Skip Nav Destination
Search Results for audience
1-20 of 438 Search Results for
positions (2008) 16 (3): 743–751.
Published: 01 August 2008
...Laura Hein Duke University Press 2008 The Art of Persuasion: Audiences and Philosophies of History Laura Hein This debate had a somewhat unconventional history. I originally wrote my comments as one of two double-blind reviewers addressing a draft...
positions (2006) 14 (1): 219–242.
Published: 01 February 2006
...Shujen Wang; Chris Fujiwara Duke University Press 2006 “My Films Reflect My Living Situation”: An Interview with Tsai Ming-liang on Film Spaces, Audiences, and Distribution Shujen Wang and Chris Fujiwara On October 7, 2003, Tsai Ming-liang screened his filmWhat Time...
positions (2018) 26 (1): 59–76.
Published: 01 February 2018
..., which is directed against the continuous information-response or stimulus-response apparatus. It assumes that the audience’s interest is always active—not passive, as in the stimulus-response model—and that this interest of the people should influence research and the sociology of audience itself. Herbs...
positions (2015) 23 (1): 131–144.
Published: 01 February 2015
...' response to the controversy by highlighting how meaning is not only produced by the author; it is also consumed by various audiences that bring diverse sets of experiences into meaning making. It concludes that the controversy is less about content and more about who controls knowledge production...
positions (2015) 23 (1): 167–174.
Published: 01 February 2015
... to be completely acceptable to a “global audience” who straddles across diverse ethnic, cultural, religious, national, and ideological borders. Running through this piece is a complementary theme—the “racialization of point of view”—which further tied the participants of this controversy to a polarizing...
positions (2016) 24 (2): 369–401.
Published: 01 May 2016
...: the 輕熟女 ( qingshounü , lit. “young-mature woman”). Drawing on interviews with viewers conducted in Taipei in 2011, the article analyzes audience responses to the program to argue that Queen both reflects and (re)constructs a popular understanding of qingshounü as a new, transitional stage in the life...
positions (2010) 18 (1): 199–230.
Published: 01 February 2010
... Four, led the way from the U.S. military base to the Korean audience in 1964, along with their rivals, the Key Boys. Other Korean rock bands, then known as the “group sounds,” followed suit. Group-sound rok flourished in the live music salons, outdoor festivals, and go-go dance clubs, captivating...
positions (2017) 25 (1): 223–248.
Published: 01 February 2017
... among multiple owners. Studied by anthropologists and architectural historians as signs and ruins of another era, havelis and the lifestyle associated with them have nevertheless been kept alive for popular audiences by novels, television, and, most prominently, commercially successful Hindi films...
positions (2014) 22 (4): 907–930.
Published: 01 November 2014
... that Matsumoto didn't even know how to tell a story or how to edit a film. Audiences today, however, are quick to accept the playful interventions in narrative form. This interview introduces this filmmaker/scholar who, in many respects, was far ahead of his time, to the English-speaking world. Imagining Reality...
positions (2015) 23 (2): 231–257.
Published: 01 May 2015
...Peter Tillack This essay discusses—and introduces to English-reading audiences—the short story “Dare?” (“Who's There?,” 1970) by Gotô Meisei (1932–99). Gotô's story exemplifies his danchi shôsetsu , works of fiction critics found striking for the fact that they were set in spaces heretofore...
positions (2012) 20 (3): 877–883.
Published: 01 August 2012
... the borders of spectacle, (homoerotic) desire, translation, audience, and affect. Copyright 2012 by Duke University Press 2012 Pop Tarts (Photographic Portfolio) Viet Le The boy bang/gang band project consists of campy images and music vid- eos of faux pan...
positions (2013) 21 (1): 189–221.
Published: 01 February 2013
... the grain of hegemony, without being co-opted by authoritarian capitalism. Both have attempted this in often-contrasting ways: for instance, TNS addresses a mostly English-speaking, theater-attending, middle-class audience, while Drama Box inserts Chinese-language forum theater into the organic everyday...
positions (2011) 19 (2): 439–462.
Published: 01 May 2011
... and invokes global audiences' particular visual fantasies about laboring Filipina/o entertainers. The data used here are queer and drawn not only from filmic but also from printed and audio materials. The time period covered is from the 1970s to March 2005, when the Japanese government suddenly tightened...
positions (2018) 26 (3): 389–421.
Published: 01 August 2018
... the hybridity paradigm associated with postcolonial culture. When overlapped to the point of cacophony, the sounds emphasize the division between meaning and its absence. Ahmad’s second predilection, for highlighting characters who speak ethnically incongruent languages, also does not require audience...
positions (2018) 26 (4): 687–717.
Published: 01 November 2018
... stars. The emergence of participatory cyberculture has further ethnicized or globalized transnational Chinese or Asian stars such as Jackie Chan, Jet Li, Michelle Yeoh, Zhang Ziyi, Chow Yun-fat, and Ken Watanabe, who are known for their compelling, exotic images to the Westernized audience. Among others...
positions (2019) 27 (4): 653–685.
Published: 01 November 2019
... Kwon’s 489 Years , Jisun Shin’s Contemplating Landscape , and Youngjoo Cho’s DMG _ Demilitarized Goddesses (all of the 2015 Real DMZ Project ) challenge the DMZ’s allegedly safe and benign image. More important, Minouk Lim’s Monument 300 (2014) evolves from the audience’s process of finding imaginary...
positions (2021) 29 (1): 47–65.
Published: 01 February 2021
... Benjamin’s essay “The Storyteller,” the analysis in this article examines the aesthetic forms that structure Amir’s films, namely nonlinear narratives, intertextuality, and the use of images and stories as comparative frames. This article argues that Amir’s films enable audiences to recognize how the truth...
positions (2022) 30 (4): 815–838.
Published: 01 November 2022
...” or refugees. I argue that the boy's death is a sacrifice suggested to audiences by the director in an attempt to preserve the communitarian ethics of Korean Chinese and maintain the value of ethnic identity. 2 “Article Four specifies that illegal border crossers should be repatriated except when border...
positions (2006) 14 (1): 67–98.
Published: 01 February 2006
... Revolution. That was real audience participation, before pompoms, when everyone waved a little red book. Now they’ve had to move indoors because the ordinary people [laobaixing] like soccer players and stars.” A fine...
positions (1999) 7 (1): 201–223.
Published: 01 February 1999
..., and the positions 7:' 0 1999 by Duke University Press. positions 7: 1 Spring 1999 202 Figure 1 fen-Ma Liuming in Tokyo, 1996. audience continues to be offered body part after body part as a substitute...