The start of Chinese national cinema and movie stars (1922–1931)

2021 ◽  
pp. 64-136
Author(s):  
Ding Yaping
Keyword(s):  
2011 ◽  
Vol 16 (4) ◽  
pp. 334-342 ◽  
Author(s):  
Viren Swami ◽  
Tomas Chamorro-Premuzic ◽  
Khairul Mastor ◽  
Fatin Hazwani Siran ◽  
Mohammad Mohsein Mohammad Said ◽  
...  

The present study examined conceptual issues surrounding celebrity worship in a Malay-speaking population. In total, 512 Malay and 269 Chinese participants from Malaysia indicated who their favorite celebrity was and completed the Celebrity Attitude Scale (CAS) as well as a range of demographic items. Results showed that the majority of Malay and Chinese participants selected pop stars and movie stars as their favourite celebrities, mirroring findings in Western settings. In addition, exploratory factor analysis revealed a three-factor solution of the CAS that was consistent with previous studies conducted in the West. Structural equation modeling further revealed that participant’s age was negatively associated with celebrity worship and that self-rated attractiveness was positively associated with celebrity worship. Overall, the present results suggest that celebrity worship in Malaysia may be driven by market and media forces, and future research may well be guided by use of the CAS.


1995 ◽  
Vol 49 (1) ◽  
pp. 46-46
Author(s):  
Nina Rosenblatt
Keyword(s):  

2019 ◽  
Vol 18 ◽  
pp. 363-389
Author(s):  
Bum Soo Chon ◽  
Sung Bok Park ◽  
Ah Reum Jo
Keyword(s):  

Author(s):  
Michael Brendan Baker

This chapter offers a narrative account of music in Canadian cinema that highlights the contributions of its pioneers. Case studies spanning the critically acclaimed, the curious, and the marginalized allow for an effort to flesh out the place of music, particularly popular music, in this national cinema. While the esthetics and dollars-and-cents of music in film may be similar in Canada as elsewhere, the expectations of filmmakers and audiences are perhaps uniquely Canadian as a result of industrial and institutional forces. Animation, the avant-garde, and documentary are particularly vibrant spaces for the innovative use of music and differentiate the history of music in Canadian cinema from other more commercially oriented contexts.


Author(s):  
Dean Adams

Marketability is the focus of this chapter on The Producers and Hairspray, movies that were based on stage musicals that were originally based on low-budget, largely nonmusical movies. The chapter compares the two movie adaptations, noting that Susan Stroman restaged her original work for film, and many of the original creative team (including costume designer William Ivey Long) reprised their Broadway visual contributions for film, while the producers of Hairspray selected Hollywood professionals instead of the original Broadway creative team to supervise the making of the film. In another contrast, the 2005 film of The Producers is 134 minutes long to Hairspray’s 116, and The Producers used its Broadway stars rather than using the latest Hollywood names; Hairspray chose movie stars. With these contrasting strategies, and their relationship to the audience demographics for cinema today, it is unsurprising that Hairspray was a hit on the screen and that The Producers was a flop.


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