Bibliografías temáticas / Asian Motion pictures

Literatura académica sobre el tema "Asian Motion pictures"

Autor: Grafiati

Publicado: 26 de julio de 2024

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Artículos de revistas sobre el tema "Asian Motion pictures"

Vukoder, Bret. "Screening sovereignty: Cold War mediations of nationhood in USIA motion picture operations in the SWANA region". Journal of Contemporary Iraq & the Arab World 18, n.º 1 (1 de marzo de 2024): 23–45. http://dx.doi.org/10.1386/jciaw_00118_1.

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This article explores how visible constructions and perceptions of sovereignty in the motion pictures of the United States Information Agency (USIA) factored into the dynamics of US Cold War foreign policy amidst the rise of the Non-Aligned Movement. Specifically, it focuses on agency films about and circulating within the Southwest Asian and North African (SWANA) region – such as the locally produced Iraq al-Youm newsreels (c.1956–58). By mapping the different policy contexts of the Eisenhower and Kennedy administrations onto the USIA films’ aesthetics and themes, the article illustrates continuities in the United States’s attempts to expressively leverage images and evocations of sovereignty to sell and consolidate its policy interests in the region.

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Paksiutov, Georgii D. "Transformation of the Global Film Industry: Prospects for Asian Countries". Russia in Global Affairs 19, n.º 2 (2021): 111–32. http://dx.doi.org/10.31278/1810-6374-2021-19-2-111-132.

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The current rapid development of some Asian economies and the projected economic dominance of Asia in the 21st century are reasons enough to call it “the Asian century.” But will Asia’s economic growth entail an increase in political power and cultural influence? In this article the author looks at the topic through the lens of the film industry, a field of activity with a plethora of intertwined economic, political, and cultural factors. Cinema is studied here as an industry that produces “meanings” and is coupled with the concept of “strategic narratives.” According to some statistics, Asian cinema is becoming increasingly important in terms of the size of national film markets, but for a variety of reasons the U.S. remains the world’s most important exporter of motion pictures. The position of Asian countries in world cinematography is undermined by such global institutions as award ceremonies and film festivals that are held in the U.S. and Europe and tend to favor Western filmmakers. This article emphasizes the dramatic influence of digital transformation on modern cinematography and the opportunities it opens up for Asian film producers in creating a new, global streaming services market. Finally, the paper discusses development prospects for the film industries in four Asian leaders in this field—China, Japan, South Korea, and India. Japan and South Korea are likely to increase their cooperation with the U.S. in cinematography. There are great opportunities for cooperation between the film industries of India and China, but they are heavily dependent on political relations between the two nations. China’s film industry is expected to continue to develop rapidly.

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Juknevičiūtė, Laima. "The soft power implications of the new South Korean cinema: Approaching audiences in East Asia and Lithuania". Acta Orientalia Vilnensia 12, n.º 1 (1 de enero de 2011): 121–37. http://dx.doi.org/10.15388/aov.2011.0.1100.

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Vytautas Magnus UniversitySouth Korea’s experience wielding soft power is usually associated with the Korean Wave, which swept the Asian region off its feet predominantly during the first decade of this century. In this article I will however argue that the phenomenon of the Korean Wave has never been intended as a calculated attempt on the part of the South Korean government to enhance the overall South Korean image worldwide and thus increase South Korean international might and prestige. To prove the validity of this hypothesis, I will provide a concise historical overview of the inception, development and spread of South Korean popular culture, while at the same time tracing its underlying soft power implications. I will likewise attempt to discuss the popular reception of the Korean Wave in three East Asian countries, i.e. Mainland China, Taiwan and Japan, and one European country, i.e. Lithuania. The scope of the endeavour has been largely restricted to the cinematic aspect of the Korean Wave, for I consider the creation of motion pictures and drama serials to be by far the most precious, influential and revealing form of art.

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Imai, Yuji, Biao Zhou, Yoshiharu Ito, Hiroki Fijimori, Akiko Kobayashi, Zhe-Ming Wang y Hayao Kobayashi. "Cover Picture: Freezing of Ring-Puckering Molecular Motion and Giant Dielectric Anomalies in Metal-Organic Perovskites (Chem. Asian J. 12/2012)". Chemistry - An Asian Journal 7, n.º 12 (26 de noviembre de 2012): 2733. http://dx.doi.org/10.1002/asia.201290047.

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Abdul Rani, Mohd Khairul Azahari y Sharulnizam Ramli. "Development of Tawaf Simulation in Hajj Training in the New Norms". Environment-Behaviour Proceedings Journal 7, SI7 (31 de agosto de 2022): 571–78. http://dx.doi.org/10.21834/ebpj.v7isi7.3831.

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Advances in technology through education will help the way people communicate and learn in nearly every aspect of modern life. Motion graphic has become progressively known because of their ability to catch the audience's attention rather than words alone. This globalized era somehow creates problems in combining information whereby confusion and difficulty in recalling information occur. Despite this, motion graphics could be an effective tool in education in conveying information successfully as it can convey much information compared to still pictures. Keywords: Tawaf Simulation, Motion Graphic, Hajj Training, New Norms. eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI7%20(Special%20Issue).3831

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Yetimova, Serhat y Abdrasul İsakov. "An Analysis of the Kurmanjan Datka Movie in the Context of Historical and Ideological Film Criticism". Galactica Media: Journal of Media Studies 6, n.º 2 (20 de mayo de 2024): 96–120. http://dx.doi.org/10.46539/gmd.v6i2.434.

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Kurmanjan Datka Queen of the Mountains (2014) is a Kyrgyz historical drama film directed by Sadyk Sher-Niyaz tells the story of Kurmanjan Datka from Kyrgyz history. In this article, how the mentioned motion picture is discussed in Central Asian, Russian, Turkish and Western digital media is analyzed comparatively in the context of historical and ideological film criticism. It is tried to be understood how each country interprets the film in their own media, how they look at the history of Kyrgyzstan and its ideological discourse. In the research, critical discourse analysis method was used and conceptual and thematic classifications were made. At the end of the research, while more history and politics were discussed in the Central Asian media, the Russian and Turkish digital media did not show enough attention to the historical flow, while the Western digital media discussed the film in a multifaceted way in the context of economy-political, identity, gender and aesthetics. Another remarkable difference was that some of the Kyrgyz or Kazakh critics (especially statesmen, historians or artists) criticized the film on the economic-political axis. The in-depth and multidimensional criticisms of the film developed by the eastern critics were found in the Western media or Western journalists gave place to these views in their own digital media.

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Wall, Barbara y Dong Myong Lee. "Stability in Variation: Visualizing the Actantial Core of The Journey to the West ",. Korean Studies 47, n.º 1 (2023): 117–44. http://dx.doi.org/10.1353/ks.2023.a908620.

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Abstract: The urge to find the authentic original of a story seems to be a universal longing. Recently, narratologists like Barbara Herrnstein Smith, as well as experts for East Asian literatures like Michael Emmerich or Lena Henningsen, draw our attention away from the original—which is often unknowable—and instead towards the variants of a story. While this suggestion brings a breath of fresh air to the field of narrative studies, it also poses a fundamental problem. If a story does not necessarily exist as a static original, but is comprised of many variants, how should we then imagine the story itself? This paper proposes imagining the story not as a separate static unit, but rather as a story cloud that includes all variants and changes its form when new variants join, or old variants fall into oblivion. Just as it is much easier to take a picture of a static object than of a moving one, it is much easier to imagine a static text than a text in motion. The main aim of this paper is therefore to find ways to make story clouds more graspable through visualizations. Specifically, for this endeavor we will focus on one of the most popular story clouds in East Asia, The Journey to the West . Methodologically, we draw on the actant-relationship model that the computational folklorist Tim Tangherlini has developed in the article "Toward a Generative Model of Legend: Pizzas, Bridges, Vaccines, and Witches." We will apply Tangherlini's model to variants of The Journey to the West and use the data to visualize the story cloud, especially its actantial core.

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Pratley, Gerald. "The Irresistible Rise of Asian Cinema 1". Kinema: A Journal for Film and Audiovisual Media, 10 de abril de 1994. http://dx.doi.org/10.15353/kinema.vi.754.

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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...

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Teh, Limin y Hai Leong Toh. "Hong Kong 1995". Kinema: A Journal for Film and Audiovisual Media, 20 de noviembre de 1995. http://dx.doi.org/10.15353/kinema.vi.772.

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SINCE 1985 THE HONG KONG INTERNATIONAL FILM FESTIVAL (HKIFF) has been the guardian of Asian cinema. Apart from screening an eclectic range of Asian and international films, it regularly runs comprehensive retrospectives which highlight both prominent and little-known Asian directors in events such as the thematic "Hong Kong Cinema Retrospective." In celebrating the Centenary of Cinema this year, the 19th HKIFF focused its attention on archival motion pictures collectively titled "Early Images of Hong Kong and China." An exhibition of the same theme was held concurrently at the City Hall. Among the most striking of the nearly 126 films from 44 countries exhibited in the Colony's bustling art cinemas were engaging movies that featured peculiar familial clans, haunted loners and bizarre relationships. The intensive 16-day affair (7th to 22nd April) opened with Jiang Wen's rites-of-passage film, In the Heat of the Sun. In his introductory speech, the acclaimed Mainland Chinese...

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Voicu, Alina-Alexandra, Michael Krützen y Tugce Bilgin Sonay. "Short Tandem Repeats as a High-Resolution Marker for Capturing Recent Orangutan Population Evolution". Frontiers in Bioinformatics 1 (16 de agosto de 2021). http://dx.doi.org/10.3389/fbinf.2021.695784.

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The genus Pongo is ideal to study population genetics adaptation, given its remarkable phenotypic divergence and the highly contrasting environmental conditions it’s been exposed to. Studying its genetic variation bears the promise to reveal a motion picture of these great apes’ evolutionary and adaptive history, and also helps us expand our knowledge of the patterns of adaptation and evolution. In this work, we advance the understanding of the genetic variation among wild orangutans through a genome-wide study of short tandem repeats (STRs). Their elevated mutation rate makes STRs ideal markers for the study of recent evolution within a given population. Current technological and algorithmic advances have rendered their sequencing and discovery more accurate, therefore their potential can be finally leveraged in population genetics studies. To study patterns of population variation within the wild orangutan population, we genotyped the short tandem repeats in a population of 21 individuals spanning four Sumatran and Bornean (sub-) species and eight Southeast Asian regions. We studied the impact of sequencing depth on our ability to genotype STRs and found that the STR copy number changes function as a powerful marker, correctly capturing the demographic history of these populations, even the divergences as recent as 10 Kya. Moreover, gene ontology enrichments for genes close to STR variants are aligned with local adaptations in the two islands. Coupled with more advanced STR-compatible population models, and selection tests, genomic studies based on STRs will be able to reduce the gap caused by the missing heritability for species with recent adaptations.

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Tesis sobre el tema "Asian Motion pictures"

Tateishi, Ramie. "Film genre and the Asian subject /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9992385.

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Liu, Zhan. "Communicating race and culture in media appropriating the Asian in American martial arts films /". Pullman, Wash. : Washington State University, 2008. http://www.dissertations.wsu.edu/Thesis/Fall2008/l_zhan_091108.pdf.

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Thesis (M.A. in communication)--Washington State University, December 2008.
Title from PDF title page (viewed on Dec. 31, 2008). "Edward R. Murrow College of Communication." Includes bibliographical references (p. 72-85).

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Bae, Juyeon. "The representation of Asian others in Korean cinema since 2003 : multiculturalism, nationalism and sub-imperialism". Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/33610/.

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This thesis elucidates current industrial and representational tendencies in South Korean films that depict Asian others. Asian others such as migrant workers, marriage migrants, overseas ethnic Koreans and North Korean defectors have become increasingly important in South Korean filmic discourse and practice since 2003. This thesis examines how contemporary Korean cinema has responded to the multicultural society and how it seeks to articulate Korean nationalism in the globalised era through the appropriation of Asian others. Such films are intertwined with governmental policies of multiculturalism and discourses on globalisation and thus reflect historical formations both inside and outside South Korean cinema. In particular, this thesis places the celebration of multicultural identity in Korean cinema into dialogue with existing debates on nationalism and sub-imperialism. Through case studies of selected films, this thesis investigates the tension between a changing society and emerging sub-imperial perspectives. The specific interest of this thesis lies in the examination of historical, geopolitical and socio-cultural trajectory in the representation of Asian others, since this discursive structure has been formed around Asia and its regional socio-political history. In doing so, this thesis aims to shift the discursive sphere of these films, which is limited to the discussion of multiculturalism and globalisation, to an expanded sphere which embraces historical and regional perspectives.

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Kumar, Priya Haryant. "Ruptured nations, collective memory & religious violence : mapping a secularist ethics in post-partition South Asian literature and film". Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37904.

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This dissertation maps the emergence of a 'secularist ethics' in post-independence South Asian literature and film, an ethics which is a deeply felt poetic response to particular historical conjunctures marked by religio-nationalist conflict in the Indian subcontinent. It is my argument that literary and cultural productions, in striving to dream and envision a world free of violence, terror and religious intolerance, have some central contributions to make to contemporary intellectual and political debates on secularism. Through close readings of fictions by Salman Rushdie, Amitav Ghosh, Mukul Kesavan, Bapsi Sidhwa, Saadat Hasan Manto, Khwaja Ahmad Abbas, Rajinder Singh Bedi, Jamila Hashmi, Jyotirmoyee Devi, and Lalithambika Antherjanam, as well as films by M. S. Sathyu, Saeed Akhtar Mirza, Khalid Mohamed and Shyam Benegal, which are concerned to address the issue of peaceful co-existence between different religious communities and nations in the Indian subcontinent, I argue that literary and imaginative endeavors by way of their alternative secularist imaginaries enable us to begin to imagine the possibilities of more habitable futures. Significantly, the 'secularist' fictions and films I invite attention to in my project enable a revisioning of the secular in terms quite different from normative understandings of liberal secularism. Such a renewed secularism seeks to make visible the normalization and neutralization of majoritarian religious beliefs and practices as constitutive of the representative secular-nationalist self in post-Partition India; it also emerges, significantly, from a gendered critique of the deep-seated patriarchal norms underlying most religious communities. Responding to different moments of crisis, predominantly the Partition of India in 1947, the 1984 anti-Sikh riots, and the destruction of the Babri Masjid in 1992, the radical secularist poetics of these works call attention to the fundamentalist agenda of Hindu nationalism, the limit

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Khor, Denise. "Asian Americans at the movies race, labor, and migration in the Transpacific West, 1900-1945 /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3291752.

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Thesis (Ph. D.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed March 17, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 297-213).

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Huang, Tsung-yi Michelle. "Amidst slums and skyscrapers the politics of walking and the ideology of open space in East Asian global cities /". online access from Digital dissertation consortium, 2001. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3051067.

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Hurlstone, Lise Danielle. "Performing Marginal Identities: Understanding the Cultural Significance of Tawa'if and Rudali Through the Language of the Body in South Asian Cinema". PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/154.

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This thesis examines the representation of the lives and performances of tawa'if and rudali in South Asian cinema to understand their marginalization as performers, and their significance in the collective consciousness of the producers and consumers of Indian cultural artifacts. The critical textual analysis of six South Asian films reveals these women as caste-amorphous within the system of social stratification in India, and therefore captivating in the potential they present to achieve a complex and multi-faceted definition of culture. Qualitative interviews with 4 Indian classical dance instructors in Portland, Oregon and performative observations of dance events indicate the importance of these performers in perpetuating and developing Indian cultural artifacts, and illustrate the value of a multi-layered, performative methodological approach. These findings suggest that marginality in performance is a useful and dynamic site from which to investigate the processes of cultural communication, producing findings that augment sole textual analysis.

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Arora, Kulvinder. "Assimilation and its counter-narratives twentieth-century European and South Asian immigrant narratives to the United States /". Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3200730.

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Thesis (Ph. D.)--University of California, San Diego, 2006.
Title from first page of PDF file (viewed March 1, 2006). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 240-248).

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Bao, Ying. "In Search Of Laughter In Maoist China: Chinese Comedy Film 1949-1966". The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1218342529.

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Terry, Patrick Alan 1984. "Space In-Between: Masumura Yasuzo, Japanese New Wave, and Mass Culture Cinema". Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11477.

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viii, 111 p. : ill. (some col.)
During the early stage of Japan's High Economic Growth Period (1955-1970), a group of directors and films, labeled the Japanese New Wave, emerged to strong critical acclaim and scholarly pursuit. Over time, Japanese New Wave Cinema has come to occupy a central position within the narrative history of Japanese film studies. This position has helped introduce many significant films while inadvertently ostracizing or ignoring the much broader landscape of film at this time. This thesis seeks to complexify the New Wave's central position through the career of Daiei Studios' director, Masumura Yasuzo. Masumura signifies a "space in-between" the cultural elite represented by the New Wave and the box office focus of mass culture cinema. Utilizing available English language and rare Japanese sources, this thesis will re-examine Masumura's position on the periphery of film studies while highlighting the larger film environment of this dynamic period.
Committee in charge: Prof. Steven Brown, Chair; Dr. Daisuke Miyao, Advisor

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Libros sobre el tema "Asian Motion pictures"

Willis, Andrew y Wing-Fai Leung. East Asian film stars. Houndmills, Basingstoke, Hampshire: Palgrave MacMillan, 2014.

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Lent, John A. The Asian film industry. Austin: University of Texas Press, 1990.

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Lent, John A. The Asian film industry. London: Christopher Helm, 1990.

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Weisser, Thomas. Asian cult cinema. New York: Boulevard Books, 1997.

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Server, Lee. Asian pop cinema: Bombay to Tokyo. San Francisco, Calif: Chronicle Books, 1999.

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Wimal, Dissanayake, ed. Melodrama and Asian cinema. Cambridge: Cambridge University Press, 1993.

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Wimal, Dissanayake, ed. Melodrama and Asian cinema. Cambridge: Cambridge University Press, 2005.

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Kyung, Chang Elaine, ed. Reel Asian: Asian Canada on screen. Toronto: Coach House Books, 2007.

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Vick, Tom. Asian cinema: A field guide. New York: Collins, 2007.

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Grossman, Andrew. Queer Asian cinema: Shadows in the shade. New York: Harrington Park Press, 2000.

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Capítulos de libros sobre el tema "Asian Motion pictures"

Lee, Sangjoon. "Introduction". En Cinema and the Cultural Cold War, 1–14. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501752315.003.0001.

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This chapter examines the historical, social, cultural, and intellectual constitution of the first postwar pan-Asian cinema network during the two decades after the Korean War armistice in July 1953. It argues that Asia's film cultures and industries were shaped by the practice of transnational collaboration and competition between newly independent and colonial states, with financial and administrative support from US institutions. It also looks at the network of motion picture executives, creative personnel, policy makers, and intellectuals in Asia at the height of the Cold War and beyond. The chapter shows how Asians aspired to rationalize and industrialize a system of mass production by initiating a regional organization. It identifies the cultural, economic, and political logic that gave rise to and modified the Federation of Motion Picture Producers in Southeast Asia and the Southeast Asian Film Festival.

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Lee, Sangjoon. "The Asia Foundation’s Motion Picture Project". En Cinema and the Cultural Cold War, 17–46. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501752315.003.0002.

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This chapter investigates how and to what extent the Asia Foundation (TAF) and its field agents covertly acted to construct an alliance of anticommunist motion picture producers in Asia. It explores how US government–led Cold War cultural policies influenced the Asian regional film industry in the 1950s. It also scrutinizes the ways TAF agents responded to the various needs of local film executives and negotiated with the constantly changing political, social, and cultural environments in the region during the project's early activities. The chapter reviews the origin of TAF, the Committee for a Free Asia (CFA), which is intended to advance US foreign policy interests in Asia. It discusses the CFA's core activities, which include the broadcasting of Radio Free Asia.

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Lee, Sangjoon. "The FPA, US Propaganda, and Postwar Japanese Cinema". En Cinema and the Cultural Cold War, 47–67. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501752315.003.0003.

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This chapter recounts how Nagata Masaichi, president of Daiei Studio in Japan, pitched the idea of founding the Federation of Motion Picture Producers in Southeast Asia (FPA) and an annual Southeast Asian Film Festival. It discusses the consensus among American foreign officers stationed in Asia that communists had infiltrated the Japanese film industry since the end of the US occupation of Japan in April 1952. It also describes the activities of the “Reds” in the Japanese motion picture industry that is considered a threat to the United States' strategic Cold War interests in the Asia-Pacific region. The chapter cites Rashomon, which won the award for Best Foreign Language Film at the Oscars and elicited simultaneous respect and jealousy from other nations in the region. It elaborates how the unprecedented success of Rashomon rapidly established Nagata's presence in the Japanese film industry.

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Lee, Sangjoon. "The Rise and Demise of a Developmental State Studio". En Cinema and the Cultural Cold War, 137–70. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501752315.003.0007.

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This chapter introduces five motion picture studios that stood out in Asia at the beginning of the 1960s, such as Shin Films in South Korea, GMP and CMPC in Taiwan, and Shaw Brothers and MP&GI in Hong Kong and Singapore. It examines how film studios in the region aspired to implement the rationalized and industrialized system of mass-producing motion pictures known as the Hollywood studio system. It also explains that the Hollywood studio system evolved in the United States to handle film production, distribution, and exhibition during the first three decades of the twentieth century. The chapter recounts how the studio system became a highly efficient system that produced feature films, newsreels, animations, and shorts to supply its mass-produced motion pictures to subsidized theaters. It describes Fordism as the famous American system of mass production with particular American circumstances.

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"1. The Asia Foundation’s Motion Picture Project". En Cinema and the Cultural Cold War, 17–46. Cornell University Press, 2020. http://dx.doi.org/10.1515/9781501752322-004.

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Tekin, Hasan. "How Do Financial Constraints and Financial Crises Matter in Cash Management?" En Handbook of Research on Current Trends in Asian Economics, Business, and Administration, 228–48. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-8486-6.ch012.

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This chapter investigates how financial constraints and financial crises affect the cash policy of firms. Using a sample of 157,505 firm-years from 26 developing Asian economies from 1991 to 2016, firm fixed effects are employed to mitigate unobserved heterogeneity. Empirical findings show that financially constrained firms have higher cash than financially unconstrained firms, which is in line with the precautionary motive and transaction motive of cash. The picture changes with the rise of financial crises. While financially constrained firms have lower cash before the 1997-1998 Asian financial crisis, they increase their cash level more after the 2008-2009 global financial crisis. Overall, managers need to consider the exogenous shocks to enhance their liquidity management. Also, investors should consider the financial crises, firm size, firm constraint, and dividend payment status when determining when and where to invest.

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"Viral Visions: The Pandemic Archive in Miasma, Plants, Export Paintings (2017) and Many Undulating Things (2019)". En Women Filmmakers and the Visual Politics of Transnational China in the #MeToo Era. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463728355_ch09.

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Cinematic Orientalism overlaps with the archival history of ornamental export goods, medicinal plants, and racially inflected theories of disease in Bo Wang and Pan Lu’s video installation Miasma, Plants, Export Paintings (2017) and a section of the essay film Many Undulating Things (2019). The installation video and the film use documents such as drawings, photographs, and film clips of China and the Chinese to plumb the depths of the persistence of racism and sexism in global visual culture. The COVID-19 pandemic and subsequent upsurge in anti-Chinese violence places the themes treated in these motion pictures into an ongoing conversation about racism and sexism in the wake of imperial expansion and colonialism in Asia.

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Freiberg, Freda. "China Nights (Japan, 1940): The Sustaining Romance of Japan at War". En World War II, Film, and History, 31–46. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195099669.003.0003.

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Abstract Japan’s war against China, lasting as it did continually from 1937 to 1945 and engaging the bulk of the Japanese Imperial Army, was fundamental to Tokyo’s goals in Asia. This chapter examines Japanese wartime cinema, most particularly the motion picture China Nights (Japan, 1940), and analyzes some of the ways in which the war in China was represented on film to wartime Japanese audiences. It also demonstrates the effectiveness of using gender analysis to comprehend the ways in which the war was portrayed as an interracial and sexual melodrama. In the militaristic Japanese projection, feminine China needed the subjugation and protection of virile, masculine Japan. As analysis of the film makes clear, racism and sexism were important components of Japanese imperialism in China.

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Hee, Wai-Siam. "New Friend". En Remapping the Sinophone, 30–57. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888528035.003.0002.

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The first chapter searches for evidence of the production of the first Singaporean and Malayan film New Friend in old periodicals from the 1920s held in the British Library. This corrects the common misconception that this film was never screened and confirms the historical significance and standing of New Friend as the first Singaporean and Malayan film. This chapter also describes the origins of, and public response to, the Nanyang Low Poey Kim Independent Motion Picture Company. It also gives an overview of Liu’s tragic life, from film company owner to his return to China to fight against the Japanese as a ‘Nanyang Volunteer Driver and Mechanic’. In addition, this chapter describes the New Friend production team and the debates the film sparked among audiences. It then further investigates the problems that the film confronted at the time of its production, including censorship imposed by the British colonial government during the 1920s, the oscillation found in New Friend’s screenplay between the Nanyang and Chinese styles of literature and art, and the way it handles entanglements between ‘new immigrants’ and Chinese Peranakan. This chapter also observes that New Friend features a Sinophone ‘linguistic creolisation’, inverting the hierarchical relationship between Chinese people and foreigners found in S.E. Asian reality. This reflects Liu’s optimistic hope that S.E. Asian Chinese society would unite under the banner of ‘Chineseness’ and resist colonial power. Liu Beijin and the case of New Friend represent pre–Cold War S.E. Asian Chinese cultural productions of Chinese historical identity, in which Chineseness and hybridity coexisted without a binary choice. This provides a historical dimension to reflections on Sinophone topics related to Chineseness and hybridity.

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Islam, S. Nazrul. "Commercial approach to rivers". En Rivers and Sustainable Development, 21–59. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190079024.003.0002.

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Chapter 2 reviews the origin and spread of the Commercial approach to rivers. It explains the origin of this approach in the first Industrial Revolution, which provided human societies both the commercial motive and the machine power required to undertake large-scale frontal and lateral interventions in rivers. The chapter catalogues various types of frontal intervening structures—including dams, barrages, and weirs—that the Commercial approach deploys to achieve its purpose. The chapter then follows the spread of the frontal version of the Commercial approach across the world, beginning with the developed countries and then the developing countries in Asia, Africa, and Latin America. The chapter ends by providing a statistical summary of the global picture regarding dams and barrages, which are the main instruments of the Commercial approach to rivers.

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Actas de conferencias sobre el tema "Asian Motion pictures"

MAEDA, Toshiyuki, Masumi YAJIMA y Akiyoshi WAKATANI. "Frequency-based Skill Analysis for Motion Pictures". En 2018 12th France-Japan and 10th Europe-Asia Congress on Mechatronics. IEEE, 2018. http://dx.doi.org/10.1109/mecatronics.2018.8495892.

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Liu, Fang, Xi Guang Liang, Yue Jin Zhao, Li Chang Wang y Fei Yu. "Improved measurement methods for motion picture resolution of LCD". En Photonics Asia 2007, editado por Anbo Wang, Yimo Zhang y Yukihiro Ishii. SPIE, 2007. http://dx.doi.org/10.1117/12.756045.

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Hirokazu Takahashi, Takahiro Murooka y Kan Toyoshima. "A secure stream multicasting architecture for 4K motion picture". En 2007 Asia-Pacific Conference on Communications. IEEE, 2007. http://dx.doi.org/10.1109/apcc.2007.4433539.

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Kakue, Takashi, Takashi Nishitsuji, Tetsuya Kawashima, Tomoyoshi Shimobaba y Tomoyoshi Ito. "Real-time electro-holography with parabolic mirrors for projecting floating 3D motion pictures". En SA'15: SIGGRAPH Asia 2015. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2820926.2820968.

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