Introducing Taiwanese-Language Cinema in Europe

2021 ◽  
Vol 4 (2) ◽  
pp. 377-386
Author(s):  
Chris Berry
Keyword(s):  
Learning Experience ◽  
Black And White ◽  
The 1960S

Abstract How do you get people interested in something they know nothing about? Something old, forgotten—and in black and white with subtitles? ‘Taiwan’s Lost Commercial Cinema: Recovered and Restored’ is a project to screen old Taiwanese-language films (taiyupian), mostly from the 1960s, in Europe. It was a learning experience in working with Taiwanese culture in Europe. This report is my effort to reflect on that experience and I try to answer two questions. First, what is so interesting about these films? Second, why was it so difficult to make the initial breakthrough and what made it possible in the end? There are many different elements at play. But I have come to understand that the environment for screening alternative, archive, and art films has changed over the decades to create both new problems and new possibilities, among which the potential for universities to be cultural incubators has been crucial.

scholarly journals Pokoleniowe różnice w artystycznym obrazowaniu doświadczenia totalitarnej przeszłości w czeskim teatrze najnowszym

2016 ◽  
Vol 4 ◽  
pp. 49-58
Author(s):  
Sylwia Czachór
Keyword(s):  
Collective Identity ◽  
Generational Differences ◽  
Growing Up ◽  
History And Memory ◽  
Black And White ◽  
The Past ◽  
Artistic Representations ◽  
The 1960S ◽  
Short Time ◽  
The Impact

Generational differences in artistic representations of the experience of totalitarian past in the new Czech theatre. The article presents an analysis of a number of Czech performances from the years 2007–2013 on the topic of the communist era and reflecting on the changes that have occurred over the past 25 years. Selected directors belong to three generations of artists: the ones already creating in the 1960s, the ones debuting just before or just after the Velvet Revolution and the ones beginning their career in 2000. The comparison of performances produced within a short time clearly shows the differences, both aesthetic and ideological, in the method of recognizing similar issues by the authors growing up in a completely different socio-political conditions. Works of the oldest generation, using conventional theatrical means, reveal the strongest judgmental tendencies, the need to show the ambiguous choices in black and white colors. The average generation contend with the legend of past years, asking difficult questions about the impact of the past on the shape of collective identity. The youngest generation, however, intentionally emphasize that their knowledge about communism is mediated, which encourages them to analyze the history and memory of their families in search of their own roots.Generační rozdíly v uměleckém zobrazování zkušenosti totalitární minulosti v nejnovějším českém divadle. Příspěvek obsahuje analýzu několika českých představení z let 2007–2013, jejichž tématem se stalo období komunismu a reflexe nad proměnami posledních 25 let. Vybraní režiséři patří ke třem generacím umělců:  jedni inscenovali dlouho před rokem 1989, druzí debutovali krátce po sametové revoluci, zatímco třetí zahájili kariéru v roce 2000. Soubor představení vzniklých v malém časovém rozpětí výrazně ukazuje jak estetické, tak světonázorové rozdíly ve způsobu uchopení podobné tematiky autory, kteří vyrůstali ve zcela odlišných společensko-politických podmínkách. Díla nejstarší generace pomocí konvenčních divadelních prostředků projevují nejsilnější tendence posuzovat a odsuzovat, nutnost ukázat nejednoznačné volby v černo-bílých barvách. Střední generace se poměřuje s legendami mi­nulých dob, pokládá obtížné otázky po vlivu minulosti na podobu kolektivní identity. Nejmladší tvůrci pak vědomě zdůrazňují, že jejich znalost komunismu je zprostředkovaná, což je vede k analyzování historie a rodinné paměti při hledání vlastních kořenů.  

Core Principles of Educational Multimedia

2011 ◽  
pp. 130-136
Author(s):  
Geraldine Torrisi-Steele
Keyword(s):  
World War Ii ◽  
Learning Experience ◽  
Instructional Television ◽  
Computer Assisted ◽  
Sound Motion ◽  
The 1950S ◽  
1960S And 1970S ◽  
The 1960S ◽  
Assisted Instruction ◽  
Computer Resources

The notion of using technology for educational purposes is not new. In fact, it can be traced back to the early 1900s during which school museums were used to distribute portable exhibits. This was the beginning of the visual education movement that persisted throughout the 1930s, as advances in technology such as radio and sound motion pictures continued. The training needs of World War II stimulated serious growth in the audiovisual instruction movement. Instructional television arrived in the 1950s but had little impact, due mainly to the expense of installing and maintaining systems. The advent of computers in the 1950s laid the foundation for CAI (computer assisted instruction) through the 1960s and 1970s. However, it wasn’t until the 1980s that computers began to make a major impact on education (Reiser, 2001). Early applications of computer resources included the use of primitive simulation. These early simulations had little graphic capabilities and did little to enhance the learning experience (Munro, 2000).

“The Living Monument”: The Desegregation of Grady Memorial Hospital and the Changing South

2020 ◽  
Vol 86 (3) ◽  
pp. 213-219
Author(s):  
Brendan P. Lovasik ◽  
Priya R. Rajdev ◽  
Steven C. Kim ◽  
Jahnavi K. Srinivasan ◽  
Walter L. Ingram ◽  
...  
Keyword(s):  
Civil Rights ◽  
Surgical Care ◽  
Physical Structure ◽  
Public Hospitals ◽  
Memorial Hospital ◽  
Social Changes ◽  
Black And White ◽  
Separate And Unequal ◽  
The American South ◽  
The 1960S

Grady Memorial Hospital is a pillar of public medical and surgical care in the Southeast. The evolution of this institution, both in its physical structure as well as its approach to patient care, mirrors the cultural and social changes that have occurred in the American South. Grady Memorial Hospital opened its doors in 1892 built in the heart of Atlanta's black community. With its separate and unequal facilities and services for black and white patients, the concept of “the Gradies” was born. Virtually, every aspect of care at Grady continued to be segregated by race until the mid-20th century. In 1958, the opening of the “New Grady” further cemented this legacy of the separate “Gradies,” with patients segregated by hospital wing. By the 1960s, civil rights activists brought change to Atlanta. The Atlanta Student Movement, with the support of Dr. Martin Luther King Jr., led protests outside of Grady, and a series of judicial and legislative rulings integrated medical boards and public hospitals. Eventually, the desegregation of Grady occurred with a quiet memo that belied years of struggle: on June 1, 1965, a memo from hospital superintendent Bill Pinkston read “All phases of the hospital are on a non-racial basis, effective today.” The future of Grady is deeply rooted in its past, and Grady's mission is unchanged from its inception in 1892: “It will nurse the poor and rich alike and will be an asylum for black and white.”

scholarly journals The Colour of Social Realism

2018 ◽  
Vol 15 (4) ◽  
pp. 469-490 ◽  
Author(s):  
Sarah Street
Keyword(s):  
Social Realism ◽  
New Wave ◽  
Social Commentary ◽  
Black And White ◽  
The Family ◽  
British Cinema ◽  
Wave Cycle ◽  
The 1960S

During the 1960s Eastmancolor, a relatively cheap, widely available film stock, revolutionised the British film industry's approach to colour. This article discusses the consequences of this major representational and aesthetic shift on social realism, a sub-genre of British cinema primarily associated with black and white cinematography. While colour provided an opportunity for greater realism, critics argued that it distracted audiences with hues considered inappropriate for social commentary. The article examines how a number of notable 1950s and 1960s British colour films navigated entrenched critical positions while deploying colour in distinctive, often innovative ways to reflect their social realist environments and themes. Films examined include A Kid for Two Farthings (1955), Miracle in Soho (1957), Sapphire (1959), Flame in the Streets (1961), Some People (1962), The Family Way (1966) and Poor Cow (1967). It is argued that critics' preoccupation with the New Wave cycle of films, 1959–63, has been at the expense of colour films that extended the range of representation, both aesthetically and thematically. Bringing colour more centrally into scholarship about British cinema contributes to revisionist research on social realism that privileges the foregrounding of style and textual aesthetics. In addition, the article shows how analysing films from the perspective of colour encourages relating them to broader chromatic tastes and trends. By the mid-1960s, as culture was generally becoming more chromatically vibrant, film-makers were able to take greater advantage of the colour stocks that enabled them to experiment with realist conventions.

scholarly journals A Changing Visual Landscape: British Cinematography in the 1960s

2018 ◽  
Vol 15 (2) ◽  
pp. 204-227
Author(s):  
Duncan Petrie
Keyword(s):  
High Contrast ◽  
Cinema Studies ◽  
Black And White ◽  
International Recognition ◽  
British Cinema ◽  
Visual Style ◽  
Visual Landscape ◽  
The 1960S ◽  
Gradual Transformation ◽  
Made In

British cinema of the 1960s offers a productive terrain for the consideration of the significance and contribution of the cinematographer, a rather neglected and marginalised figure in British cinema studies. The work of British practitioners certainly achieved new levels of international recognition during this period, with the award of five Oscars for Best Cinematography between 1960 and 1969, equalling the total from the previous twenty years. A survey of the films made in Britain during the decade also reveals a gradual transformation in visual style: from a predominance of black and white to the ubiquity of colour; from hard-edged, high-contrast lighting to a softer, more diffused use of illumination; from carefully composed images and minimal camera movement to a much freer, more mobile and spontaneous visual register; from the aesthetics of classicism to a much more self-conscious use of form appropriate to a decade associated with a new emphasis on spectacle and sensation. This article will examine major achievements in 1960s British cinematography, focusing on the factors noted above and giving particular consideration to the contribution of a small number of key practitioners including Walter Lassally, David Watkin, Nicolas Roeg and Freddie Young, who individually and collectively helped to affirm the 1960s as a particularly creative period in British cinema.

From the Madhouse to the Docu-Museum

Nuncius ◽  
2020 ◽  
Vol 35 (1) ◽  
pp. 141-164 ◽  
Author(s):  
Elisabetta Sirgiovanni ◽  
Alessandro Aruta
Keyword(s):  
History Of Medicine ◽  
Psychiatric Disorders ◽  
Electroconvulsive Therapy ◽  
Black And White ◽  
Mental Diseases ◽  
History Of ◽  
The 1960S

Abstract The first electroconvulsive therapy (ECT) device for the treatment of psychiatric disorders was introduced in 1938 by Ugo Cerletti and Lucio Bini, two neuropsychiatrists at the Clinic for Nervous and Mental Diseases, La Sapienza University (Rome). No trace of what became of this device after its use at the clinic can be found until the 1960s, when it appears in a silent black-and-white video dedicated to the university’s recently rehoused and completely renovated Museum of the History of Medicine (MHM), where Cerletti’s original prototype is on display today. However, there is no record of the circumstances under which the electroshock apparatus prototype was transferred from the Clinic of Neuropsychiatry to the museum. Our investigation of this intriguing mystery has uncovered a number of pertinent details that allow us to view the history of the ECT device in a new light. It also emerges that Adalberto Pazzini, the founder of the MHM, played a larger role than was previously thought in this story.

The Return of Civil Rights Television

2017 ◽  
Author(s):  
Aniko Bodroghkozy
Keyword(s):  
Civil Rights ◽  
Television News ◽  
News Coverage ◽  
The United States ◽  
Network Television ◽  
White House ◽  
Black And White ◽  
Television Shows ◽  
Civil Rights Movements ◽  
The 1960S

This book has explored how network television mobilized a certain type of image that, when appropriately paired with figures of whiteness, was presumed to make whites less anxious about social change. It has highlighted a common link in these representations of a dignified blackness intertwined with an accommodating and welcoming whiteness. It has considered a number of television shows, including East Side/West Side and Good Times, to emphasize the propensity of networks to tell narratives relating to “black and white together,” the “worthy black victim,” and the aspirational “civil rights subject.” This epilogue examines television news coverage of Barack Obama's historic election as president of the United States. It suggests that networks were returning to the familiar discourse about the civil rights movements during the 1960s as they packaged stories that celebrated black and white voters coming together to put a biracial black man into the White House, to make Americans feel good about their country and its race relations.

Improved Mortality among U.S. Blacks, 1968–1978: The Role of Antiracist Struggle

1981 ◽  
Vol 11 (4) ◽  
pp. 511-522 ◽  
Author(s):  
Richard Cooper ◽  
Michael Steinhauer ◽  
Arthur Schatzkin ◽  
William Miller
Keyword(s):  
Black Women ◽  
Reagan Administration ◽  
Social Role ◽  
The United States ◽  
Hypertension Detection ◽  
Black And White ◽  
The Social ◽  
Access To Medical Care ◽  
The 1960S ◽  
And Control

A marked improvement in health status for black adults took place over the last decade in the United States. Life expectancy for black men increased 4.6 years between 1968 and 1978, while for black women the increase was 5.7 years. Death rates for the age group 35–74 decreased approximately 25 percent for blacks over the same period. The largest contribution to this improvement was made by cardiovascular diseases (coronary heart disease and stroke). Although similar improvement was observed in the white population, on both a percentage and absolute basis the change was greater for blacks. For the first time in the U.S., important progress was made in the effort to narrow the gap in mortality rates between black and white adults. Hypertension detection and control appears to have played the key role in this positive public health trend. The community-based demand for greater access to medical care, which emerged from the social struggle of the 1960s, also can be accorded a major social role. The current policies of the Reagan Administration pose a serious threat to these antiracist programs, as well as to the effort to close the gap in black-white mortality.

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