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By the turn of the 21st century, animation production has grown to
thousands of hours a year in the People's Republic of China (PRC).
Despite this, and unlike American blockbuster productions and the
diverse genres of Japanese anime, much animation from the PRC
remains relatively unknown. This book is an historical and
theoretical study of animation in the PRC. Although the Wan
Brothers produced the first feature length animated film in 1941,
the industry as we know it today truly began in the 1950s at the
Shanghai Animation Film Studio (SAFS), which remained the sole
animation studio until the 1980s. Considering animation in China as
a convergence of the institutions of education, fine arts,
literature, popular culture, and film, the book takes comparative
approaches that link SAFS animation to contemporary cultural
production including American and Japanese animation, Pop Art, and
mass media theory. Through readings of classic films such as
Princess Iron Fan, Uproar in Heaven, Princess Peacock, and Nezha
Conquers the Dragon King, this study represents a revisionist
history of animation in the PRC as a form of "postmodernism with
Chinese characteristics." As a theoretical exploration of animation
in the People's Republic of China, this book will appeal greatly to
students and scholars of animation, film studies, Chinese studies,
cultural studies, political and cultural theory.
By the turn of the 21st century, animation production has grown to
thousands of hours a year in the People's Republic of China (PRC).
Despite this, and unlike American blockbuster productions and the
diverse genres of Japanese anime, much animation from the PRC
remains relatively unknown. This book is an historical and
theoretical study of animation in the PRC. Although the Wan
Brothers produced the first feature length animated film in 1941,
the industry as we know it today truly began in the 1950s at the
Shanghai Animation Film Studio (SAFS), which remained the sole
animation studio until the 1980s. Considering animation in China as
a convergence of the institutions of education, fine arts,
literature, popular culture, and film, the book takes comparative
approaches that link SAFS animation to contemporary cultural
production including American and Japanese animation, Pop Art, and
mass media theory. Through readings of classic films such as
Princess Iron Fan, Uproar in Heaven, Princess Peacock, and Nezha
Conquers the Dragon King, this study represents a revisionist
history of animation in the PRC as a form of "postmodernism with
Chinese characteristics." As a theoretical exploration of animation
in the People's Republic of China, this book will appeal greatly to
students and scholars of animation, film studies, Chinese studies,
cultural studies, political and cultural theory.
On a cool afternoon in November 1864 James Murphy is killed during
the Battle of Franklin. Death is not the end for Murphy. He awakens
in a strange room with dozens of other men and discovers that all
of the soldiers killed in battle on both sides have been brought
back to continue the fight. Murphy and his friend Pat O'Quinn don't
believe that is the whole reason they are here and resolve to find
out why there are here, where here is and who is it that brought
them here. With or without permission of their officers they plan
to take off to discover the answers as to why they are here to
fight The War After Time.
The primacy of Paris inhibits the regional sphere of activity of
second-ranking French cities. Lyon is particularly disadvantaged in
that to the west lies the low population density Massif Central, to
the south is the city-port of Marseilles with direct international
maritime connections, to the east, Grenoble is a dynamic and, to
some extent, rival pole while to the north-east Geneva has a
well-established international role. To combat the primacy if
Paris, and the competition of neighboring cities, Lyon is
justifiably attempting to develop an international and
trans-national role to enhance its economic, political and
demographic base. An examination of Lyon's status in the context of
a theoretical model of an "International City," an empirical
ranking of 165 European cities and Lyon's own long-range planning
policy provide the framework for this study. Lyon's demographic
strength, political situation, physical facilitators,
(transportation, tourism and other infrastructure) and Lyon's
international economic position will help place Lyon within the
domestic and European urban hierarchy.
People complain too much. It's as simple as that. This is
especially true in business. Instead of looking for sensible
solutions to challenges, many business owners and company employees
choose to complain - hoping that the challenge will just go away.
When the situation gets worse, they complain even more. That's no
way to run a business or advance your career. This book suggests
specific action steps that both business owners and employees can
take to help them achieve success.
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