A 2017 Eisner Award Winner for Best Writer/Artist, Best US Edition of International Material—Asia, and Best Publication Design Winner of the Singapore Literature Prize 2016 A New York Times bestseller An Economist Book of the Year 2016 An NPR Graphic Novel Pick for 2016 A Washington Post Best Graphic Novel of 2016 A New York Post Best Books of 2016 A Publishers Weekly Best Book of 2016 A South China Morning Post Top 10 Asian books of 2016 An A.V. Club Best Comics of 2016 A Comic Books Resources Top 100 Comics of 2016 A Mental Floss Most Interesting Graphic Novel of 2016 Meet Charlie Chan Hock Chye. Now in his early 70s, Chan has been making comics in his native Singapore since 1954, when he was a boy of 16. As he looks back on his career over five decades, we see his stories unfold before us in a dazzling array of art styles and forms, their development mirroring the evolution in the political and social landscape of his homeland and of the comic book medium itself. With The Art of Charlie Chan Hock Chye Sonny Liew has drawn together a myriad of genres to create a thoroughly ingenious and engaging work, where the line between truth and construct may sometimes be blurred, but where the story told is always enthralling, bringing us on a uniquely moving, funny, and thought-provoking journey through the life of an artist and the history of a nation.
Warm Nights, Deathless Days: The Life of Georgette Chen is Eisner-nominated comic artist Sonny Liew’s response to the legacy of one of Singapore’s most prominent pioneer artists Georgette Chen (1906 – 1993). The result is a moving portrait of Chen’s life, thoughts, and dreams, a charming chronicle of her days as a precocious young painter to her winning of Singapore’s prestigious Cultural Medallion in 1982. Richly illustrated in a soft, milky palette, the comic captures the quiet space of art and friendship that Chen sheltered amid a turbulent backdrop of political turmoil and personal hardship. This book is the third title in the National Gallery’s Dreaming Art Series, presenting original illustrated stories by contemporary practitioners in the arts in response to key works in the National Collection.
A lively graphic narrative reports on censorship of political cartoons around the world, featuring interviews with censored cartoonists from Pittsburgh to Beijing. Why do the powerful feel so threatened by political cartoons? Cartoons don't tell secrets or move markets. Yet, as Cherian George and Sonny Liew show us in Red Lines, cartoonists have been harassed, trolled, sued, fired, jailed, attacked, and assassinated for their insolence. The robustness of political cartooning--one of the most elemental forms of political speech--says something about the health of democracy. In a lively graphic narrative--illustrated by Liew, himself a prize-winning cartoonist--Red Lines crisscrosses the globe to feel the pulse of a vocation under attack. A Syrian cartoonist insults the president and has his hands broken by goons. An Indian cartoonist stands up to misogyny and receives rape threats. An Israeli artist finds his antiracist works censored by social media algorithms. And the New York Times, caught in the crossfire of the culture wars, decides to stop publishing editorial cartoons completely. Red Lines studies thin-skinned tyrants, the invisible hand of market censorship, and demands in the name of social justice to rein in the right to offend. It includes interviews with more than sixty cartoonists and insights from art historians, legal scholars, and political scientists--all presented in graphic form. This engaging account makes it clear that cartoon censorship doesn't just matter to cartoonists and their fans. When the red lines are misapplied, all citizens are potential victims.
A 2017 Eisner Award Winner for Best Writer/Artist, Best US Edition of International Material—Asia, and Best Publication Design Winner of the Singapore Literature Prize 2016 A New York Times bestseller An Economist Book of the Year 2016 An NPR Graphic Novel Pick for 2016 A Washington Post Best Graphic Novel of 2016 A New York Post Best Books of 2016 A Publishers Weekly Best Book of 2016 A South China Morning Post Top 10 Asian books of 2016 An A.V. Club Best Comics of 2016 A Comic Books Resources Top 100 Comics of 2016 A Mental Floss Most Interesting Graphic Novel of 2016 Meet Charlie Chan Hock Chye. Now in his early 70s, Chan has been making comics in his native Singapore since 1954, when he was a boy of 16. As he looks back on his career over five decades, we see his stories unfold before us in a dazzling array of art styles and forms, their development mirroring the evolution in the political and social landscape of his homeland and of the comic book medium itself. With The Art of Charlie Chan Hock Chye Sonny Liew has drawn together a myriad of genres to create a thoroughly ingenious and engaging work, where the line between truth and construct may sometimes be blurred, but where the story told is always enthralling, bringing us on a uniquely moving, funny, and thought-provoking journey through the life of an artist and the history of a nation.
The Hong Kong Special Administrative Region of the People's Republic of China is located on the southeastern coast of China, and the Macao SAR can be found off of China's southern coast. Both regions have recently been released from European colonial rule: Hong Kong from British control in 1997 and Macao from Portugal in 1999. As SARs, Hong Kong and Macao retain a high degree of autonomy, and they control all issues except those of state (e.g. diplomatic relations and national defense). The A to Z of the Hong Kong SAR and the Macao SAR includes maps, photographs, a list of acronyms, a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced dictionary entries on important persons, places, and events as well as political, economic and social background. However, unlike the rest of the series, all these sections are presented in duplicate: one for Hong Kong and one for Macao. The authoritative analysis and informative data presented clearly elucidate the unique situation of these two territories.
In China, the central government has the political will to control organized crime, which is seen as a national security threat. The crux of the problem is how to control local governments that have demonstrated lax enforcement without sufficient regulation from the provincial governments. The development of prostitution, underground gambling and narcotics production has become so serious that the central government has to rely on anti-crime campaigns to combat these "three evils". This book explores the specific role of government institutions and agencies, notably the police, in controlling organised and cross-border crime in Greater China. Drawing heavily on original empirical data, it compares the both the states of the People’s Republic of China and Taiwan, as well as city-states Hong Kong and Macao. This region has become increasingly economically integrated, and human interactions have been enhanced through improved trade relations, tourism, and increased individual freedom. The book argues that the regime capacity of crime control across Greater China has been expanded through regional and international police cooperation as well as anti-crime campaigns. It suggests that a strong central state in China is necessary to rein in the local states and to prevent the risk of deteriorating into a political-criminal nexus. Focusing on regime capacity in crime control, regime autonomy from crime groups, and regime legitimacy in the fight against organized crime, this thought-provoking book will be of great interest to students and scholars of Chinese politics and criminology more broadly.
This book critically assesses the implementation of the "one country, two systems" in the Hong Kong Special Administrative Region (HKSAR) from the political, judicial, legal, economic and societal dimensions. The author contends that there has been a gradual process of mainlandization of the HKSAR, meaning that Hong Kong is increasingly economically dependent on the People's Republic of China (PRC), politically deferent to the central government on the scope and pace of democratic reforms, socially more patriotic toward the motherland and more prone to media self-censorship, and judicially more vulnerable to the interpretation of the Basic Law by the National People's Congress. This book aims to achieve a breakthrough in relating the development of Hong Kong politics to the future of mainland China and Taiwan. By broadening the focus of the "one country, two systems" from governance to the process of Sino-British negotiations and their thrust-building efforts, this book argues that the diplomats from mainland China and Taiwan can learn from the ways in which Hong Kong's political future was settled in 1982–1984. This is a book for students, researchers, scholars, diplomats and lay people.
A lively graphic narrative reports on censorship of political cartoons around the world, featuring interviews with censored cartoonists from Pittsburgh to Beijing. Why do the powerful feel so threatened by political cartoons? Cartoons don't tell secrets or move markets. Yet, as Cherian George and Sonny Liew show us in Red Lines, cartoonists have been harassed, trolled, sued, fired, jailed, attacked, and assassinated for their insolence. The robustness of political cartooning--one of the most elemental forms of political speech--says something about the health of democracy. In a lively graphic narrative--illustrated by Liew, himself a prize-winning cartoonist--Red Lines crisscrosses the globe to feel the pulse of a vocation under attack. A Syrian cartoonist insults the president and has his hands broken by goons. An Indian cartoonist stands up to misogyny and receives rape threats. An Israeli artist finds his antiracist works censored by social media algorithms. And the New York Times, caught in the crossfire of the culture wars, decides to stop publishing editorial cartoons completely. Red Lines studies thin-skinned tyrants, the invisible hand of market censorship, and demands in the name of social justice to rein in the right to offend. It includes interviews with more than sixty cartoonists and insights from art historians, legal scholars, and political scientists--all presented in graphic form. This engaging account makes it clear that cartoon censorship doesn't just matter to cartoonists and their fans. When the red lines are misapplied, all citizens are potential victims.
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