Iconographies of Occupation is the first book to address how the “collaborationist” Reorganized National Government (RNG) in Japanese-occupied China sought to visualize its leader, Wang Jingwei (1883–1944); the Chinese people; and China itself. It explores the ways in which this administration sought to present itself to the people over which it ruled at different points between 1939, when the RNG was first being formulated, and August 1945, when it folded itself out of existence. What sorts of visual tropes were used in regime iconography and how were these used? What can the intertextual movement of visual tropes and motifs tell us about RNG artists and intellectuals and their understanding of the occupation and the war? Drawing on rarely before used archival records relating to propaganda and a range of visual media produced in occupied China by the RNG, the book examines the means used by this “client regime” to carve out a separate visual space for itself by reviving prewar Chinese methods of iconography and by adopting techniques, symbols, and visual tropes from the occupying Japanese and their allies. Ultimately, however, the “occupied gaze” that was developed by Wang’s administration was undermined by its ultimate reliance on Japanese acquiescence for survival. In the continually shifting and fragmented iconographies that the RNG developed over the course of its short existence, we find an administration that was never completely in control of its own fate—or its message. Iconographies of Occupation presents a thoroughly original visual history approach to the study of a much-maligned regime and opens up new ways of understanding its place in wartime China. It also brings China under the RNG into dialogue with broader theoretical debates about the significance of “the visual” in the cultural politics of foreign occupation.
The Amoy-dialect film industry emerged in the 1950s, producing cheap, b-grade films in Hong Kong for direct export to the theatres of Manila Chinatown, southern Taiwan and Singapore. Films made in Amoy dialect - a dialect of Chinese - reflected a particular period in the history of the Chinese diaspora, and have been little studied due to their ambiguous place within the wider realm of Chinese and East Asian film history. This book represents the first full length, critical study of the origin, significant rise and rapid decline of the Amoy-dialect film industry. Rather than examining the industry for its own sake, however, this book focuses on its broader cultural, political and economic significance in the region. It questions many of the assumptions currently made about the ‘recentness’ of transnationalism in Chinese cultural production, particularly when addressing Chinese cinema in the Cold War years, as well as the prominence given to ‘the nation’ and ‘transnationalism’ in studies of Chinese cinemas and of the Chinese Diaspora. By examining a cinema that did not fit many of the scholarly models of ‘transnationalism’, that was not grounded in any particular national tradition of filmmaking and that was largely unconcerned with ‘nation-building’ in post-war Southeast Asia, this book challenges the ways in which the history of Chinese cinemas has been studied in the recent past.
Iconographies of Occupation is the first book to address how the “collaborationist” Reorganized National Government (RNG) in Japanese-occupied China sought to visualize its leader, Wang Jingwei (1883–1944); the Chinese people; and China itself. It explores the ways in which this administration sought to present itself to the people over which it ruled at different points between 1939, when the RNG was first being formulated, and August 1945, when it folded itself out of existence. What sorts of visual tropes were used in regime iconography and how were these used? What can the intertextual movement of visual tropes and motifs tell us about RNG artists and intellectuals and their understanding of the occupation and the war? Drawing on rarely before used archival records relating to propaganda and a range of visual media produced in occupied China by the RNG, the book examines the means used by this “client regime” to carve out a separate visual space for itself by reviving prewar Chinese methods of iconography and by adopting techniques, symbols, and visual tropes from the occupying Japanese and their allies. Ultimately, however, the “occupied gaze” that was developed by Wang’s administration was undermined by its ultimate reliance on Japanese acquiescence for survival. In the continually shifting and fragmented iconographies that the RNG developed over the course of its short existence, we find an administration that was never completely in control of its own fate—or its message. Iconographies of Occupation presents a thoroughly original visual history approach to the study of a much-maligned regime and opens up new ways of understanding its place in wartime China. It also brings China under the RNG into dialogue with broader theoretical debates about the significance of “the visual” in the cultural politics of foreign occupation.
The Amoy-dialect film industry emerged in the 1950s, producing cheap, b-grade films in Hong Kong for direct export to the theatres of Manila Chinatown, southern Taiwan and Singapore. Films made in Amoy dialect - a dialect of Chinese - reflected a particular period in the history of the Chinese diaspora, and have been little studied due to their ambiguous place within the wider realm of Chinese and East Asian film history. This book represents the first full length, critical study of the origin, significant rise and rapid decline of the Amoy-dialect film industry. Rather than examining the industry for its own sake, however, this book focuses on its broader cultural, political and economic significance in the region. It questions many of the assumptions currently made about the ‘recentness’ of transnationalism in Chinese cultural production, particularly when addressing Chinese cinema in the Cold War years, as well as the prominence given to ‘the nation’ and ‘transnationalism’ in studies of Chinese cinemas and of the Chinese Diaspora. By examining a cinema that did not fit many of the scholarly models of ‘transnationalism’, that was not grounded in any particular national tradition of filmmaking and that was largely unconcerned with ‘nation-building’ in post-war Southeast Asia, this book challenges the ways in which the history of Chinese cinemas has been studied in the recent past.
This is the fourth edition of one of the standard international textbooks on child and adolescent mental health, with an up-to-date, evidence-based approach to practical clinical issues.
The Shoulder: Theory & Practice presents a comprehensive fusion of the current research knowledge and clinical expertise that will be essential for any clinician from any discipline who is involved with the assessment, management and rehabilitation of musculoskeletal conditions of the shoulder. This book is a team project-led by two internationally renowned researchers and clinicians, Jeremy Lewis and César Fernández-de-las-Peñas. Other members of the team include over 100 prominent clinical experts and researchers. All are at the forefront of contributing new knowledge to enable us to provide better care for those seeking support for their shoulder problem. The team also comprises the voices of patients with shoulder problems who recount their experiences and provide clinicians with important insight into how better to communicate and manage the needs of the people who seek advice and guidance. The contributing authors include physiotherapists, physical therapists, medical doctors, orthopedic surgeons, psychologists, epidemiologists, radiologists, midwives, historians, nutritionists, anatomists, researchers, rheumatologists, oncologists, elite athletes, athletic trainers, pain scientists, strength and conditioning experts and practitioners of yoga and tai chi. The cumulative knowledge contained within the pages of The Shoulder: Theory & Practice would take decades to synthesise. The Shoulder: Theory & Practice is divided into 42 chapters over three parts that will holistically blend, as the title promises, all key aspects of the essential theory and practice to successfully support clinicians wanting to offer those seeing help the very best care possible. It will be an authoritative text and is supported by exceptional artwork, photographs and links to relevant online information.
Say you want to start going to the gym or practicing a musical instrument. How long should it take before you stop having to force it and start doing it automatically? The surprising answers are found in Making Habits, Breaking Habits, a psychologist's popular examination of one of the most powerful and under-appreciated processes in the mind. Although people like to think that they are in control, much of human behavior occurs without any decision-making or conscious thought. Drawing on hundreds of fascinating studies, psychologist Jeremy Dean busts the myths to finally explain why seemingly easy habits, like eating an apple a day, can be surprisingly difficult to form, and how to take charge of your brain's natural "autopilot" to make any change stick. Witty and intriguing, Making Habits, Breaking Habits shows how behavior is more than just a product of what you think. It is possible to bend your habits to your will -- and be happier, more creative, and more productive.
Since the first films played in nickelodeons, controversial movies have been cut or banned across the United States. Far from Hollywood, regional productions such as Oscar Micheaux's provocative race films and Nell Shipman's wildlife adventures were censored by men like Major M.L.C. Funkhouser, the terror of Chicago's cinemas, and Myrtelle Snell, the Alabama administrator who made the slogan "Banned in Birmingham" famous. Censorship continues today, with Utah's case against Deadpool (2016) pending in federal court and Robert Rodriguez's Machete Kills (2013) versus the Texas Film Commission. This authoritative state-by-state account covers the history of film censorship and the battle for free speech in America.
** LONGLISTED FOR THE JAMES CROPPER WAINWRIGHT PRIZE LONGLIST 2022 ** 'Really packs a punch' Aja Barber, author of Consumed: The Need for Collective Change: Colonialism, Climate Change, and Consumerism 'Will open the minds of even the most ardent denier of climate change and/or systemic racism. If there's one book that will help you to be an effective activist for climate justice, it's this one.' Dr Shola Mos-Shogbamimu, author of This is Why I Resist 'Accessible. Poignant. Challenging.' Nnimmo Bassey, environmentalist and author of To Cook a Continent: Destructive Extraction and the Climate Crisis in Africa When we talk about racism, we often mean personal prejudice or institutional biases. Climate change doesn't work that way. It is structurally racist, disproportionately caused by majority White people in majority White countries, with the damage unleashed overwhelmingly on people of colour. The climate crisis reflects and reinforces racial injustices. In this eye-opening book, writer and environmental activist Jeremy Williams takes us on a short, urgent journey across the globe - from Kenya to India, the USA to Australia - to understand how White privilege and climate change overlap. We'll look at the environmental facts, hear the experiences of the people most affected on our planet and learn from the activists leading the change. It's time for each of us to find our place in the global struggle for justice.
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