What was cinema in modern China? It was, this book tells us, a dynamic entity, not strictly tied to one media technology, one mode of operation, or one system of aesthetic code. It was, in Weihong Bao’s term, an affective medium, a distinct notion of the medium as mediating environment with the power to stir passions, frame perception, and mold experience. In Fiery Cinema, Bao traces the permutations of this affective medium from the early through the mid-twentieth century, exploring its role in aesthetics, politics, and social institutions. Mapping the changing identity of cinema in China in relation to Republican-era print media, theatrical performance, radio broadcasting, television, and architecture, Bao has created an archaeology of Chinese media culture. Within this context, she grounds the question of spectatorial affect and media technology in China’s experience of mechanized warfare, colonial modernity, and the shaping of the public into consumers, national citizens, and a revolutionary collective subject. Carrying on a close conversation with transnational media theory and history, she teases out the tension and affinity between vernacular, political modernist, and propagandistic articulations of mass culture in China’s varied participation in modernity. Fiery Cinema advances a radical rethinking of affect and medium as a key insight into the relationship of cinema to the public sphere and the making of the masses. By centering media politics in her inquiry of the forgotten future of cinema, Bao makes a major intervention into the theory and history of media.
Producing places" is a twofold topic. It can refer to places as sites that produce something, that are productive, that have operations unfold, or actions happen, or objects emerge. Likewise, it can refer to the fabrication of places as specific entities themselves. With the extended availability and practicability of digital positioning, locating and tracking systems, it has become most evident that places are not just there, but that they are generated, that they are subject to media technological operations and effects. And as such, they are fabricated themselves, they are not only active in production, but subject to production. So with the question of producing places, a media theoretical challenge has come up that needs to be tackled. Contents ___ Editorial Lorenz Engell / Bernhard Siegert ___ Aufsätze Jimena Canales Einstein's Discourse Networks Iris Därmann Myths of Labour. Elements of an Economical Zoology ___ Archiv Li Lishu The Infinite Cinema: A Discussion with Mr. Xu Chi on »The Limit of Cinema« and The Limit of Art: A Second Discussion on the Infinite Cinema Weihong Bao Li Lishui's Medium Ontology: A Commentary ___ Schwerpunkt Producing Places Ludger Schwarte The City—A Popular Assembly Laura Frahm The Rules of Attraction: Urban Design, City Films, and Movement Studies Michael Cuntz Places Proper and Attached or the Agency of the Ground and the Collectives of Domestication Andrew Pickering Islands of Stability: Engaging Emergence from Cellular Automata to the Occupy Movement Ben Robinson Disassembling the ›SAN DOMINICK‹. Sovereignty, the Slave Ship, and Partisanship in Herman Melville’s Benito Cereno Ulrich Meurer Composite Congress. On Dispersal Patterns in Mathew Brady’s Political Imagery
What was cinema in modern China? It was, this book tells us, a dynamic entity, not strictly tied to one media technology, one mode of operation, or one system of aesthetic code. It was, in Weihong Bao’s term, an affective medium, a distinct notion of the medium as mediating environment with the power to stir passions, frame perception, and mold experience. In Fiery Cinema, Bao traces the permutations of this affective medium from the early through the mid-twentieth century, exploring its role in aesthetics, politics, and social institutions. Mapping the changing identity of cinema in China in relation to Republican-era print media, theatrical performance, radio broadcasting, television, and architecture, Bao has created an archaeology of Chinese media culture. Within this context, she grounds the question of spectatorial affect and media technology in China’s experience of mechanized warfare, colonial modernity, and the shaping of the public into consumers, national citizens, and a revolutionary collective subject. Carrying on a close conversation with transnational media theory and history, she teases out the tension and affinity between vernacular, political modernist, and propagandistic articulations of mass culture in China’s varied participation in modernity. Fiery Cinema advances a radical rethinking of affect and medium as a key insight into the relationship of cinema to the public sphere and the making of the masses. By centering media politics in her inquiry of the forgotten future of cinema, Bao makes a major intervention into the theory and history of media.
The book provides new research highlighting perspectives, perceptions, and practices regarding human rights and human rights education in China. It traces the emergence and evolution of the human rights conception and human rights education from comparative perspectives. China’s deeply embedded philosophical and cultural traditions shed light on its ideas of human rights and human rights education. The efforts to construct an independent and strong nation-state since the mid-to-late nineteenth century fashioned the Chinese thinking of rights and citizenship, and the reciprocal relation between the individual and community/state. With the help of collected data, the book unpacks that the goal-making and content-selection of human rights education in China rely heavily on the provisions given by central authorities; however, the practices have different facets depends on how the people perceive and respond those requirements in the school and classroom contexts. The book concludes by explaining the human rights education in China as a socialization project for citizenship-making, and suggests that China’s doctrine on human rights and human rights education is closely associated with cultural relativization and social construction. Though China is just beginning to develop human rights education in its education systems, this study suggests possible direction for future research. How to live with human rights should be included further in schooling, especially how to infuse human rights education into all aspects of school day-to-day life.
This book, explains the impact of Christianity on China. It narrates Christianity's introduction to the Chinese first by the British, then American, missionaries in the early 19th century; the methods the missionaries used to attract more Chinese to Christianity; the Chinese people's attempt to break away from the Western world and establish their own Christian churches; the changes the churches endured after China became the People's Republic of China in 1949; and the Chinese Christian churches' continual thrive in the late 20th century. With black & white photos.
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