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SXSWCinematicVRMeetup Final PDF 100%

Cinematic Virtual Reality Meetup @ SXSW 2017 Speaker:


Curriculum Vitae [Josh Yates] 97%

Jesse McLean Department of Cinematic Arts, University of Iowa 2012 B.A.


SFA 2016 - Award Declaration 90%

d(o'lL(ooJ(oocao) BcoJollo @,1, oDooDocm orer4llLo) Grailcdod zoro rergpCor oilecrrlo Iury Report We are pleased to inform you that we have completed the exercise of evaluating the merit of cinematic excellence for the STATE AWARD.


GEMS DECK 2015 87%

Our four-day fall film event, GEMS, features las joyas de la corona (the crown jewels) of the season’s finest new cinematic works.


Boyer Michelle AIS160 FilmPresentation 87%

Literature and film is a medium that is widely viewed by a mainstream audience, therefore, the average American will get their information about American Indians from either —  A film they watched —  A book they read —  A combination of movies and books Today’s Objectives —  1) Students will receive a brief introduction to three cinematic eras of film —  The Early Western Era —  The Revisionist Western Era —  Contemporary AI Film —  Students will be able to understand how the landscape and environment plays into each cinematic era —  Students will connect film clips and lecture material back to the assigned reading this week Hollywood’s Indian Edited by Peter C.


derivation2 81%

p) is the fraction of the ̅̅̅̅̅ is snorlax’s average dps over a cycle (the “–“ stands for average) 𝑑𝑝𝑠 Fdmg is the damage done by snorlax’s fast move(to dragonite) Fduration is the damage done by snorlax’s fast move(to dragonite) Cdmg is the damage done by snorlax’s charge move(to dragonite), or “cinematic move” as titled in niantic’s GAMEMASTER file.


October 16, 2015 78% cs_digital_originals SFIFF59 Call for Entries The San Francisco International Film Festival (SFIFF), recognized throughout the world as an extraordinary showcase of cinematic discovery in one of the country's most beautiful cities, is accepting submissions to SFIFF59 (April 21-May 5, 2016).


WitchesMaternalEssay 77%

Ryan Moore  Women’s Literature  Critical Roundtable  Witches & The Maternal                “Misogyny & Matrophobia in Cinematic Witchcraft”    The Crucible ​ (1996)   Directed by Nicholas Hytner  Essay: “Re(dis)covering the Witches in Arthur Miller’s ​ The Crucible​ ”  Written by Wendy Schissel    The Blair Witch Project ​ (1999)   Directed by Daniel Myrick, Eduardo Sanchez  Essay: “Gendered Imagination in ​ The Blair Witch Project​ ”  Written by Deneka C. MacDonald    Rosemary’s Baby ​ (1968)   Directed by Roman Polanski  Essay: “​ Rosemary’s Baby​ , Gothic Pregnancy, and Fetal Subjects”  Written by Karyn Valerius                Horror  movies  have  certain  antagonists  that  appear  frequently  in  the  genre.  Examples  of  such  antagonists  include  vampires,  zombies,  and  the  presence  of  the  Antichrist  through  witches   and  black  magic.  There  are  three  classic  horror  movies   that   feature  one  of  the  oldest  and  most  well­known  movie  antagonists  of  all  time:  the  age­old  concept  of  the  Satanic  witch.  ​ The  Crucible​ ,  ​ The  Blair  Witch  Project​ ,  and  ​ Rosemary’s  Baby  ​ all showcase witches as evil villains in  some  form  or  another.  ​ The  Crucible  ​ details  the  violent  madness  of  the  witch  hunts  that  took  place  in  Puritan  New  England  around  the  1690s;  ​ The  Blair  Witch  Project  ​ depicts  a  film  crew  running  through a forest trying to hunt down and film  an evil witch rumored to reside in the area;  and  ​ Rosemary’s Baby  ​ tells the story of a coven of witches seeking to impregnate an unsuspecting   women  with  the  child  of  the  Antichrist.  To  the  untrained  viewer,  these  movies  seem  to  be  a  harmless  cinematic  rendition  of  a typical horror movie plot: the good guys look for the bad guys,  the  bad  guys  scare  the  daylights  out  of  the  good guys  as well as the audience, and the good guys  try  to  bring  down  the  bad  guys.  This  plot  that  we  have  watched  unfold  so  many  times  before  is  just  a  scratch  on  the  surface  of  what  the  movie  is  subconsciously  portraying.  Through  further  scrutiny,  one  can  theorize  that  these  witches  in  movies  tend  to  perpetuate  misogyny   and  matrophobia  in  the  minds  of  viewers  who  are  uneducated  in  areas  like  Women’s   Gender  and  Sexuality Studies.   The  Crucible  ​ is  a  movie  that  tends  to  perpetuate  misogyny  and  matrophobia  through  the  concept  of  witchcraft  because  the  main  conflict  of  the  movie lies in  whether or not a few female  characters  are  witches.  The  plot  of  the movie is entirely devoted to  this conflict.  Wendy Schissel  writes  that,  “In  forty  years  of  criticism  very  little  has  been  said  about  the  ways  in  which  ​ The  Crucible  ​ reinforces  stereotypes  of  ​ femme  fatales  and  cold  and  unforgiving  wives  in  order   to  assert  apparently  universal  virtues”  (1).  The  idea  of  a  ​ femme  fatale  ​ was  originated  in  the  movie  genre  called  ​ film  noir​ ;  the  ​ femme  fatale  is  a  female character that is often cold, emotionless, and  usually  seduces  the  male  protagonist,  leading to the male protagonist’s downfall. This concept is  damaging  to  women  because  it  makes  women  seem  like  they’re  not  trustworthy,  or  just  using  their  looks  and  charm  to   get  ahead  in  life.  In  ​ The  Crucible​ ,  the  character  of  John  Proctor  is  viewed  as  a  “tragically  heroic  common  man”  and  “a just man in a universe  gone mad” while the  innocent  character  of  Elizabeth  does  not  receive  nearly  the  same  treatment  (1).  ​ The  Crucible  accurately  portrays  the  Puritan  values  of  the  movie’s  time  period,  which  held  men  in  a  higher  position  of  respect  than  women, thus  perpetuating  more misogyny and mistrust. Schissel goes on  to  define  a  key  term  that  relates  to  this movie: “Implicit in Puritan theology, in [Arthur] Miller’s  version  of  the  Salem  witch   trials,   and all too frequent in the society which has produced Miller’s  critics  is  gynecophobia   ­  fear  and  distrust  of  women” (1). Similarly, in the ​ Malleus Maleficarum  written  in  1486,  it  is  written  that  “All  witchcraft  comes  from  carnal  lust  which  in  women  is  insatiable”  (1).  It  seems  that ​ The Crucible ​ portrays a pattern of woman­blaming for the problems  of  the society in which they live, possibly out of need for a scapegoat for that society’s problems.


ShawnPitmanProfile 74%

• Press – Wrote scripts and directed the cinematic trailer and ‘Making Of’ videos for trade shows.


Liquid Cinema 74%

A​ ​Drop​ ​of​ ​the​ ​Infinite//A​ ​Shard​ ​of​ ​the​ ​Immanent//​ ​A​ ​Drop​ ​of​ ​the​ ​Immanent//​ ​A​ ​Shard​ ​of​ ​the​ ​Infinite          An​ ​investigation​ ​of​ ​Liquid​ ​(in)​ ​Cinema    Conference,​ ​Spring​ ​2017    5/5/17    Arlen​ ​Levy          ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​an​ ​enormous​ ​undifferentiated​ ​object​.    ​ ​Everything​ ​stops​ ​dead​ ​for​ ​a​ ​moment,​ ​everything​ ​freezes​ ​in​ ​place-and​ ​then​ ​the​ ​whole​ ​process​ ​will  begin​ ​all​ ​over​ ​again.​ ​From​ ​a​ ​certain​ ​point​ ​of​ ​view​ ​it​ ​would​ ​be​ ​much​ ​better​ ​if​ ​nothing​ ​worked,​ ​if​ ​nothing  functioned.​ ​Never​ ​being​ ​born,​ ​escaping​ ​the​ ​wheel​ ​of​ ​continual​ ​birth​ ​and​ ​rebirth,​ ​no​ ​mouth​ ​to​ ​suck​ ​with,  no​ ​anus​ ​to​ ​shit​ ​through.​ ​Will​ ​the​ ​machines​ ​run​ ​so​ ​badly,​ ​their​ ​component​ ​pieces​ ​fall​ ​apart​ ​to​ ​such​ ​a​ ​point  that​ ​they​ ​will​ ​return​ ​to​ ​nothingness​ ​and​ ​thus​ ​allow​ ​us​ ​to​ ​return​ ​to​ ​nothingness?​ ​It​ ​would​ ​seem,​ ​however,  that​ ​the​ ​flows​ ​of​ ​energy​ ​are​ ​still​ ​too​ ​closely​ ​connected,​ ​the​ ​partial​ ​objects​ ​still​ ​too​ ​organic,​ ​for​ ​this​ ​to  happen.​ ​What​ ​would​ ​be​ ​required​ ​is​ ​a​ ​pure​ ​fluid​ ​in​ ​a​ ​free​ ​state,​ ​flowing​ ​without​ ​interruption,​ ​streaming  over​ ​the​ ​surface​ ​of​ ​a​ ​full​ ​body.1       Diagram  of  a  ‘mutual  image’  forming  in  liquid  as  it  flows  across  the  Full  Body  Without  Organs,  Arlen  Levy,​ ​2017    ​ ​Deleuze,​ ​G.,​ ​&​ ​Guattari,​ ​F.​ ​(1983).​ ​Anti-Oedipus:​ ​Capitalism​ ​and​ ​schizophrenia.​ ​ ​Minneapolis:​ ​University​ ​of​ ​Minnesota Press.7-8 1     What​ ​freezes​ ​what​ ​flows?​ ​In​ ​Cinema​ ​2,​ ​The​ ​Time-Image​,​ ​Deleuze​ ​writes,​ ​”To​ ​think​ ​is​ ​to  learn​ ​what​ ​a​ ​non-thinking​ ​body​ ​is​ ​capable​ ​of,​ ​its​ ​capacity,​ ​its​ ​postures.​ ​It​ ​is​ ​through​ ​the​ ​body  (and​ ​no​ ​longer​ ​through​ ​the​ ​intermediary​ ​of​ ​the​ ​body)​ ​that​ ​cinema​ ​forms​ ​its​ ​alliance​ ​with​ ​the  spirit,​ ​with​ ​thought.”(Deleuze,​ ​189)​ ​In​ ​Deleuze’s​ ​invocation​ ​of​ ​‘the​ ​body’​ ​there​ ​materializes​ ​a  foundational​ ​link​ ​between​ ​the​ ​cinematic​ ​mechanism​ ​and​ ​Real​ ​material.​ ​This​ ​motivates​ ​an​ ​inquiry  into​ ​what​ ​occurs​ ​when​ ​a​ ​‘pure​ ​fluid’​ ​is​ ​introduced​ ​into​ ​the​ ​diegetic​ ​space​ ​of​ ​cinema.​ ​What​ ​is​ ​‘the  body’​ ​in​ ​its​ ​most​ ​embodied​ ​form,​ ​but​ ​Deleuze’s​ ​Body​ ​Without​ ​Organs-“In​ ​order​ ​to​ ​resist  organ-machines,​ ​the​ ​body​ ​without​ ​organs​ ​presents​ ​its​ ​smooth,​ ​opaque​ ​surface​ ​as​ ​a​ ​barrier.​ ​In  order​ ​to​ ​resist​ ​linked,​ ​connected,​ ​and​ ​interrupted​ ​flows,​ ​it​ ​sets​ ​up​ ​a​ ​counterflow​ ​of​ ​amorphous,  undifferentiated​ ​fluid.”2​ ​ ​What​ ​does​ ​it​ ​mean​ ​when​ ​we​ ​see​ ​this​ ​primordial​ ​substance​ ​acting​ ​within  a​ ​film?​ ​What​ ​are​ ​the​ ​implications​ ​of​ ​goo,​ ​ooze,​ ​water,​ ​mist?   ‘Pure​ ​fluid​ ​in​ ​a​ ​free​ ​state’​ ​as​ ​it​ ​is​ ​present​ ​within​ ​cinema​ ​allows​ ​one​ ​to​ ​approach​ ​the  recursive​ ​material​ ​Reality​ ​embedded​ ​in​ ​a​ ​‘liquid’​ ​film.​ ​ ​It​ ​is​ ​necessary​ ​to​ ​consider​ ​the​ ​Real  implication​ ​of​ ​the​ ​earthly​ ​materials​ ​invoked​ ​in​ ​a​ ​film,​ ​and​ ​to​ ​follow​ ​the​ ​effects​ ​of​ ​their​ ​properties  as​ ​they​ ​extend​ ​past​ ​the​ ​cinematic​ ​machine.​ ​In​ ​liquid​ ​swims​ ​Bachelard’s​ ​‘mutual​ ​image’,​ ​the​ ​most  intimate​ ​possible​ ​coupling​ ​of​ ​the​ ​virtual​ ​and​ ​the​ ​actual,​ ​in​ ​which​ ​the​ ​limpid​ ​image​ ​is​ ​nose​ ​to​ ​nose  with​ ​the​ ​opaque​ ​image;​ ​each​ ​a​ ​reflection​ ​of​ ​the​ ​other​ ​in​ ​clear​ ​and​ ​muddy​ ​waters​ ​respectively.​ ​It​ ​is  only​ ​through​ ​liquid​ ​material​ ​that​ ​it​ ​is​ ​possible​ ​to​ ​complicate​ ​the​ ​uni-directionality​ ​of​ ​Kant’s  ‘phenomenon’​ ​in​ ​relation​ ​to​ ​the​ ​noumenal​ ​object.​ ​The​ ​object​ ​and​ ​the​ ​phenomenon,​ ​real​ ​and  ​ ​ ​Deleuze,​ ​G.,​ ​&​ ​Guattari,​ ​F.​ ​(1983).​ ​Anti-Oedipus:​ ​Capitalism​ ​and​ ​schizophrenia​.​ ​Minneapolis:​ ​University​ ​of​ ​Minnesota Press.8 2 virtual,​ ​crystalline​ ​and​ ​opaque​ ​are​ ​continuously​ ​switching​ ​by​ ​association​ ​when​ ​mediated​ ​through  the​ ​liquid​ ​mirror.    Diagram​ ​of​ ​‘miraculation’​ ​as​ ​it​ ​functions​ ​through​ ​a​ ​‘falling​ ​back​ ​upon’​ ​the​ ​Body​ ​Without  Organs,​ ​Arlen​ ​Levy,​ ​2017          ​ ​“Heaven​ ​above,​ ​heaven​ ​below,​ ​stars​ ​above,​ ​stars​ ​below,​ ​know​ ​this​ ​and​ ​rejoice.”3     ​ ​Jung,​ ​C.​ ​G.,​ ​Hinkle,​ ​B.​ ​M.,​ ​&​ ​Jung,​ ​C.​ ​G.​ ​(1931).​ ​Psychology​ ​of​ ​the​ ​unconscious:​ ​A​ ​study​ ​of​ ​the​ ​transformations​ ​and symbolisms​ ​of​ ​the​ ​libido​ ​:​ ​a​ ​contribution​ ​to​ ​the​ ​history​ ​of​ ​the​ ​evolution​ ​of​ ​thought​.​ ​New​ ​York:​ ​Dodd,​ ​Mead.​ ​50 3   In​ ​Tarkovsky’s​ ​Solaris​,​ ​we​ ​are​ ​always​ ​surrounded​ ​by​ ​the​ ​mysteriously,​ ​“plasmatic”  sentient​ ​ocean​ ​of​ ​the​ ​planet​ ​Solaris.​ ​Anywhere​ ​that​ ​we​ ​are​ ​confronted​ ​with​ ​an​ ​ocean,​ ​of​ ​any​ ​kind,  an​ ​image​ ​of​ ​the​ ​infinite​ ​is​ ​approached;​ ​the​ ​ocean​ ​causes​ ​the​ ​horizon;​ ​it​ ​causes​ ​the  horizon-forever,​ ​offering​ ​the​ ​potential​ ​of​ ​‘seeing​ ​forever’.​ ​The​ ​ocean​ ​presents​ ​the​ ​eye​ ​with​ ​a  vector​ ​towards​ ​the​ ​immanent​ ​infinite,​ ​that​ ​which​ ​animates​ ​objects,​ ​that​ ​which​ ​allows​ ​a​ ​shadowed  glimpse​ ​of​ ​the​ ​noumenal​ ​object.   Solaris​​ ​pivots​ ​around​ ​a​ ​problem​ ​of​ ​‘visitors’;​ ​revenants​ ​who​ ​appear​ ​to​ ​those​ ​who​ ​have  repressed​ ​their​ ​memories.​ ​Kelvin,​ ​the​ ​the​ ​psychologist​ ​who​ ​we​ ​follow​ ​on​ ​his​ ​journey​ ​from​ ​earth  to​ ​the​ ​planet​ ​Solaris​ ​is​ ​visited​ ​by​ ​his​ ​deceased​ ​wife,​ ​Hari.​ ​Terrified​ ​by​ ​this​ ​simulacra,​ ​Kelvin  lures​ ​the​ ​Hari-Thing​ ​into​ ​a​ ​rocket​ ​capsule​ ​and​ ​launches​ ​her​ ​into​ ​space.​ ​However,​ ​Hari​ ​soon  materializes​ ​at​ ​his​ ​side,​ ​the​ ​visitors​ ​cannot​ ​be​ ​avoided,​ ​cannot​ ​be​ ​killed.​ ​It​ ​is​ ​Solaris​ ​itself,​ ​which  animates​ ​the​ ​visitors--​ ​flowing​ ​into​ ​the​ ​space​ ​typically​ ​occupied​ ​by​ ​the​ ​unconscious,​ ​it​ ​replaces​ ​it  in​ ​the​ ​assembly​ ​line​ ​of​ ​desiring​ ​production,​ ​and​ ​produces​ ​the​ ​Real.    The​ ​ocean;​ ​the​ ​place​ ​where​ ​one​ ​can​ ​see​ ​forever,​ ​perceive​ ​the​ ​edge​ ​of​ ​immanence,​ ​God.   At​ ​this​ ​intensive​ ​space​ ​of​ ​bleeding​ ​between​ ​sea​ ​and​ ​skyline​ ​we​ ​may​ ​imagine​ ​we​ ​see​ ​the​ ​animate  and​ ​inanimate​ ​transfused​ ​into​ ​one​ ​another,​ ​this​ ​is​ ​where​ ​Hari​ ​emerges,​ ​at​ ​the​ ​point​ ​where​ ​the  ocean​ ​of​ ​Solaris​ ​touches​ ​sky,​ ​flickering...   It​ ​is​ ​at​ ​this​ ​seam,​ ​this​ ​place​ ​of​ ​exchange​ ​ ​between​ ​plasmatic​ ​ocean​ ​and​ ​sky,​ ​that​ ​we​ ​may​ ​begin​ ​to  unfold​ ​the​ ​true​ ​spirituality​ ​of​ ​Solaris,​​ ​what​ ​type​ ​of​ ​God​ ​it​ ​proposes,​ ​what​ ​vector​ ​its​ ​God​ ​runs  along.   In​ ​Psychology​ ​and​ ​Alchemy,​ ​Jung​ ​examines​ ​the​ ​nigredo​​ ​[blackness];​ ​a​ ​state​ ​in​ ​alchemical  practice​ ​in​ ​which​ ​all​ ​ingredients​ ​are​ ​cleansed​ ​and​ ​cooked​ ​to​ ​a​ ​uniform​ ​black​ ​matter​ ​in​ ​order​ ​to


Misc Resume PDF 68%

Holding the office of President, I led weekly lunch meetings on cinematic topics.


EPK Final 68%

LINK HQ IMAGE (1334 x 1333) _______________________________________________________ About “all I want.” Just like the cinematic opening, coming to terms with this song concept was a slow, but beautiful process.


EPK Final2 68%

LINK HQ IMAGE (1334 x 1333) _______________________________________________________ About “all I want.” + me Just like the cinematic opening, coming to terms with this song concept was a slow, but beautiful process.


Looking Awry - Bisexual Representation Talk 68%

This is eye-opening when considering cinematic representations of bisexuality.


US Intelligence Rewrites over 1000 Hollywood Movies 68%

The book — along with the Department of Defense’s Hollywood database of collaborations that the authors also released — reports that a number of movies, including James Bond, the Transformers franchise, and movies from the Marvel and DC cinematic universes, have been modified or otherwise influenced by the U.S.



Lighting, Digital Photography, Character Rigging, Computer Modeling II and III, Advance Special Effects, Film Production Studio, Cinematic Tech, Advanced Digital, Graphics Programming, Digital 2D, 3D Animation.


LEXRHODESresume 67%

  LEX​ ​RHODES  GAME​ ​DEV​ ​/​ ​NARRATIVE​ ​DESIGNER  C:​ ​412-977-8518  Los​ ​Angeles,​ ​CA​ ​90007​ ​|​ ​ ​    WORK​ ​EXPERIENCE  -​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-     Tender​ ​Claws​ ​/​ ​Writer​ ​&​ ​Narrative​ ​Designer  MAY​ ​2017​ ​-​ ​Present​ ​.​ ​  Narrative​ ​design,​ ​writing,​ ​and​ ​art​ ​for​ ​Virtual​ ​Virtual​ ​Reality​,​ ​winner​ ​of​ ​the​ ​2017​ ​Google​ ​Play  award​ ​for​ ​Best​ ​VR​ ​Experience  Concepted,​ ​wrote,​ ​and​ ​workshopped​ ​pitch​ ​decks​ ​and​ ​prototypes​ ​for​ ​several​ ​unannounced  VR​ ​and​ ​AR​ ​projects    From​ ​Light​​ ​/​ ​Narrative​ ​Lead  OCT​ ​2015​ ​-​ ​MAY​ ​2017​ ​.​ ​  Extensive​ ​writing​ ​and​ ​worldbuilding​ ​for​ ​From​ ​Light​,​ ​2015​ ​PAX​ ​10​ ​Selection  Facilitated​ ​casting​ ​and​ ​voice​ ​direction​ ​for​ ​all​ ​NPC​ ​dialogue    MidBoss​ ​/​ ​Writing​ ​Intern  OCT​ ​2016​ ​-​ ​FEB​ ​2017​ ​.​ ​   Script​ ​supervision,​ ​voice​ ​direction,​ ​and​ ​narrative​ ​design​ ​for​ ​Read​ ​Only​ ​Memories​,​ ​IndieCade  2015​ ​Official​ ​Selection    USC​ ​School​ ​of​ ​Cinematic​ ​Arts​ ​Public​ ​Relations​ ​/​ ​Event​ ​Producer  APR​ ​2016​ ​ ​-​ ​ ​Present  Coordinator​ ​and​ ​VIP​ ​liaison​ ​for​ ​USC​ ​Games​ ​Demo​ ​Day​ ​showcase,​ ​hosting​ ​over​ ​500  university​ ​and​ ​industry​ ​guests​ ​per​ ​event  Event​ ​management​ ​and​ ​volunteer​ ​coordination,​ ​lights/basecamp​ ​operator​ ​for​ ​stage​ ​show  portion    EDUCATION  -​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-     University​ ​of​ ​Southern​ ​California​ ​/​ ​Interactive​ ​Media​ ​and​ ​Game​ ​Design  AUG​ ​2014​ ​-​ ​MAY​ ​2018    Themed​ ​Entertainment​ ​Design​ ​Minor,​ ​National​ ​Merit​ ​Scholar  GAMES​ ​/​ ​OTHER​ ​PROJECTS  -​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-     My​ ​Electric​ ​Heart​ ​(MEH)​ ​/​ ​Director​ ​&​ ​Narrative​ ​Lead  JUL​ ​2017​ ​-​ ​Present  USC​ ​Games​ ​Narrative​ ​Directed​ ​Research,​ ​exploring​ ​new​ ​modes​ ​of​ ​interactive​ ​storytelling    Grassdancer​ ​/​ ​Art​ ​Lead  APR​ ​2016​ ​-​ ​FEB​ ​2017​ ​.​ ​ ​  Dare​ ​to​ ​Be​ ​Digital​ ​Selection​ ​2017,​ ​SXSW​ ​Student​ ​Showcase​ ​2017    CHAMBARA​ ​/​ ​Quality​ ​Assurance​ ​&​ ​TRC  APR​ ​2016​ ​ ​-​ ​ ​JUN​ ​2016​ ​ ​.​ ​  BAFTA​ ​Ones​ ​To​ ​Watch​ ​Award​ ​2015    SPACE-SHIPPED​​ ​/​ ​Creative​ ​Director​ ​&​ ​Emcee  OCTOBER​ ​2015​ ​-​ ​OCTOBER​ ​2016,​ ​  IndieCade​ ​Night​ ​Games​ ​Selection,​ ​2016        SKILLS​ ​/​ ​TOOLS    -​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-  Authoring​ ​for   Interactive​ ​Fiction  Twine,​ ​PlayWrite,​ ​Custom​ ​Tools    Creative​ ​Writing,  Worldbuilding    Game​ ​Development  Unity​ ​3D,​ ​C#,​ ​HTML/CSS    Version​ ​Control  Perforce,​ ​Sourcetree,​ ​Git    Leadership​ ​&​ ​Production    Public​ ​Speaking    Team​ ​&​ ​Project  Management  Slack,​ ​Trello,​ ​Asana,​ ​HacknPlan,  JIRA    Event​ ​Management​ ​&  Operations    Digital​ ​Illustration​ ​&  Graphic​ ​Design  Photoshop,​ ​Illustrator,   PaintTool​ ​Sai,​ ​InDesign    3D​ ​Modeling​ ​&​ ​Animation  Maya,​ ​SketchUp    Social​ ​Media  Twitter,​ ​Instagram,​ ​Facebook,  Tumblr​ ​and​ ​other​ ​blogging  platforms    Drafting​ ​&​ ​Fabrication  Architectural​ ​drawing,​ ​model  construction,​ ​sewing,​ ​merch​ ​and  prop​ ​development      SPECIAL​ ​INTERESTS  -​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-​ ​-    North​ ​American​ ​Cryptozoology  Alternate​ ​Reality​ ​Games  Themed​ ​Entertainment​ ​Design  Transmedia​ ​Marketing  Gender​ ​&​ ​Sexuality​ ​in​ ​Games  Brand​ ​Writing  Brand​ ​Management



              WUXIA​ : A CINEMATIC RECONFIGURATION OF KUNG FU FIGHTING   IN THE ERA OF GLOBALIZATION            Lawson Jiang  Film 132B: International Cinema, 1960­present  March 8, 2016  TA: Isabelle Carbonell  Section D        Wuxia​ , sometimes commonly known as ​ kung fu​ , has been a distinctive genre in the  history of Chinese cinema. Actors such as Bruce Lee, Jet Li, and Donnie Yen have become  noticeable figures in popularizing this genre internationally for the past couple decades. While  the eye­catching action choreographies provide the major enjoyment, the reading of the  ideas—which are usually hidden beneath the fights and are often culturally associated—is  critical to understand ​ wuxia​ ; the stunning fight scenes are always the vehicles that carry these  important messages. The ideas of a ​ wuxia ​ film should not be only read textually but also  contextually—one to scrutinize any hidden ideas as a character of the film, and as a spectator to  associate the acquired ideas with the context of the film. One would then think about “what  makes up the Chineseness of the film?” “Any ideology the director trying to convey?” And,  ultimately, “does every ​ wuxia ​ film necessarily functions the exact same way?” After the  worldwide success of Ang Lee’s ​ Crouching Tiger, Hidden Dragon ​ in 2000, the film has  intrigued many scholars around the globe in developing new—cultural and political—readings of  the text. As of the nature that it is a very cultural product, the different perceptions of Western  and local Chinese audience, and the accelerating globalization has led to a cinematic  reconfiguration of ​ wuxia​  from its original form of fiction. Therefore, a contextual analysis of the  genre is crucial to understand what ​ wuxia ​ really is beyond a synonym of action, how has it been  interpreted and what has it been reconfigured to be.  First, it is important to define ​ wuxia​  and its associated terms ​ jiang hu ​ before an in­depth  analysis of the genre. The two terms do not simply outline the visual elements, but also implying  the core ideas of the genre. The title of this essay should be treated as a play on words, because  the meaning of the two terms does not necessarily interweave. The action genre with ​ kung fu  involved—such as the ​ Rush Hour ​ series starring Jackie Chan—does not equal to ​ wuxia​ . ​ Wuxia  itself is consist of ​ wu ​ and ​ xia ​ in its Chinese context, in which ​ wu​  equates to martial arts, and the  latter bears a more complex meaning. ​ Xia​ , as Ken­fang Lee notes, is “seen as a heroic figure who  possesses the martial arts skills to conduct his/her righteous and loyal acts;” a figure that is  “similar to the character Robin Hood in the western popular imagination. Both aiming to fight  against social injustice and right wrongs in a feudal society.1” The world where the ​ xia ​ live, act  and fight is called ​ jiang hu​ , a term that can hardly be translated, yet it refers to the ancient  outcast world that exists as an alternative universe in opposition to the disciplined reality;2 a  world where the government or the authoritative figures are underrepresented, weaken or even  omitted.  Wuxia ​ can thus be seen as a genre that provides a “Cultural China” where “different  schools of martial arts, weaponry, period costumes and significant cultural references are  portrayed in great detail to satisfy the Chinese popular imagination and to some degree represent  Chineseness;3” an idealised and glorified alternate history that reflects and criticizes the present  through its heroic proxy. The Chineseness here should not be read as a self­Orientalist product as  wuxia​  had been a very specific genre in Chinese popular culture that originated in the form of  fiction (and had later developed to comics or other visual entertainments such as TV series4)  before entering the international market with Ang Lee’s ​ Crouching Tiger, Hidden Dragon​  in the  form of cinema. Ang Lee’s cultural masterpiece can be seen as an adaptation of the  contemporary ​ wuxia ​ fiction that later inspires many productions including Zhang Yimou’s ​ Hero  1  Ken­fang Lee, “Far away, so close: cultural translation in Ang Lee's Crouching Tiger, Hidden Dragon,” ​ Inter­Asia  Cultural Studies​  4, no. 2 (2003): 284.  2  Ibid.  3  Ibid., 282.  4  Ibid.  (2002). Although the first ​ wuxia​  fiction, ​ The Water Margin​ , was written by Shih Nai’an  (1296­1372) roughly 650 years ago in the Ming dynasty, it was not until the post­war era from  1950s to 1970s had the genre reached its maturity. Since then, the contemporary fiction has  become popular in Hong Kong and Taiwan with notable authors such as Louis Cha and Gu  Long, respectively.5 The two authors has reshaped and defined the contemporary ​ wuxia ​ to their  Chinese­speaking readers and audience till today.6​  ​ The original ​ wuxia ​ as a form of fiction was  male­centric. The ​ xia​  were mostly male that a great heroine was rarely featured as the sole  protagonist in the story; female characters were usually the wives or sidekicks of the protagonists  in Louis Cha’s various novels, or sometimes appeared as femme fatale. Although most of the  female characters were richly developed and positively portrayed, it is inevitable to see such a  fact that the nature of ​ wuxia ​ is masculine. Like ​ hero ​ and ​ heroine ​ in the English context, ​ xia  refers to hero while the equivalence of heroine is ​ xia­nü ​ (​ nü ​ suggests female; the female hero).  It was not until Ang Lee’s worldwide success of ​ Crouching Tiger, Hidden Dragon​ , had  the global audience—casual moviegoer, film theorists and scholars—noticed the rise of the genre  since the film “was the first foreign language film ever to make more than $127.2 million in  North America.7 ” Apart from being a huge success in Taiwan, ​ Crouching Tiger ​ is a hit from  Thailand and Singapore to Korea but not in mainland China or Hong Kong. Ken­fang Lee  observes that “many viewers in Hong Kong consider this film boring, slow and without much  action” in which “nothing new compared to other movies in the ​ wuxia ​ tradition in the Hong  5  Ibid., 284.   The contemporary fiction written by the two authors mentioned previously have also provided the fundamental  sites to many film and TV adaptations, such as Wong Kar­wai’s ​ Ashes of Time​  (Hong Kong, 1994), an art film that  is loosely based on the popular novel ​ Eagle­shooting Heroes​ , and the TV series ​ The Return of the Condor Heroes  (Mainland China, 2006) is based on ​ The Legend of the Condor Heroes​ . Both novel were authored by Louis Cha.  7  Lee, “Far away, so close: cultural translation in Ang Lee's Crouching Tiger, Hidden Dragon,” 282.  6 Kong film industry… [they] claimed that seeing people running across roofs and trees might be  novel for Americans, but they have seen it all before.8” Moreover, some of them rebuke the film  for “pandering to the Western audience” in which “the success of this film results from its appeal  to a taste for cultural diversity that mainly satisfies the craving for the exotic;” denouncing the  film as a self­Orientalist work that “most foreign audiences are attracted by the improbable  martial art skills and the romances between the two pairs of lovers.9 ” Lee concludes that the  exoticized Chineseness and romantic elements “betray the tradition of ​ wuxia ​ movies and become  Hollywoodized;10 ” that is, ​ Crouching Tiger ​ represents an inauthentic China.   Kenneth Chan considers such negative reactions toward the film as an “ambivalence” that  is “marked by a nationalist/anti­Orientalist framework” in which the Chinese and Hong Kong  audience’s claims of inauthenticity “reveal a cultural anxiety about identity and Chineseness in a  globalized, postcolonial, and postmodern world order.11” Such an ambivalence and anxiety  toward the inauthenticity are caused by the production itself as ​ Crouching Tiger ​ is funded mostly  by Hollywood.12 Through studying Fredric Jameson’s investigations of the postmodernism, Chan  declares that “postmodernist aesthetics and cultural production are implicated and shaped by the  global forces of late capitalist logic. By extension, one could presumably argue that popular  cinema can be considered postmodern by virtue of its aesthetic configurations.


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