating cybercrimes. The study utilizes Fairclough’s three-layered model for approaching discourse to analyse the FIRS-sponsored WA, which was published in The Guardian newspaper on 2 May 2013. The study incorporates analytical tools from the visual grammar (VG) and the multimodal discourse analysis (MDA) to examine the visual dimensions constituting the frame of the WA. The study revealed how the Nigerian government, through the FIRS sponsored WA, has attempted to discursively draw the attention of the general public to the potential dangers associated with the cybercriminals and their activities as well as suggesting the best ways to escape falling into their traps. The study recommends that governments and other civil societies should explore other means of creating more awareness to the general public, given the speed at which cyber-related crimes upsurge globally at the present time.

APA, Harvard, Vancouver, ISO, and other styles

25

Yue, Audrey. "Critical Regionalities in Inter-Asia and the Queer Diaspora." Feminist Media Studies 11, no. 1 (March 2011): 131–38. http://dx.doi.org/10.1080/14680777.2011.537042.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Doak, Connor. "Film and identity in Kazakhstan: Soviet and post-Soviet culture in Central Asia." Studies in Russian and Soviet Cinema 12, no. 3 (August 30, 2018): 266–68. http://dx.doi.org/10.1080/17503132.2018.1511259.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Walsh, Mike. "At the edge of Asia: The prospects for Australia-China film co-production." Studies in Australasian Cinema 6, no. 3 (January 2012): 301–16. http://dx.doi.org/10.1386/sac.6.3.301_1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Zahlten, Alexander. "The archipelagic thought of Asia is One (1973) and the documentary film collective NDU." Journal of Japanese and Korean Cinema 10, no. 2 (July 3, 2018): 115–29. http://dx.doi.org/10.1080/17564905.2018.1512396.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Johanson, Katya. "Book review: Creative Industries in Hong Kong and South Asia." Cultural Trends 30, no. 3 (May 25, 2021): 286–89. http://dx.doi.org/10.1080/09548963.2021.1930515.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Williams, Richard David, and Rafay Mahmood. "A Soundtrack for Reimagining Pakistan? Coke Studio, Memory and the Music Video." BioScope: South Asian Screen Studies 10, no. 2 (December 2019): 111–28. http://dx.doi.org/10.1177/0974927619896771.

Full text

Abstract:

Since 2007, Coke Studio has rapidly become one of the most influential platforms in televisual, digital and musical media, and has assumed a significant role in generating new narratives about Pakistani modernity. The musical pieces in Coke Studio’s videos re-work a range of genres and performing arts, encompassing popular and familiar songs, as well as resuscitating classical poetry and the musical traditions of marginalised communities. This re-working of the creative arts of South Asia represents an innovative approach to sound, language, and form, but also poses larger questions about how cultural memory and national narratives can be reimagined through musical media, and then further reworked by media consumers and digital audiences. This article considers how Coke Studio’s music videos have been both celebrated and criticised, and explores the online conversations that compared new covers to the originals, be they much loved or long forgotten. The ways in which the videos are viewed, shared, and dissected online sheds light on new modes of media consumption and self-reflection. Following specific examples, we examine the larger implications of the hybrid text–video–audio object in the digital age, and how the consumers of Coke Studio actively participate in developing new narratives about South Asian history and Pakistani modernity.

APA, Harvard, Vancouver, ISO, and other styles

31

McLelland, Mark. "Socio-cultural Aspects of Mobile Communication Technologies in Asia and the Pacific: a Discussion of the Recent Literature." Continuum 21, no. 2 (May 8, 2007): 267–77. http://dx.doi.org/10.1080/10304310701269099.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Jones, Jonathan. "untitled (giran)." Visual Communication 19, no. 3 (June 24, 2020): 415–28. http://dx.doi.org/10.1177/1470357220916115.

Full text

Abstract:

Understanding wind is an important part of understanding Country. Winds bring change, knowledge and emotions. Connected to the winds are budyaan, or the birds, who know the winds best. This visual essay traces the development of Wiradjuri dhawura gulbanha (Wiradjuri wind philosophy), a project conceived with Dr Uncle Stan Grant AM, a senior Wiradjuri elder and knowledge holder. Throughout this visual essay, Wiradjuri is used rather than Indigenous or Aboriginal, as the project is based on specific Wiradjuri culture, knowledge, and language, to which the author belongs. In order to represent the winds, the project required thousands of feathers, which were provided with a public call out. The aim of this call out, in addition to collecting feathers, was to stimulate people to show yindyamarra (respect) and engage with their local environment, to take note of the birds that inhabit parks in cities and towns, and to learn to move slowly through Country by engaging with Country. The final work, untitled (giran) 2018, is a major installation with soundscape shown at the 9th Asia Pacific Triennial of Contemporary Art at the Queensland Art Gallery/Gallery of Modern Art, Brisbane. This visual essay, in the form of photographs and an extended caption, shows how Wiradjuri gulbanha (Wiradjuri philosophy) can benefit all members of the community.

APA, Harvard, Vancouver, ISO, and other styles

33

Fraser, Alistair, and Eva Cheuk-Yin Li. "The second life of Kowloon Walled City: Crime, media and cultural memory." Crime, Media, Culture: An International Journal 13, no. 2 (April 17, 2017): 217–34. http://dx.doi.org/10.1177/1741659017703681.

Full text

Abstract:

Kowloon Walled City (hereafter KWC or Walled City), Hong Kong has been described as ‘one of history’s great anomalies’. The territory remained under Chinese rule throughout the period of British colonialism, with neither jurisdiction wishing to take active responsibility for its administration. In the postwar period, the area became notorious for vice, drugs and unsanitary living conditions, yet also attracted the attention of artists, photographers and writers, who viewed it as an instance of anarchic urbanism. Despite its demolition in 1993, KWC has continued to capture the imaginations of successive generations across Asia. Drawing on data from an oral and visual history project on the enclave, alongside images, interviews and observations regarding the ‘second life’ of KWC, this article will trace the unique flow of meanings and reimaginings that KWC has inspired. The article will locate the peculiar collisions of crime and consumerism prompted by KWC within the broader contexts in which they are embedded, seeking out a new interdisciplinary perspective that attends to the internecine spaces of crime, media and culture in contemporary Asian societies.

APA, Harvard, Vancouver, ISO, and other styles

34

Schönfeld, Carl-Erdmann. "Franz Osten's ‘The Light of Asia’ (1926): a German-Indian film of Prince Buddha." Historical Journal of Film, Radio and Television 15, no. 4 (October 1995): 555–61. http://dx.doi.org/10.1080/01439689500260411.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Siddique, Salma. "Nigar Hai Toh Industry Hai: Notes on the Morale and Mortality of Pakistani Film." BioScope: South Asian Screen Studies 11, no. 2 (December 2020): 187–206. http://dx.doi.org/10.1177/09749276211006935.

Full text

Abstract:

Combining archival and ethnographic fieldwork, this piece reflects on the scope of film publicity through the author’s conversations with the proprietor-editor of the oldest film magazine in Pakistan, The Nigar Weekly. Offering a larger view from post-colonial Karachi of political and national transitions, Nigar’s brand of film commentary in the 1950s and 60s, reveled in connecting and cohabiting the multiple film centers in South Asia: Karachi, Lahore, Dhaka and Bombay. Foregrounding the muhajir background of its founders and its self-styled relationship with the film industry, the piece draws attention to a distinctive characteristic of the publication: its satirical visual content. The magazine while borrowing select content from a Bombay film magazine in its early years, vividly commented on issues such as film trade with India, censorship and public morality in Pakistan, cross-border film intimacies, film exhibition practices, and local production strategies. The cartoons, while directly connected to the written content, could also exaggerate and provoke as can be expected of visual satire. And it is in this less restrained feature of Nigar that a cautionary critique and a calculated celebration of the Pakistani cinema emerges.

APA, Harvard, Vancouver, ISO, and other styles

36

Rawle, Steven. "From The Black Society to The Isle: Miike Takashi and Kim Ki-Duk at the intersection of Asia Extreme." Journal of Japanese and Korean Cinema 1, no. 2 (January 2009): 167–84. http://dx.doi.org/10.1386/jjkc.1.2.167/1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Kaur, Harmanpreet. "At Home in the World: Co-productions and Indian Alternative Cinema." BioScope: South Asian Screen Studies 11, no. 2 (December 2020): 123–45. http://dx.doi.org/10.1177/0974927620983941.

Full text

Abstract:

Several Indian filmmakers and production houses making ‘alternative’ and ‘independent films’ have sought to develop co-production deals with European film funds, international film festivals, film markets and sales agents. Their bid is to build a profile with art house and ‘specialty cinema’ audiences in Europe, Asia and the USA, while also seeking to impact the Indian domestic market. This article analyses the assembling of such productions, and their aesthetic form, including a reflection on charges that their adaptation to international distribution requires a conformity to what is acceptable and intelligible to ‘international audiences’. It also explores how alternative films oriented to international art cinema affect the understanding of what constitutes ‘national cinemas’. The article explores these themes through two films, Qissa (2013) and The Lunchbox (2012).

APA, Harvard, Vancouver, ISO, and other styles

38

Decherney, Peter. "Laikwan Pang, Cultural Control and Globalization in Asia: Copyright, Piracy, and Cinema. New York: Routledge, 2006. £20 ISBN 978—0415426893." Journal of Visual Culture 6, no. 2 (August 2007): 310–12. http://dx.doi.org/10.1177/14704129070060021202.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Lim, Bliss Cua. "Fragility, Perseverance, and Survival in State-Run Philippine Archives." Plaridel 15, no. 2 (December 2018): 1–40. http://dx.doi.org/10.52518/2018.15.2-01bclim.

Full text

Abstract:

This article considers the consequences of the 2004 dissolution of the Philippine Information Agency’s Motion Picture Division (PIA-MPD) on three key collections entrusted to it: films from the National Media Production Center; from the Movie and Television Review and Classification Board (themselves remnants of the previous archival collapse of the Film Archives of the Philippines in 1986); and lastly, a number of films produced by LVN Pictures, a studio founded in 1938. Using approaches from cultural policy, archival theory, feminist epistemology, and postcolonial historiography, the essay draws on an array of sources—archival films, legislative records, PIA documents, oral history interviews, and personal papers from members of the Society of Filipino Archivists for Film and the South East Asia Pacific Audio Visual Archives Association. The aftermath of the PIA-MPD’s abolition underscores the drawbacks of a narrowly profit-driven perspective on state film archiving that devalued analog cinema in relation to digital media while also ignoring the unique demands of audiovisual (AV) archiving by conflating it with paper-based librarianship. This study affirms the Filipino AV archive advocacy’s repeated calls for legislation to safeguard the institutional continuity and autonomy of Philippine film archives from the vagaries of political whim. Reflecting on the archivist-activists who endured the decline of various state-run film collections, the article concludes by conceptualizing archival survival as not only involving the material preservation of analog or digital AV carriers but as also entailing exhaustion and persistence on the part of archivists who persevere in institutional conditions they work to change.

APA, Harvard, Vancouver, ISO, and other styles

40

Pinkerton, Alasdair. "A new kind of imperialism? The BBC, cold war broadcasting and the contested geopolitics of south asia." Historical Journal of Film, Radio and Television 28, no. 4 (October 2008): 537–55. http://dx.doi.org/10.1080/01439680802310324.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Slugan, Mario. "Early Cinema in Asia NICK DEOCAMPO (ed), 2017 Bloomington, Indiana University Press pp. x + 341, illus., $ (paper)." Historical Journal of Film, Radio and Television 38, no. 4 (October 2, 2018): 893–95. http://dx.doi.org/10.1080/01439685.2018.1524558.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Zahlten, Alexander. "Doraemon and Your Name in China: the complicated business of mediatized memory in East Asia." Screen 60, no. 2 (2019): 311–21. http://dx.doi.org/10.1093/screen/hjz016.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Sahai, Shrinkhla. "Community Radio in South Asia: Reclaiming the Airwaves, Kanchan K. Malik and Vinod Pavarala (eds) (2020)." Radio Journal:International Studies in Broadcast & Audio Media 19, no. 2 (October 1, 2021): 330–32. http://dx.doi.org/10.1386/rjao_00049_5.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Banerjee, Sikata, and Rina Verma Williams. "Making the nation manly: The case of Bhaag Milkha Bhaag (2013) and India's search for regional dominance in an era of neo-liberal globalization." Studies in South Asian Film & Media 10, no. 2 (December 1, 2019): 179–93. http://dx.doi.org/10.1386/safm_00013_1.

Full text

Abstract:

Abstract This article unpacks a particular gendered vision of nation that we term muscular nationalism. Briefly put, muscular nationalism is an intersection of a specific vision of masculinity with the political doctrine of nationalism. This idea of nation is animated by an idea of manhood associated with martial prowess, muscular strength and toughness. A particular interpretation of muscular nationalism has unfolded in India within a cultural milieu shaped by an assertive self-confidence fuelled by 'liberalization', a process by which India has been integrated into the global political economy, coupled with the prominence of Hindu nationalist politics. India's prolific commercial film industry centred in Mumbai has used images of manhood to express and valorize these cultural changes. We use the popular and critically acclaimed film Bhaag Milkha Bhaag (2013), directed by Rakesh Omprakash Mehra, to illustrate how athleticism and India's desire for regional dominance in South Asia shape muscular nationalism.

APA, Harvard, Vancouver, ISO, and other styles

45

Khoo, Olivia. "A voice for elephants: Kirsten Tan’s Pop Aye and environmental dialogue in Southeast Asia." Screen 62, no. 4 (December 1, 2021): 568–76. http://dx.doi.org/10.1093/screen/hjab054.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Goh, Robbie B. H. "Engaging future Asia: Techno-orientalisms, ethnography, speculative fiction." Creative Industries Journal 6, no. 1 (January 2013): 43–56. http://dx.doi.org/10.1386/cij.6.1.43_1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Vanina, Eugenia Yu. "THE USSA PROJECT: TEN YEARS ‘UNDER THE SKIES’ AND ‘ON THE GROUND’ OF SOUTH ASIA." Journal of the Institute of Oriental Studies RAS, no. 2 (16) (2021): 234–40. http://dx.doi.org/10.31696/2618-7302-2021-2-234-240.

Full text

Abstract:

The paper marks the tenth anniversary of the interdisciplinary project ‘Under the Skies of South Asia’ implemented by the Centre for Indian Studies of the Institute of Oriental Studies RAS and headed by Dr. Irina Glushkova. At present, following the pilot volume Death in Maharashtra. Imagination, Perception and Expression, four more volumes have been published, each based upon new methodological ‘turns’ in the humanities: Visual, discussing social perceptions of artefacts; mobile, focusing on various activities performed by individuals and societies in motion; spatial, centered around territories and various human activities to appropriate, acculturate, protect it and legitimize various kinds of interconnections with it, from political to emotional; communicative, exploring historically and ethno-culturally specific means of communication and expression of positive and negative perception of the surrounding world. The fifth volume, at present with the publisher, will discuss emotional / affective turn, which attaches socio-cultural significance to human emotions, previously viewed as physiological reactions common to all people. Two more volumes are planned to deal with the problems of household servants and material turn in the humanities. The project motto ‘Not in General, But in Particular’ symbolizes the contributors’ exclusive attention to the real living conditions of the peoples of the region under study, contrary to the Orientalistic heritage of generalization which viewed India and other countries of South Asia ‘in general’, ignoring regional, ethno-cultural and social specificities of the peoples inhabiting the subcontinent.

APA, Harvard, Vancouver, ISO, and other styles

48

Chunsaengchan, Palita. "The critique of anti-communist state violence in Uncle Boonmee Who Can Recall His Past Lives." Asian Cinema 32, no. 1 (April 1, 2021): 95–111. http://dx.doi.org/10.1386/ac_00035_1.

Full text

Abstract:

Apichatpong Weerasethakul’s Palme d’Or-awarded Uncle Boonmee Who Can Recall His Past Lives (2010) has ostensibly been embraced by both critics and scholars alike as international art cinema and for being constitutive of a canon of world cinema from the vantage of Southeast Asia. This article, however, takes a detour to focus particularly on the film’s engagement with Thai politics and its complex intertwinement with Buddhism during the period of anti-communism. I specifically look at how the film replicates religious beliefs and indigenous practices, such as the structure of kamma and reincarnation as redemption, that were used by the right-wing military government to justify a series of anti-communist pogroms. I argue that by hijacking such religious narratives and translating them into cinematic form, the film manages to eschew the risk of being suppressed by censorship, or, at worst, of reproducing the state-imposed narrative on the appropriation and accomplishment of such violence in the name of the nation. This article aims to shed light on how the film criticizes not only the past ‐ what historically happened ‐ but also the way we come to understand the history of such atrocious event and relate to it as our national history.

APA, Harvard, Vancouver, ISO, and other styles

49

Worsley, Peter. "The Rhetoric of Paintings: Towards a History of Balinese Ideas, Imaginings and Emotions in the Late Nineteenth and Early Twentieth Centuries." Jurnal Kajian Bali (Journal of Bali Studies) 9, no. 1 (April 27, 2019): 35. http://dx.doi.org/10.24843/jkb.2019.v09.i01.p02.

Full text

Abstract:

Western historical scholarship has taught us much about Southeast Asia in the period between 1800 and 1940. This was a time when the insistent, intensifying and transforming influence of Dutch colonial society and its culture became widespread in Bali and more broadly in the archipelago. Much too has been written about the analytical framework of European histories of these times. In this essay I discuss Balinese paintings from this same period which shed light on how painters and their works spoke to their viewers both about how the Balinese knew, imagined, thought and felt about the world in which they lived and about the visual representation and communication of these ideas, imaginings and feelings through the medium of narrative paintings. In this paper I hope to draw attention to a number of historiographical issues concerning the reception of the ideas, imaginings and feelings conveyed in paintings. In particular I shall have some remarks to make about the role of philology in this regard.

APA, Harvard, Vancouver, ISO, and other styles

50

La Duc, Elizabeth, and Angela Chang. "Analysis and Replication Studies of Prehistoric Chinese Ceramics from the Qijia Culture." MRS Advances 2, no. 35-36 (2017): 1849–67. http://dx.doi.org/10.1557/adv.2017.156.

Full text

Abstract:

ABSTRACTEleven ancient Chinese ceramics from the early Bronze Age Qijia culture (c. 2200 – 1600 BCE) in the collection of the Harvard Art Museums were the subject of an interdisciplinary research project to explore questions about manufacturing techniques, specifically details of formation and decoration. While the Qijia culture, centered in the Gansu and Qinghai provinces of northwest China, is historically important as one of the earliest metalworking cultures of China and as a center of intercultural communication between China and central Asia, detailed scholarship about the culture is still emerging. Qijia ceramics have been categorized by typology, but little has been done regarding methods of manufacture. This study used visual examination and digital X-radiography to investigate ceramic production, especially the use of a wheel. In addition, the ceramic paste, including natural inclusions and temper, was examined. While film radiography has often been used to study ceramics, digital radiography presented new capabilities as well as challenges. Experimentation through the making of test vessels and tiles at the Harvard Ceramics Program provided additional insights into Qijia ceramics’ manufacture and surface decoration techniques, often described as cord-impressed.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!