From Tian Anmen To Times Square

From Tian'anmen to Times Square: Transnational China and the Chinese Diaspora on Global Screens, 1989-1997 explores the important interconnections involving questions of race, ethnicity, gender, and sexuality on world screens by examining a range of films, videos, and digital works associated with global Chinese culture. The ways in which the world has imagined China and the images the Chinese have used to depict themselves have changed dramatically since 1989. The media spotlight placed on Beijing during the spring of 1989 created repercussions that continue to affect how China is seen globally, how it sees itself, and how the Chinese outside the People's Republic see themselves. The films and other texts included in this book represent a range of work by media artists working within China, Hong Kong, Taiwan, Singapore, and on transnational co-productions involving those places. The book also features media from other positions within the Chinese diaspora (including Chinese America) and work produced on China by non-Chinese. Highlighting questions of the circulation of images, people, and commodities, the book explores the important interconnections involving questions of race, ethnicity, gender, and sexuality on global screens. Beginning and ending with Tian'anmen and world image culture, a portrait emerges of momentous change and persistent challenges facing media artists and filmmakers working within "Greater China."

This compelling book provides a vivid firsthand account of the student demonstrations and massacre in Tiananmen Square in 1989. Uniquely placed as a Western observer drawn into active participation through Chinese friends in the uprising, Philip J Cunningham offers a remarkable day-by-day account of Beijing students desperately trying to secure the most coveted political real estate in China in the face of ever-more daunting government countermoves. Tiananmen Moon takes the reader into the thick of the 1989 protests while also following the parallel response of an unprepared but resourceful Western media. In this revised and expanded edition, Cunningham recounts rare vignettes about life in Tiananmen Square under student leadership, including previously unpublished material. There is an account of the Goddess of Democracy being unveiled, a whimsical trip to the countryside that ends up on a collision course with PLA troops readying for attack, the tale of a near riot when a reporter is mistaken for Gorbachev, the saga of a tearful leader who quits and dictates her last will and testament to the author, and a dramatic account of futile resistance in the face of an unforgiving crackdown. The book chronicles the opportunistic and awkward tango between naive student activists and jaded foreign journalists, in which, after a month of mutual courting, the tables turn and the now-savvy students watch the journalists, seduced and confused, run circles just trying to keep up. During the hunger strike under the light of a full moon, China bares its conflicted soul to the world, the mournful cry for reform amplified by the footsteps of a million peaceful marchers. This remarkable testament to a searing month that changed China forever serves as a witness to the rise and fall of an uprising, capturing the plaintive and lyrical beauty of a dream that endures and continues to haunt the country today.

After Chairman Mao’s death in 1976, China began a series of reforms that eventually got its economy humming and its society buzzing. These led to a gradual process of liberalization during the 1980s that culminated in a series of protests at Beijing’s Tiananmen Square in 1989. Fearing for its own survival, the communist regime cracked down, deciding to suppress the protests and keep power at all costs. A decade later, we at Foreign Affairs were able to publish, for the first time, a trove of secret documents showing why China’s leaders opted for violence at Tiananmen Square that fateful June. Now, 25 years after the protests, we are delighted to bring you Tiananmen and After, which includes those documents along with expert commentary on what happened back in June 1989, what it meant, and how China has—and hasn’t—changed since then. The arguments presented span the ideological spectrum, and the authors include a range of leading experts from several disciplines and countries, including Elizabeth Economy, Evan Feigenbaum, Yasheng Huang, Robert Kaplan, Eric Li, Damien Ma, Andrew Nathan, Lynette Ong, Lucian Pye, John Thornton, Cui Tiankai, and more.

A Companion to Hong Kong Cinema provides the first comprehensive scholarly exploration of this unique global cinema. By embracing the interdisciplinary approach of contemporary film and cultural studies, this collection navigates theoretical debates while charting a new course for future research in Hong Kong film. Examines Hong Kong cinema within an interdisciplinary context, drawing connections between media, gender, and Asian studies, Asian regional studies, Chinese language and cultural studies, global studies, and critical theory Highlights the often contentious debates that shape current thinking about film as a medium and its possible future Investigates how changing research on gender, the body, and sexual orientation alter the ways in which we analyze sexual difference in Hong Kong cinema Charts how developments in theories of colonialism, postcolonialism, globalization, neoliberalism, Orientalism, and nationalism transform our understanding of the economics and politics of the Hong Kong film industry Explores how the concepts of diaspora, nostalgia, exile, and trauma offer opportunities to rethink accepted ways of understanding Hong Kong’s popular cinematic genres and stars

In order to understand Bruce Lee, we must look beyond Bruce Lee to the artist's intricate cultural and historical contexts. This work begins by contextualising Lee, examining his films and martial arts work, and his changing cultural status within different times and places. The text examines Bruce Lee's films and philosophy in relation to the popular culture and cultural politics of the 1960s and 1970s, and it addresses the resurgence of his popularity in Hong Kong and China in the twenty-first century. The study also explores Lee's ongoing legacy and influence in the West, considering his function as a shifting symbol of ethnic politics and the ways in which he continues to inform Hollywood film-fight choreography. Beyond Bruce Lee ultimately argues Lee is best understood in terms of "cultural translation" and that his interventions and importance are ongoing.

An empowering road map for rethinking, reinvigorating, and redesigning our cities, from a pioneer in the movement for safer, more livable streets As New York City's transportation commissioner, Janette Sadik-Khan managed the seemingly impossible and transformed the streets of one of the world's greatest, toughest cities into dynamic spaces safe for pedestrians and bikers. Her approach was dramatic and effective: Simply painting a part of the street to make it into a plaza or bus lane not only made the street safer, but it also lessened congestion and increased foot traffic, which improved the bottom line of businesses. Real-life experience confirmed that if you know how to read the street, you can make it function better by not totally reconstructing it but by reallocating the space that's already there. Breaking the street into its component parts, Streetfight demonstrates, with step-by-step visuals, how to rewrite the underlying "source code" of a street, with pointers on how to add protected bike paths, improve crosswalk space, and provide visual cues to reduce speeding. Achieving such a radical overhaul wasn't easy, and Streetfight pulls back the curtain on the battles Sadik-Khan won to make her approach work. She includes examples of how this new way to read the streets has already made its way around the world, from pocket parks in Mexico City and Los Angeles to more pedestrian-friendly streets in Auckland and Buenos Aires, and innovative bike-lane designs and plazas in Austin, Indianapolis, and San Francisco. Many are inspired by the changes taking place in New York City and are based on the same techniques. Streetfight deconstructs, reassembles, and reinvents the street, inviting readers to see it in ways they never imagined.

This forward-thinking collection brings together over sixty essays that invoke images to summon, interpret, and argue with visual studies and its neighboring fields such as art history, media studies, visual anthropology, critical theory, cultural studies, and aesthetics. The product of a multi-year collaboration between graduate students from around the world, spearheaded by James Elkins, this one-of-a-kind anthology is a truly international, interdisciplinary point of entry into cutting-edge visual studies research. The book is fluid in relation to disciplines; it is frequently inventive in relation to guiding theories; it is unpredictable in its allegiance and interest in the past of the discipline—reflecting the ongoing growth of visual studies.

Taiwan was able to solidly build and sustain a film industry only after locally-produced Mandarin films secured markets in Hong Kong and Southeast Asia during the 1960s and 1970s. Though only a small island with a limited population, in its heyday, Taiwan was among the top-10 film producing countries/areas in the world, turning out hundreds of martial arts kung fu films and romantic melodramas annually that were screened in theaters across Southeast Asia and other areas internationally. However, except for one acclaimed film by director King Hu, Taiwan cinema was nearly invisible on the art cinema map until the 1980s, when the films of Hou Hsiao-hsien, Edward Yang, and other Taiwan New Cinema directors gained recognition at international film festivals, first in Europe, and later, throughout the world. Since then, many other Taiwan directors have also become an important part of cinema history, such as Ang Lee and Tsai Ming-liang. The Historical Dictionary of Taiwan Cinema covers the history of cinema in Taiwan during both the Japanese colonial period (1895-1945) and the Chinese Nationalist period (1945-present). This is accomplished through a chronology highlighting the main events during the long period and an introduction which carefully analyses the progression. The bulk of the information, however, appears in a dictionary section including over a hundred very extensive entries on directors, producers, performers, films, film studios and genres. Photos are also included in the dictionary section. More information can be found through the bibliography. Taiwan cinema is truly unique and this book is a good place to find out more about it, whether you are a student, or teacher, or just a fan.