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This page features a list of titles found in the COCC's Asian film collection and links on these films. Calif - Center for Scholarly Technology - Annenberg Center for Communication"seeks to create a deeper awareness and understanding of Asian cinema by providing immediate and comprehensive information about films from Asia, especially the cinemas of China, India, Japan, Korea, and Taiwan. The commentary, plot information, notes, and references are provided as a starting point for an exploration of these films and Japan.
Miami Connection is a independent martial arts film starring Y. Kimwho also wrote and produced the feature. Originally, the film was critically maligned and received poor box office return upon release.
If you're reading this review of the Steven Seagal vehicle "The Asian Connection," it is probably too late to dissuade you from seeing almost any other movie. The same is basically true of "The Asian Connection," a lousy bank heist flick and one of Seagal's most engagingly tacky recent efforts. I want to defend this movie, but it's so bad that I must warn you: if you watch this film knowing that it is Steven-Seagal-wearing-a-du-rag-and-glowering-impassively-at-attractive-young-women bad, you will get what you pay for. That's both an endorsement and a warning.
Your network editor has reposted this from H-Announce. The byline reflects the original authorship. Faculty of Arts, University of Hong Kong.
Please note that ebooks are subject to tax and the final price may vary depending on your country of residence. Cinemas from East Asia are among the most exciting and influential in the world. They are attracting popular and critical attention on a global scale, with films from the region circulating as art house, cult, blockbuster and 'extreme' cinema, or as Hollywood remakes.
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This is not an article that seeks to survey the Asian documentary festival scene comprehensively or with neat generalisations. Although the first international documentary festival in Asia was not staged until at Yamagata, precursors to such exhibition impulses, or the eagerness on the part of documentary filmmakers in this region to engage their audiences in public settings at a grassroots level, could already be observed with the independent screenings mobilised by Japanese documentarist Ogawa Shinsuke among students and activists from the mids. It is in their differences that we try to grasp the ways in which these festivals dialogue with and relate to each other against the gradually homogenising Asian cultural economies; it is also in the splendid connections among the festivals and across their diversified actors, film communities and entities that we glimpse the creativities and discontents of Asian documentary cinema, as well as the entwined sociocultural histories that it has recorded, critiqued and has become part of.