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Compiled by two skilled librarians and a Taiwanese film and culture specialist, this volume is the first multilingual and most comprehensive bibliography of Taiwanese film scholarship, designed to satisfy the broad interests of the modern researcher. The second book in a remarkable three-volume research project, An Annotated Bibliography for Taiwan Film Studies catalogues the published and unpublished monographs, theses, manuscripts, and conference proceedings of Taiwanese film scholars from the 1950s to 2013. Paired with An Annotated Bibliography for Chinese Film Studies (2004), which accounts for texts dating back to the 1920s, this series brings together like no other reference the disparate voices of Chinese film scholarship, charting its unique intellectual arc. Organized intuitively, the volume begins with reference materials (bibliographies, cinematographies, directories, indexes, dictionaries, and handbooks) and then moves through film history (the colonial period, Taiwan dialect film, new Taiwan cinema, the 2/28 incident); film genres (animated, anticommunist, documentary, ethnographic, martial arts, teen); film reviews; film theory and technique; interdisciplinary studies (Taiwan and mainland China, Taiwan and Japan, film and aboriginal peoples, film and literature, film and nationality); biographical materials; film stories, screenplays, and scripts; film technology; and miscellaneous aspects of Taiwanese film scholarship (artifacts, acts of censorship, copyright law, distribution channels, film festivals, and industry practice). Works written in multiple languages include transliteration/romanized and original script entries, which follow universal AACR-2 and American cataloguing standards, and professional notations by the editors to aid in the use of sources.
In parallel columns of French and English, lists over 4,000 reference works and books on history and the humanities, breaking down the large divisions by subject, genre, type of document, and province or territory. Includes titles of national, provincial, territorial, or regional interest in every subject area when available. The entries describe the core focus of the book, its range of interest, scholarly paraphernalia, and any editions in the other Canadian language. The humanities headings are arts, language and linguistics, literature, performing arts, philosophy, and religion. Indexed by name, title, and French and English subject. Annotation copyrighted by Book News, Inc., Portland, OR
How, if possible, to re-populate declining rural and regional areas? Examining this crucial and complex issue in relation to Australia, this book explores how a particular organization, 'Country Week', has emerged and developed as one means of stimulating the repopulation of declining or stagnating areas. While this is a problem shared by many other developed countries in Europe and North America, Australia's 'Country Week' programme puts forward an innovative range of place-marketing strategies that challenge rural decline and urban migration and can offer new approaches which could be adopted more widely.
Although it has only been in the last decade that the planet’s population balance tipped from a predominantly rural makeup towards an urban one, the field of cinema history has demonstrated a disproportionate skew toward the urban. Within audience studies, however, an increasing number of scholars are turning their attention away from the bright lights of the urban, and towards the less well-lit and infinitely more variegated history of rural cinema-going. Rural Cinema Exhibition and Audiences in A Global Context is the first volume to consider rural cinema-going from a global perspective. It aims to provide a rich and wide-ranging introduction to this growing field, and to further develop some of its key questions. It brings together eighteen international scholars or teams, all representatives of a dynamic, new field. Moving beyond a Western focus is essential for thinking through questions of rural exhibition, distribution and cinema experience, since over the relatively short history of cinema it is the rural that has dominated cinema-goers’ lives in much of the developing world. To this end, the volume also innovates by bringing discussions of North American and European ruralities into dialogue with contributions on Kenya, Brazil, China, Thailand, South Africa and Australia.