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Motion pictures were first introduced to China in 1896 and today
China has become a major player in the film industry. However, the
story of how Chinese cinema became what it is today is an
exceptionally turbulent one. It encompasses incursions by foreign
powers, warfare among contending rulers, the collapse of the
Chinese empire, and the massive setback of the Cultural Revolution.
The Historical Dictionary of Chinese Cinema covers the history of
Chinese cinema from its very beginning in 1896 to the present. This
is done through a chronology, an introductory essay, appendixes,
and an extensive bibliography. The dictionary section contains
several hundred cross-referenced dictionary entries on films,
directors, and historical figures. This book is an excellent access
point for anyone interested in Chinese cinema and for scholars
interested in investigating ideas for future research.
This book investigates sisterhood as a converging thread that wove
female subjectivities and intersubjectivities into a larger
narrative of Chinese modernity embedded in a newly conceived global
context. It focuses on the period between the late Qing reform era
around the turn of the twentieth century and the outbreak of the
Second Sino-Japanese War in 1937, which saw the emergence of new
ways of depicting Chinese womanhood in various kinds of media. In a
critical hermeneutic approach, Zhu combines an examination of an
outside perspective (how narratives and images about sisterhood
were mobilized to shape new identities and imaginations) with that
of an inside perspective (how subjects saw themselves as embedded
in or affected by the discourse and how they negotiated such
experiences within texts or through writing). With its working
definition of sisterhood covering biological as well as all kinds
of symbolic and metaphysical connotations, this book exams the
literary and cultural representations of this elastic notion with
attention to, on the one hand, a supposedly collective identity
shared by all modern Chinese female subjects and, on the other
hand, the contesting modes of womanhood that were introduced
through the juxtaposition of divergent "sisters." Through an
interdisciplinary approach that brings together historical
materials, literary and cultural analysis, and theoretical
questions, Zhu conducts a careful examination of how new
identities, subjectivities and sentiments were negotiated and
mediated through the hermeneutic circuits around "sisterhood."
As enrollment of minority students and recruitment of minority
faculty in higher education increase, opportunities for students to
interact with racially and ethnically different faculty will become
more frequent and pronounced. Also, there may be expectations that
these interactions will produce greater educational gains and
sensitivity to racial issues. A quantitative research methodology
was employed to measure the nature of the student-faculty
interactions across race and to explore factors that influence
undergraduate students' GPA and multicultural perceptions in order
to identify ways in which student-faculty interactions might better
serve the students.Data collection consisted of surveying students
and faculty members via email. The researcher found that only the
quality of student-faculty interactions, which belongs to the
quality of interactions, had a positive impact on students' GPA
(.06) and their multicultural perceptions (.18). A better
understanding of factors influencing students' GPA and
multicultural perceptions would be beneficial for both teachers and
undergraduate students at VCU.
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