Esther M. K. Cheung, Gina Marchetti, and See-Kam Tan
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9789888028566
- eISBN:
- 9789882206991
- Item type:
- book
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888028566.001.0001
- Subject:
- Film, Television and Radio, Film
Global connections and screen innovations converge in Hong Kong cinema. This volume focuses on the film clubs of the 1950s, 1960s, and 1970s, as well as new waves since, that have both refreshed and ...
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Global connections and screen innovations converge in Hong Kong cinema. This volume focuses on the film clubs of the 1950s, 1960s, and 1970s, as well as new waves since, that have both refreshed and ruptured Hong Kong screenscapes. Energized by transnational image and human flows from China and Asia, Hong Kong's commercial filmmakers and independent pioneers have actively challenged established genres and narrative conventions to create a cultural space independent of Hollywood. The circulation of Hong Kong films through art house and film festival circuits, as well as independent DVDs, galleries, and internet sites, reveals many differences within global cultural distributions, as well as distinctive tensions between experimental media artists and traditional screen architects, social participation, censorship, and flexible citizenship.Less
Global connections and screen innovations converge in Hong Kong cinema. This volume focuses on the film clubs of the 1950s, 1960s, and 1970s, as well as new waves since, that have both refreshed and ruptured Hong Kong screenscapes. Energized by transnational image and human flows from China and Asia, Hong Kong's commercial filmmakers and independent pioneers have actively challenged established genres and narrative conventions to create a cultural space independent of Hollywood. The circulation of Hong Kong films through art house and film festival circuits, as well as independent DVDs, galleries, and internet sites, reveals many differences within global cultural distributions, as well as distinctive tensions between experimental media artists and traditional screen architects, social participation, censorship, and flexible citizenship.
Anke Walter
- Published in print:
- 2020
- Published Online:
- July 2020
- ISBN:
- 9780198843832
- eISBN:
- 9780191879531
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198843832.003.0003
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
In the Histories, the fourth-century historian Ephorus engages with one of the central aetia of the past: the story of how Apollo founded the oracle in Delphi (F 31b). Ephorus shifts the emphasis ...
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In the Histories, the fourth-century historian Ephorus engages with one of the central aetia of the past: the story of how Apollo founded the oracle in Delphi (F 31b). Ephorus shifts the emphasis from the continuity of archaic time to the more dynamic time of the history of men on earth. In his discussion of the Spartan constitution and its origin (F 149), Ephorus uses aetia to give a nuanced picture of the interplay of continuity and change in human affairs. Callimachus, in the story of Acontius and Cydippe in his Aetia, juxtaposes the reference to the continuity of Acontius’ line with the eventful history of Acontius’ island of Chios, thus raising the question how stable the aetion can actually be. Rather than the aetiological formula, the beauty of the young couple, made immortal in Callimachus’ poetry, guarantees the story’s eternity. In Callimachus’ Hymn to Apollo, aetia are prominent in creating an intense moment of the sacred presence of the god, in which the present moment of the performance is just as much involved as the historical past of the city of Cyrene and the mythical past of Apollo’s deeds on earth. The aetia employed in Apollonius Rhodius’ Argonautica function as hinges between the earlier foundational deeds of the Olympian gods and the new earth-bound time-frame of the Argonauts, which is carefully measured out in terms of the days and nights the Argonauts spend at sea or on land. Overall, however, the aetia of the Argonautica emphasize continuity and eliminate further change, creating a present that is remarkably stable, while being anchored in several layers of the pastLess
In the Histories, the fourth-century historian Ephorus engages with one of the central aetia of the past: the story of how Apollo founded the oracle in Delphi (F 31b). Ephorus shifts the emphasis from the continuity of archaic time to the more dynamic time of the history of men on earth. In his discussion of the Spartan constitution and its origin (F 149), Ephorus uses aetia to give a nuanced picture of the interplay of continuity and change in human affairs. Callimachus, in the story of Acontius and Cydippe in his Aetia, juxtaposes the reference to the continuity of Acontius’ line with the eventful history of Acontius’ island of Chios, thus raising the question how stable the aetion can actually be. Rather than the aetiological formula, the beauty of the young couple, made immortal in Callimachus’ poetry, guarantees the story’s eternity. In Callimachus’ Hymn to Apollo, aetia are prominent in creating an intense moment of the sacred presence of the god, in which the present moment of the performance is just as much involved as the historical past of the city of Cyrene and the mythical past of Apollo’s deeds on earth. The aetia employed in Apollonius Rhodius’ Argonautica function as hinges between the earlier foundational deeds of the Olympian gods and the new earth-bound time-frame of the Argonauts, which is carefully measured out in terms of the days and nights the Argonauts spend at sea or on land. Overall, however, the aetia of the Argonautica emphasize continuity and eliminate further change, creating a present that is remarkably stable, while being anchored in several layers of the past
