China Gate

One day you're a happily married man with a great job and family. The next day both your job and family are gone, the White House wants you rubbed out, you're broke and on the run in China and terrorists want to capture you...all because you're the key witness in a case against the President. There's nowhere to run when the U.S. President, the Chinese and Islamic terrorists all want to track you down! From Washington to Hollywood to Cuba to China, a diverse group of strong-willed heroes challenges powerful forces in a full-throttle race for life, liberty and justice. As in his other thrillers, Fritz Galt gives us a penetrating glimpse into foreign cultures, throws a glaring spotlight on flaws in our national security and evokes the strength of our national character in a story that will make you lock your doors and read all night!

Unlocking the Chinese Gate offers an innovative analysis of gates in early Chinese thought and material culture. Observing gates from various perspectives—including philosophy, architecture, and psychology—and through the conceptual lens of Chinese correlative thinking, Galia Dor conceptualizes the Chinese gate as a membrane-like apparatus that, from the space "in-between," efficaciously manifests (de) the Way (dao) into the "ten thousand" forms of actualized life. This methodology exposes an open-to-closed gradation between pairs of inside/outside (wai/nei) that resonates throughout the Chinese model of psychocosmic concentric circles. The consequential strategies (e.g., continuity/break, chaos/order) demonstrate how early Chinese cosmological, philosophical, and political idealities, as well as afterlife religious beliefs, were applied—including the various approaches to and practices of self-cultivation. The book sheds new light on ancient Chinese thought and material culture and offers points of comparison to Western thought and modern science, including a model of "decision-gating" that carries relevant implications and insights to our current lives.

An epic history of the rise of China and the fall of Hong Kong to authoritarian rule. Essential reading for anyone wishing to deal with China or to understand the world in which we live. The rise of China and the fall of Hong Kong to authoritarian rule are told with unique insight in this new history by Michael Sheridan, drawing on documents from archives in China and the West, interviews with key figures and eyewitness reporting over three decades. The story takes the reader from the earliest days of trade through the Opium Wars of the nineteenth century to the age of globalisation, the handover of Hong Kong from Britain to China, the fight for democracy on the city's streets and the ultimate victory of the Chinese Communist Party. As the West seeks a new China policy, we learn from private papers how Margaret Thatcher anguished over the fate of Hong Kong, sought secret American briefings on how to deal with Beijing and put her trust in a spymaster who was tormented by his own doubts. The Chinese version of history, so often unheard, emerges from memoirs and documents, many of them entirely new to the foreign reader, which reveal China's negotiating tactics. The voices of Hong Kong people eloquent, smart and bold speak compellingly here at every turn. The Gate to China tells how Hong Kong was the gate to China as it reformed its economy and changed the world, emerging to challenge the West with a new order that raised fundamental questions about freedom, identity, and progress. Told through real human stories and a gripping narrative for the general reader, it is also critical reading for all who study, trade or deal with China.

Film is Like a Battleground: Sam Fuller's War Movies is the first book to focus on the genre that best defined the American director's career: the war film. It draws on previously unexplored archival materials, such as Fuller's Federal Bureau of Investigation files and WWII-era 16mm films, to explore the director's lifelong interest in making challenging, thought-provoking, and often politically dangerous movies about war. After establishing the roots of Fuller's cinematographic schooling in the trenches during World War II, including careful consideration of his 16mm footage of a Nazi camp at the end of that war, Film is Like a Battleground explores Fuller's first forays into hot war representation in Hollywood with the pioneering Korean conflict films The Steel Helmet (1951) and Fixed Bayonets (1951). This pair of films introduced Fuller to his first run-ins with the American political machine when they triggered both FBI and Department of Defense investigations into his political sympathies and affiliations. Fuller's cold war films Pickup on South Street (1953) and, though it veers into hot war territory, Hell and High Water (1954) are Fuller's responses to the political pressures he had now personally experienced and resented. A chapter on Fuller's representation of pre-American-invasion Vietnam in China Gate (1957) alongside his unrealized Vietnam war screenplay, The Rifle (ca. late 1960s), illustrates the degree to which Fuller's representation of war and nation shifted even as he continued to probe war's impossible contradictions. Film is Like a Battleground would be incomplete without a thorough exploration of the films depicting the war Fuller personally experienced and spent a lifetime contemplating, WWII. Verboten! (1959), Merrill's Marauder's (1962), and The Big Red One (1980) demonstrate Fuller's representation of a morally justifiable war. Fuller's 1959 CBS television pilot--Dogface--offers a glimpse at one of Fuller's failed attempts to bring his WWII story into American living rooms. The book concludes with a chapter about a documentary film made late in the director's life that returns Fuller to the actual site of the Nazi's Falkenau camp, at which he discusses his experiences there and that powerful, unforgettable footage he shot in the spring of 1945.

First comprehensive study of this American original A cigar-chomping storyteller who signaled "Action!" by shooting a gun, Samuel Fuller has been lionized as one of the most distinctive writer/directors ever to emerge from Hollywood. In such films as The Steel Helmet, Pickup on South Street, Shock Corridor, and The Big Red One, Fuller gleefully challenged classical and generic norms—and often standards of good taste—in an effort to shock and arouse audiences. Tackling war, crime, race, and sexuality with a candor rare for any period, Fuller's maverick vision was tested by Hollywood's transition from the studio system to independent filmmaking. Now, in the first full account of all of the director's audaciously original work, author Lisa Dombrowski brings his career into new relief. The Films of Samuel Fuller features close analysis of Fuller's pictures and draws on previously untapped production and regulatory files, script notes, and interviews to explore how artistic, economic, and industrial factors impacted Fuller's career choices and shaped the expression of his personal aesthetic. Fans of Fuller and American cinema will welcome this in-depth study of a provocative director who embodied both the unique opportunities and challenges of postwar filmmaking.

"The king and ministers, superior and inferior, move with ritual and refinement. When the king goes on an inspection tour, everyone has the correct ceremonial attributes and the divine flag [troops] gallop in front while armored soldiers block the road. The soldiers of the Six Divisions all hold their attributes. Although it is not completely in uniformity with classic rites, compared with other barbarians it is splendid to behold. This is why Confucius thought it would not be a shame to reside here. And is not moreover Kija's country a close relative of the hallowed dynasty?" So observed the Song envoy Xu Jing in the official report of his 1123 visit to Korea—a rare eyewitness account of Koryŏ (918–1392) society in its prime. Officially, the purpose of Xu Jing's visit was to condole the new king, Injong, on the death of his father and present him with a letter of investiture; unofficially, he was tasked with persuading Injong to align with Song China against the newly emergent Jin dynasty. Although famous for its celadon and Buddhist paintings, the Koryŏ period is still very much terra incognita in world history because of the lack of translated source materials. The present work, the first fully annotated, complete translation of a key source text on Koryŏ, fills this gap. Xu Jing spent a little more than a month in the Koryŏ capital, Kaesŏng, but he was a meticulous chronicler, compiling a veritable handbook on Koryŏ that is full of fascinating details found nowhere else on daily life, history, customs and manners, buildings, the military, food, among others. However, Xu Jing was not unbiased in his observations and supplemented his work with unreliable information from earlier chronicles—a fact often ignored in previous studies of the Illustrated Account. In a substantial introduction to his translation, Sem Vermeersch not only places this important work in its historical context, but also reveals both the sources used by the author and the merits and limits of his observations, allowing historians of medieval Korea to make fuller use of this singular primary source.