The Chinese Government s five-year strategy for social and economic development to 2015 includes the aim of making the southwestern province of Yunnan a bridgehead for opening the country to southeast Asia and south Asia. Yunnan - A Chinese Bridgehead to Asia traces the dynamic process which has led to this policy goal, a process through which Yunnan is being repositioned from a southwestern periphery of the People s Republic of China to a bridgehead between China and its regional neighbours. It shows how this has been expressed in ideas and policy frameworks, involvement in regional institutions, infrastructure development, and changing trade and investment flows, from the 1980s to the present.
Detailing the wider context of the changes in China's global interactions, especially in Asia, the book uses Yunnan's case to demonstrate the extent of provincial agency in global interactions in reform-era China, and provides new insights into both China s relationships with its Asian neighbours and the increasingly important economic engagement between developing countries.
Offers a new perspective on YunnanContains historical depth: understanding the background and developments over time means that this China watching book will not date quicklyTakes a provincial view of China s international relations"

The rise of China has been shaped and driven by its engagement with the global economy during a period of intensified globalization, yet China is a continent-sized economy and society with substantial diversity across its different regions. This means that its engagement with the global economy cannot just be understood at the national level, but requires analysis of the differences in participation in the global economy across China's regions. This book responds to this challenge by looking at the development of China's regions in this era of globalization. It traces the evolution of regional policy in China and its implications in a global context. Detailed chapters examine the global trajectory of what is now becoming known as the Greater Bay Area in southern China, the globalization of the inland mega-city of Chongqing, and the role of China's regions in the globally-focused belt and road initiative launched by the Chinese government in late 2013. The book will be of interest to practitioners and scholars engaging with contemporary China's political economy and international relations.

Video game music has been permeating popular culture for over forty years. Now, reaching billions of listeners, game music encompasses a diverse spectrum of musical materials and practices. This book provides a comprehensive, up-to-date survey of video game music by a diverse group of scholars and industry professionals. The chapters and summaries consolidate existing knowledge and present tools for readers to engage with the music in new ways. Many popular games are analysed, including Super Mario Galaxy, Bastion, The Last of Us, Kentucky Route Zero and the Katamari, Gran Turismo and Tales series. Topics include chiptunes, compositional processes, localization, history and game music concerts. The book also engages with other disciplines such as psychology, music analysis, business strategy and critical theory, and will prove an equally valuable resource for readers active in the industry, composers or designers, and music students and scholars.

Video game music is a significant site of queerness where normative demands are questioned, suspended or loosened. Games resist hegemonic musical logics, challenge musical value systems and use music to complicate essentialist notions of identity. This Element proposes three areas of queerness, each representing different relationships between 'queer design' and 'queer engagement', ranging fromunintentionally resistive to explicit engagement with identity. First, this Element examines musical structures that provide queer temporal alternatives to normative linear development, and interactive systems that reframe the power relationship between musical material and listener. Second, it considers 'retro' or 'chiptune' timbres that queer notions of technological progress to be improvements, rejecting chrononormativity. Finally, the Element discusses music that queers the self/other binary of identity. Games present ways of listening to, engaging with and understanding music that provide opportunities to challenge inherited assumptions and reductive or monolithic values, practices and identities.

Video game music has been permeating popular culture for over forty years. Now, reaching billions of listeners, game music encompasses a diverse spectrum of musical materials and practices. This book provides a comprehensive, up-to-date survey of video game music by a diverse group of scholars and industry professionals. The chapters and summaries consolidate existing knowledge and present tools for readers to engage with the music in new ways. Many popular games are analysed, including Super Mario Galaxy, Bastion, The Last of Us, Kentucky Route Zero and the Katamari, Gran Turismo and Tales series. Topics include chiptunes, compositional processes, localization, history and game music concerts. The book also engages with other disciplines such as psychology, music analysis, business strategy and critical theory, and will prove an equally valuable resource for readers active in the industry, composers or designers, and music students and scholars.

Understanding Video Game Music develops a musicology of video game music by providing methods and concepts for understanding music in this medium. From the practicalities of investigating the video game as a musical source to the critical perspectives on game music - using examples including Final Fantasy VII, Monkey Island 2, SSX Tricky and Silent Hill - these explorations not only illuminate aspects of game music, but also provide conceptual ideas valuable for future analysis. Music is not a redundant echo of other textual levels of the game, but central to the experience of interacting with video games. As the author likes to describe it, this book is about music for racing a rally car, music for evading zombies, music for dancing, music for solving puzzles, music for saving the Earth from aliens, music for managing a city, music for being a hero; in short, it is about music for playing.

The rise of China has been shaped and driven by its engagement with the global economy during a period of intensified globalization, yet China is a continent-sized economy and society with substantial diversity across its different regions. This means that its engagement with the global economy cannot just be understood at the national level, but requires analysis of the differences in participation in the global economy across China's regions. This book responds to this challenge by looking at the development of China's regions in this era of globalization. It traces the evolution of regional policy in China and its implications in a global context. Detailed chapters examine the global trajectory of what is now becoming known as the Greater Bay Area in southern China, the globalization of the inland mega-city of Chongqing, and the role of China's regions in the globally-focused belt and road initiative launched by the Chinese government in late 2013. The book will be of interest to practitioners and scholars engaging with contemporary China's political economy and international relations.

In 1997, Hong Kong became a special administrative region of China under the "one country, two systems" framework. In this new edition, Tim Summers brings his analysis of the politics of Hong Kong fully up to date and discusses the ramifications for the city of the mass demonstrations of 2019-20 and the city's intensifying confrontational politics that have culminated in China's new national security law for Hong Kong. In the process, Hong Kong has lost the sweet spot it occupied for four decades in a world of intensifying economic globalization and decent US-China relations, all the more so after Covid-19. Instead it finds itself at the frontline of US-China strategic rivalry. Summers explores how the city's future will be shaped by the interaction of these global tensions with Hong Kong's polarized local politics and its relationship with Beijing.

Understanding Video Game Music develops a musicology of video game music by providing methods and concepts for understanding music in this medium. From the practicalities of investigating the video game as a musical source to the critical perspectives on game music - using examples including Final Fantasy VII, Monkey Island 2, SSX Tricky and Silent Hill - these explorations not only illuminate aspects of game music, but also provide conceptual ideas valuable for future analysis. Music is not a redundant echo of other textual levels of the game, but central to the experience of interacting with video games. As the author likes to describe it, this book is about music for racing a rally car, music for evading zombies, music for dancing, music for solving puzzles, music for saving the Earth from aliens, music for managing a city, music for being a hero; in short, it is about music for playing.

Some 22 years after its creation, The Legend of Zelda: Ocarina of Time is still held in high critical regard as one of the finest examples of the video game medium. The same is true of the game's music, whose superlative reception continues to be evident, whether in the context of the game or in orchestral concerts and recordings of the game's music. Given music's well-established significance for the video game form, it is no coincidence that music is placed at the forefront of this most lauded and loved of games. In Ocarina of Time, music connects and unifies all aspects of the game, from the narrative conceit to the interactive mechanics, from the characters to the virtual worlds, and even into the activity of legions of fans and gamers, who play, replay and reconfigure the music in an enduring cultural site that has Ocarina of Time at its centre. As video game music studies begins to mature into a coherent field, it is now possible to take the theoretical apparatus and critical approaches that have been developed in antecedent scholarship and put these into practice in the context of an extended concrete game example. The most extensive investigation into the music of a single game yet undertaken, this book serves three important primary purposes: first, it provides a historical-critical account of the music of an important video game text; second, it uses this investigation to explore wider issues in music and media studies (including interactivity, fan cultures, and music and technology); and third, it serves as a model for future in-depth studies of video game music.

In 1997, Hong Kong became a special administrative region of China under the "one country, two systems" framework. In this new edition, Tim Summers brings his analysis of the politics of Hong Kong fully up to date and discusses the ramifications for the city of the mass demonstrations of 2019-20 and the city's intensifying confrontational politics that have culminated in China's new national security law for Hong Kong. In the process, Hong Kong has lost the sweet spot it occupied for four decades in a world of intensifying economic globalization and decent US-China relations, all the more so after Covid-19. Instead it finds itself at the frontline of US-China strategic rivalry. Summers explores how the city's future will be shaped by the interaction of these global tensions with Hong Kong's polarized local politics and its relationship with Beijing.

The last half-decade has seen the rapid and expansive development of video game music studies. As with any new area of study, this significant sub-discipline is still tackling fundamental questions concerning how video game music should be approached. In this volume, experts in game music provide their responses to these issues. This book suggests a variety of new approaches to the study of game music. In the course of developing ways of conceptualizing and analyzing game music it explicitly considers other critical issues including the distinction between game play and music play, how notions of diegesis are complicated by video game interactivity, the importance of cinema aesthetics in game music, the technicalities of game music production and the relationships between game music and art music traditions. This collection is accessible, yet theoretically substantial and complex. It draws upon a diverse array of perspectives and presents new research which will have a significant impact upon the way that game music is studied. The volume represents a major development in game musicology and will be indispensable for both academic researchers and students of game music.

Some 22 years after its creation, The Legend of Zelda: Ocarina of Time is still held in high critical regard as one of the finest examples of the video game medium. The same is true of the game's music, whose superlative reception continues to be evident, whether in the context of the game or in orchestral concerts and recordings of the game's music. Given music's well-established significance for the video game form, it is no coincidence that music is placed at the forefront of this most lauded and loved of games. In Ocarina of Time, music connects and unifies all aspects of the game, from the narrative conceit to the interactive mechanics, from the characters to the virtual worlds, and even into the activity of legions of fans and gamers, who play, replay and reconfigure the music in an enduring cultural site that has Ocarina of Time at its centre. As video game music studies begins to mature into a coherent field, it is now possible to take the theoretical apparatus and critical approaches that have been developed in antecedent scholarship and put these into practice in the context of an extended concrete game example. The most extensive investigation into the music of a single game yet undertaken, this book serves three important primary purposes: first, it provides a historical-critical account of the music of an important video game text; second, it uses this investigation to explore wider issues in music and media studies (including interactivity, fan cultures, and music and technology); and third, it serves as a model for future in-depth studies of video game music.

The last half-decade has seen the rapid and expansive development of video game music studies. As with any new area of study, this significant sub-discipline is still tackling fundamental questions concerning how video game music should be approached. In this volume, experts in game music provide their responses to these issues. This book suggests a variety of new approaches to the study of game music. In the course of developing ways of conceptualizing and analyzing game music it explicitly considers other critical issues including the distinction between game play and music play, how notions of diegesis are complicated by video game interactivity, the importance of cinema aesthetics in game music, the technicalities of game music production and the relationships between game music and art music traditions. This collection is accessible, yet theoretically substantial and complex. It draws upon a diverse array of perspectives and presents new research which will have a significant impact upon the way that game music is studied. The volume represents a major development in game musicology and will be indispensable for both academic researchers and students of game music.