Friday-Saturday, November 20-21, 2009
This event is sponsored by:
Chiang Ching-kuo Foundation and the Institute for Asia and Asian Diasporas and is co-sponsored by the Departments of Asia and Asian American Studies and History, the Center for Medieval and Renaissance Studies and the Institute for Southeast Asian Studies (Singapore).
For more information visit our website at: http://web.me.com/eurasia2/Site/Welcome.html
Presents:
Lecture Presented by:
Penn State University
Shakespeare is a frequent traveler to East Asia; for nearly two centuries, Chinese writers, filmmakers, and theater directors have engaged Shakespeare in a wide range of contexts in locally-inspired but transnationally-produced artworks. As these works emerge in the global cultural marketplace, in addition to the thorny questions of cultural authenticity and autonomy, one of the new artistic concerns is the pursuit of what can be called a global visual vernacular. The infatuation with Asian visuality haunts filmmakers and theatre directors as they search for new vehicles to carry their ideas across different cultural locations. This richly illustrated presentation explores the uses of masks, parodic impulses, visual strategies, and the international reception of a number of films and theatre works, including: The Banquet (Hong Kong & China); pan-Asian multilingual Lear (Singapore); Shamlet (Taiwan); Richard III (China); Lear Is Here (Taiwan); and a bilingual production of King Lear (China / UK).
Lecture Presented by:
Friday, October 30, 2009
2:00 - 4:00
AA-G023
This talk focuses on the golden age of benshi performance in 1920s Japan. Benshi performers stood beside the silent screen and provided an accompanying vocal performance that incorporated narration, dialogue and occasional commentary about history or culture behind the story, or about the movie stars or directors. The benshi performers emerged simultaneously with the rise of modernist movements in Japanese art and literature; consequently, they engaged in the development of an expressly trans- or inter-mediatic cultural production that combined elements of traditional Japanese oral performance with the explicity “modern” medium of silent film. Among the thousands of benshi performing at different movie theaters in the 1920s there was enormous variation among the styles and approaches. This talk will focus on the modernist experiments of the most acclaimed benshi of the period, Tokugawa Musei (1894-1971), who aimed to apply the orality of live narration to the visuality of silent films in order to achieve increasingly complex psychological effects.
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The Conference explores how Turkey and Russia, and their Ottoman andCzarist predecessors grappled with
the Asian component of their identities and relationships.
Organizers: John Chaffee, Heather DeHaan, Donald Quataert, Binghamton University
Panelists:
Cemil Aydin, University of North Carolina
Victoria Clement, Western Carolina University
Arif Dirlik, The Chinese University of Hong Kong
Megan Dixon, Independent Scholar
Selcuk Esenbel, Bosphorus University
Nathaniel Knight, Seton-Hall University
Jeff Sahadeo, Carleton University
Sponsors:
Harpur College Dean's Office
Institute for Asia and Asian Diasporas
Department of Asian and Asian American Studies
Department of German and Russian Studies
Department of History
Department of Sociology
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