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The Chinese Filmography
From A to Z, Abandon Superstitions (1958; Po Chu Mi Xing in Chinese) to Zuo Wenjun and Sima Xiangru (1984; Zuo Wen Jun Ahe Si Ma Xiang Ru), this comprehensive reference work provides filmographic data on 2,444 Chinese features released since the formation of the People's Republic of China. The films reflect the shifting dynamics of the Chinese film industry, from sweeping epics to unabashedly political docudramas, although straight documentaries are excluded from the current work. The entries include the title in English, the Chinese title (in Pinyin romanization with each syllable noted separately for clarity), year of release, studio, technical information (e.g., black and white or color, letterboxed or widescreen), length, technical credits, literary source (when applicable), cast, plot summary, and awards won.
Painters and Politics in the People's Republic of China, 1949-1979
"That Julia Andrews has reached sources that are so sensitive and difficult with such success is remarkable. The book is unquestionably a brilliant job, well-written, understandable, and of enormous scholarly value."--Joan Lebold Cohen, author of The New Chinese Painting
Engineering Education and Management
This is the proceedings of the selected papers presented at 2011 International Conference on Engineering Education and Management (ICEEM2011) held in Guangzhou, China, during November 18-20, 2011. ICEEM2011 is one of the most important conferences in the field of Engineering Education and Management and is co-organized by Guangzhou University, The University of New South Wales, Zhejiang University and Xi’an Jiaotong University. The conference aims to provide a high-level international forum for scientists, engineers, and students to present their new advances and research results in the field of Engineering Education and Management. This volume comprises 121 papers selected from over 400 p...
Daily Report
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Cold CEO, Please Be Conserved
She'd met him three times in twenty-four hours, and each time had been an eye-opener.When her boyfriend betrayed her on her birthday, she stopped his speeding car. Not only did he break the glass, he even taught the other party a lesson.KTV had drunk and vomited all over him, mistaking him for a public relations officer, and had even casually thrown a few red tickets at him.She was Ye Yanxi, a third-year student with a tragic and bitter life. However, she still strove hard to live on, daring to love, daring to hate.He was the president of the Xiao Group, mysterious and respected like a dormant beast.This is a story of a heartless little sheep slowly falling into the trap of a demon president without knowing it
Advances in Multimedia Information Processing – PCM 2018
The three-volume set LNCS 101164, 11165, and 11166 constitutes the refereed proceedings of the 19th Pacific-Rim Conference on Multimedia, PCM 2018, held in Hefei, China, in September 2018. The 209 regular papers presented together with 20 special session papers were carefully reviewed and selected from 452 submissions. The papers cover topics such as: multimedia content analysis; multimedia signal processing and communications; and multimedia applications and services.
Different Types of Field-Effect Transistors
In 1959, Atalla and Kahng at Bell Labs produced the first successful field-effect transistor (FET), which had been long anticipated by other researchers by overcoming the "surface states" that blocked electric fields from penetrating into the semiconductor material. Very quickly, they became the fundamental basis of digital electronic circuits. Up to this point, there are more than 20 different types of field-effect transistors that are incorporated in various applications found in everyday's life. Based on this fact, this book was designed to overview some of the concepts regarding FETs that are currently used as well as some concepts that are still being developed.
Chinese Film
A tour de force chronicling the development of realism in Chinese cinema The history of Chinese cinema is as long and complicated as the tumultuous history of China itself. Be it the silent, the Communist, or the contemporary, each Chinese cinematic era has necessitated its own form in conversation with broader trends in politics and culture. In Chinese Film, Jason McGrath tells this fascinating story by tracing the varied claims to cinematic realism made by Chinese filmmakers, officials, critics, and scholars. Understanding realism as a historical dynamic that is both enabled and mitigated by aesthetic conventions of the day, he analyzes it across six different types of claims: ontological, perceptual, fictional, social, prescriptive, and apophatic. Through this method, McGrath makes major claims not just about Chinese cinema but also about realism as an aesthetic form that negotiates between cultural conventions and the ever-evolving real. He comes to envision it as more than just a cinematic question, showing how the struggle for realism is central to the Chinese struggle for modernity itself.
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