Asian Martial Arts: The Anarchic Legacy of the War Machine

Abstract

The renaissance of Asian martial arts is a conspicuous example of cultural hybridity in a global setting. Globalization brings these arts under the dual sway of cinema and sport to a degree unprecedented in their history. This pull, which I describe in terms from Deleuze and Guattari as deterritorialization, creates new challenges for Asian martial arts practice. To explore these challenges and their stakes, I demonstrate the relevance of the concept of the war machine from Deleuze and Guattari, and discuss their distinction between weapons and tools as it bears on Asian martial arts history and practice.     

我国股份公司股权结构改革初探——从会计学角度分析

我国股份公司的股权结构改革采取的是渐进式改革的道路。渐进式改革使得中国的经济保持了稳定的增长,渐进式改革在中国可谓是取得了极大的成功。但是,随着市场经济的进一步发展,由于转轨不彻底而带来弊端也越来越明显,最突出的就是股份公司的股权资本结构问题。本文将就股份制公司的股权结构问题展开讨论。     

苏州电影放映的现代化研究——以公园电影院为例

随着20世纪初上海现代化的扩散,苏州凭借区位优势,已生发出现代质素,与上海建构起智力资源互通、文化市场互融、文化产业互促的关联。公园电影院的创办正是上海现代化向沪外周边地区扩散以及苏州接受上海现代化影响的证明,它的关闭也说明现代化的扩散受到经济、文化和政治多方面因素的影响,是一个曲折前行的过程。     

北洋政府时期长芦盐区“体制内私盐”述评

北洋政府时期,在长芦盐区,因引岸专商制沿袭已久,弊端丛生。官吏、兵弁、商人等利用其制度漏洞,偷漏贩运私盐,使得长芦盐区＂体制内私盐＂盛行。在芦盐产、运、销的各个环节,均存在私盐。在生产环节,存在＂滩私＂;在储存环节,存在＂坨私＂;在运销环节,存在＂邻私＂。     

从传播地理到传播格局——20世纪50年代中国电影的一种景观

新中国的建立带来了中国电影发展的又一波动荡.由于政治地理的重新划分,电影的传播地理也随之发生变化.建国前后不同电影势力之间的交叉与互渗,在政治大局初定之后,新的传播格局也随之形成了.这个格局从20世纪50年代延续到70年代,在两岸三地的电影人逐步展开交流的情况下,才得以再一次改变.然而,它已经在中国电影百年的历史中留下了很深的印迹.     

A lonely and beautiful country: reflecting upon the state of oblivion in Turkey through Nuri Bilge Ceylan's Three Monkeys

Abstract

Through an in‐depth analysis of internationally acclaimed Turkish director Nuri Bilge Ceylan's 2008 film Three Monkeys (Üç Maymun), this article discusses the politics of Ceylan's cinema against the backdrop of the current memory debate in Turkey. Turkey has a troubling relationship with its past. The process of the foundation and the early development of the Turkish nation‐state included traumatic events during which ethnic and religious minorities were massacred, deported, or encouraged to migrate. There have also been several violent incidents in Turkey's subsequent history that include massacres, mass killings, political assassinations, as well as military coups. It is a widely held opinion that social memory in Turkey is based on forgetting and denial, that is, Turkish society deals with the troubling events in its past by turning a blind eye to them. Drawing upon the question of how it may be possible to make the traces of forgetting and silence observable, this paper argues that Ceylan's film, despite its seemingly apolitical story, has indeed profound political connotations since its narrative and visual organization serve to display the prevailing mood of silence, oblivion and complicity in Turkey.     

“Happy Seoul for foreigners”: scenes from multicultural life in South Korea

Abstract

Since the mid-2000s, multiculturalism has become a prominent buzzword in South Korea as the nation, which was founded on the myth of a single bloodline, tries to come to terms with its growing foreign population. This article looks at the figure of the industrial migrant worker who, despite being ignored by the mainstream media, has appeared in a handful of independently produced Korean films, including three—Bandhobi (2009 Bandhobi [???]. 2009. Directed by Shin Dong-il. Seoul: IndieStory Inc. [Google Scholar]), Hello, Stranger (2007 Hello Stranger [?? ?? ???]. 2007. Directed by Kim Dong-hyun. Seoul: IndieStory Inc. Host and Guest [???]. 2005. Directed by Shin Dong-il. Seoul: LJ Film. [Google Scholar]), Where Is Ronny? (2008 Where Is Ronny? [??? ???]. 2008. Directed by Sim Sang-kook. Seoul: JinJin Pictures. [Google Scholar])—that will be discussed here in detail. These films, as I will show, not only provide an alternative perspective on immigrant life in Seoul and other parts of the country, which is more often than not represented through the privileged world of the Western “expat,” but also reveal the underlying tensions and contradictions in Korea's approach to multiculturalism as it tries to regulate diversity through the fiat of legislative policy while ignoring the moral and political choices confronting its citizens as they decide whether or not to befriend the other.     

Rajnikant in Japan: Indian “superstardom” and low value markets

This paper draws attention to some questions thrown up by the increased circulation of mass-produced cultural commodities sourced from Asia in the relatively new markets of the region. Juxtaposing the short-lived success of the Indian star Rajnikant in Japan in the late 1990s and the unsuccessful attempt to promote Korean films in the Indian theatrical circuits a decade later, the paper argues that in spite of their considerable differences both instances foreground the difficulties cultural industries of Asia have in generating revenues in the region's markets. The paper goes on to elaborate on a model of stardom, exemplified by Rajnikant, which has evolved as a direct response to the challenges posed by low value markets.     

Cinema Demand in Spain: A Cointegration Analysis

In this paper we explain the decline in cinema attendance in Spain since 1968. We use a cointegration analysis to estimate an individual demand function for cinema, with annual data and in terms of average attendance per inhabitant. We find that cinema is a luxury good and that its demand is elastic with respect to its price. We also show that television acts as a deterrent with regard to cinema attendance. This revised version was published online in August 2006 with corrections to the Cover Date.     

出售、非法提供公民个人信息罪若干问题的研究

侵犯公民个人信息犯罪的客体应为公民个人的信息权以及国家对公民身份的管理秩序,该罪的主体是特殊主体,主观要件为故意。司法实践中侦查取证困难、起诉主体不明确造成了该罪认定中的困难。应明确相关主体的行为规则以及该罪的具体界定标准,并完善公民个人信息保护体系。