José B. Capino

Jane Marie Gaines

Aaron Gerow

Nayoung Aimee Kwon

Takushi Odagiri

Moonim Baek

Zhen Zhang

Yiman Wang

Nadine Chan

Thomas A. C. Barker

Nikki J. Y. Lee

Reframing Production, Circulation, and Consumption of Film in Asia

Theorizing Colonial Cinema

Ning Cai

Ingo Wegener

Gunter Dueck

Ingo Althöfer

Levon H. Khachatrian

Marcus Pinsker

G. Sarkozy

Numbers, Information and Complexity is a collection of about 50 articles in honour of Rudolf Ahlswede. His main areas of research are represented in the three sections, `Numbers and Combinations', `Information Theory (Channels and Networks, Combinatorial and Algebraic Coding, Cryptology, with the related fields Data Compression, Entropy Theory, Symbolic Dynamics, Probability and Statistics)', and `Complexity'. Special attention was paid to the interplay between the fields. Surveys on topics of current interest are included as well as new research results. The book features surveys on Combinatorics about topics such as intersection theorems, which are not yet covered in textbooks, several contributions by leading experts in data compression, and relations to Natural Sciences are discussed.

Numbers, Information and Complexity

Theorizing Colonial Cinema is a millennial retrospective on the entangled intimacy between film and colonialism from film's global inception to contemporary legacies in and of Asia. The volume engages new perspectives by asking how prior discussions on film form, theory, history, and ideology may be challenged by centering the colonial question rather than relegating it to the periphery. To that end, contributors begin by excavating little-known archives and perspectives from the colonies as a departure from a prevailing focus on Europe's imperial histories and archives about the colonies. The collection pinpoints various forms of devaluation and misrecognition both in and beyond the region that continue to relegate local voices to the margins. This pathbreaking study on global film history advances prior scholarship by bringing together an array of established and new interdisciplinary voices from film studies, Asian studies, and postcolonial studies to consider how the present is continually haunted by the colonial past.

Binod Tiwari

TONG Qiu

This book is the sixth volume of the proceedings of the 4th GeoShanghai International Conference that was held on May 27 - 30, 2018. This volume, entitled “Advances in Soil Dynamics and Foundation Engineering”, covers the recent advances and technologies in soil dynamics and foundation engineering. These papers are grouped into four categories: (1) soil dynamics and earthquake engineering, (2) deep excavations and retaining structures, (3) shafts and deep foundations, and (4) offshore geotechnics. It presents the state-of-the-art theories, experiments, methodologies and findings in the related areas. The book may benefit researchers and scientists from the academic fields of soil dynamics and earthquake engineering, geotechnical engineering, geoenvironmental engineering, transportation engineering, geology, mining and energy, as well as practical engineers from the industry. Each of the papers included in this book received at least two positive peer reviews. The editors would like to express their sincerest appreciation to all of the anonymous reviewers all over the world, for their diligent work.

Proceedings of GeoShanghai 2018 International Conference: Advances in Soil Dynamics and Foundation Engineering

Angela Zito

In 1990s post-Reform China, a growing number of people armed with video cameras poured out upon the Chinese landscape to both observe and contribute to the social changes then underway. Happening upon the crucial platform of an older independent film movement, this digital turn has given us a "DV China" that includes film and media communities across different social strata and disenfranchised groups, including ethnic and religious minorities and LGBTQ communities. DV-Made China takes stock of these phenomena by surveying the social and cultural landscape of grassroots and alternative cinema practices after the digital turn around the beginning of the new century. The volume shows how Chinese independent, amateur, and activist filmmakers energize the tension between old and new media, performance and representation, fiction and non-fiction, art and politics, China and the world. Essays by scholars in cinema and media studies, anthropology, history, Asian and Tibetan studies bring innovative interdisciplinary methodologies to critically expand upon existing scholarship on contemporary Chinese independent documentary. Their inquiries then extend to narrative feature, activist video, animation, and other digital hybrids. At every turn, the book confronts digital ironies: On the one hand, its portability facilitates forms of radically private film production and audience habits of small-screen consumption. Yet it also simultaneously links up makers and consumers, curators and censors allowing for speedier circulation, more discussion, and quicker formations of public political and aesthetic discourses. DV-Made China introduces new frameworks in a Chinese setting that range from aesthetics to ethical activism, from digital shooting and editing techniques to the politics of film circulation in festivals and online. Politics, the authors urge, travels along paths of aesthetic excitement, and aesthetic choices, conversely, always bear ethical consequences. The films, their makers, their audiences and their distributional pathways all harbor implications for social change that are closely intertwined with the fate of media culture in the new century of a world that both contains and is influenced by China.

Digital Subjects and Social Transformations after Independent Film

DV-Made China

Design Process of a Double Wish-bone Suspension by Zhen Zhang

Zhen Zhang

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