Friday, May 18th, 2012
The Transition Period at Museum of Chinese in America
Montclair State University seeks one-year replacement position in Chinese (with possibility of conversion to tenure track thereafter)
Responsibilities include expanding the Chinese program, student advisement, and scholarly research. Proof of excellence in teaching and an active research agenda required. The successful candidate will be expected to participate in departmental and university-wide committees and to oversee the curricular offerings in the Chinese program as well as the extra-curricular offerings of the Chinese Club.
Indecine.org announced that the ISAAS (Indie Screening Alliance of Art Space), an initiative founded in 2011 by (dGenerate Films consultant) Zhang Xianmin to promote independent film and contemporary art in China, will launch a 2012 series beginning this June. The theme of this roving art and cinema show will be “Does the Art Movement Exist?”
Ji Dan, whose film When The Bough Breaks unfolds the story of a family enmeshed in a struggle of harrowing personal and financial stakes, was awarded the top prize at the 2012 Millenium International Documentary Film Festival in Brussels. Lauded for is technical and artistic merits, as well as close examination of some of China’s most wide-reaching social issues, the film was awarded the Objectif d’or earlier this month.
The San Francisco International Film Festival will screen Pema Tseden‘s Old Dog this Friday, with a special appearance by the filmmaker.
Tuesday, April 24th, 2012, 7 p.m.- 9 p.m.
Address:
International House, Chevron Auditorium
2299 Piedmont Avenue, Berkeley, CA 94720
Saturday, April 7th at 7pm
Attention, New Yorkers! Huang Weikai‘s “grimping, shocking, occasionally shocking” 2009 documentary Disorder will screen on April 3rd at the Maysles Cinema at 343 Lenox Ave in New York.
FASHIONING THE EAST-ASIAN SCREEN
3-4th May 2012, Nottingham Castle, UK
About “Fashioning the East-Asian Screen”
It is no coincidence that almost simultaneously in the 1890s the very first issue of Vogue appears and the birth of cinema takes place. The invention of modern life involves this parallel between fashion’s history and the screen. However, most of the emphasis in this relationship is celebrated and documented through American and European cinema. While the relationship between fashion and Western cinemas has already been explored in a number of important publications there has been scant attention to similar themes and issues when it comes to non-Western cinemas, for example, China, Hong Kong, Japan, South Korea, and so on. This two-day event seeks to address this gap both in our knowledge about fashion and the screen and the role that fashion, clothing, style, costume, and design plays in East-Asian cinemas. We are also interested in how the screen has influenced fashion cultures in the region. Furthermore, we wish to consider the concept of the screen and East-Asia in their broadest sense to include all screens not just cinema but also television to new media and similarly we intend the concept of East-Asia to be fluid and transcultural rather than limited and fixed. Our primary aim with this event is to begin to map an East Asian context in terns of the multiple and mutual contacts between fashion and the screen.
Seeing China: Documentary Films from the Yunnan Multi Culture Visual Festival (Yunfest)
Workshops & Film Screenings in Sydney, Australia