Corey Schultz – författare

This book provides a comprehensive and up-to-date scholarly examination of how China builds international relationships through public diplomacy practices, together with an assessment of the impact of these practices around the world. It explores the sources of China''s evolving strategies, how the past influences the present, and the impact of domestic factors that shape China''s communication strategies. Including a wide range of detailed examples, the book also discusses how far China is creating new models that will reshape the current landscape of public diplomacy.

Chapters 1 and 11 of this book are freely available as downloadable Open Access PDFs under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license available at http://www.taylorfrancis.com.

This book provides a comprehensive and up-to-date scholarly examination of how China builds international relationships through public diplomacy practices, together with an assessment of the impact of these practices around the world. It explores the sources of China''s evolving strategies, how the past influences the present, and the impact of domestic factors that shape China''s communication strategies. Including a wide range of detailed examples, the book also discusses how far China is creating new models that will reshape the current landscape of public diplomacy.

Chapters 1 and 11 of this book are freely available as downloadable Open Access PDFs under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license available at http://www.taylorfrancis.com.

This book examines Chinese film in the twenty-first century. Organized around the themes "movements," "genres," and "intermedia," it reflects on how Chinese cinema has changed, adapted, and evolved over past decades and prognosticates as to its future trajectories. It considers how established film genres in China have adapted and transformed themselves, and discusses current shifts in documentary filmmaking, the ethos and practices of "grassroots intellectual" independent filmmakers, and the adaption of foreign film genres to serve the ideological and political needs of the present. It also explores how film is drawing on the socio-historical and political contexts of the past to create new cinematic discourses and the ways film is providing a voice to previously marginalised ethnic groups. In addition, the book analyses the influences of past aesthetic traditions on the creative and artistic expressions of twenty-first-century films and cinema’s relation to other media forms, including folktales, moving image installations, architecture, and painting. Throughout, the book assesses how Chinese films have been conceptualized, examined, and communicated domestically and abroad and emphasizes the importance of new directions in Chinese film, thus highlighting the plurality, vitality, and hybridity of Chinese cinema in the twenty-first century.

Chapter 10 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

This book examines Chinese film in the twenty-first century. Organized around the themes "movements," "genres," and "intermedia," it reflects on how Chinese cinema has changed, adapted, and evolved over past decades and prognosticates as to its future trajectories. It considers how established film genres in China have adapted and transformed themselves, and discusses current shifts in documentary filmmaking, the ethos and practices of "grassroots intellectual" independent filmmakers, and the adaption of foreign film genres to serve the ideological and political needs of the present. It also explores how film is drawing on the socio-historical and political contexts of the past to create new cinematic discourses and the ways film is providing a voice to previously marginalised ethnic groups. In addition, the book analyses the influences of past aesthetic traditions on the creative and artistic expressions of twenty-first-century films and cinema’s relation to other media forms, including folktales, moving image installations, architecture, and painting. Throughout, the book assesses how Chinese films have been conceptualized, examined, and communicated domestically and abroad and emphasizes the importance of new directions in Chinese film, thus highlighting the plurality, vitality, and hybridity of Chinese cinema in the twenty-first century.

Chapter 10 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.