The scope of this paper is to investigate a number of emerging contemporary popular subgenres, namely that of ＂mumblecore film＂, the ＂best-worst film＂ and ＂the gonzo documentary＂. Unlike historical cinematic mov...The scope of this paper is to investigate a number of emerging contemporary popular subgenres, namely that of ＂mumblecore film＂, the ＂best-worst film＂ and ＂the gonzo documentary＂. Unlike historical cinematic movements, these subgenres are the result of our techocentric culture and commercialism. In this respect these subgenres are less motivated by a collective ideology, but rather a cultural phenomenon resulting from increased access to popular culture, hypermedia devices, social media, and new marketing techniques. This paper investigates the displacement of traditional models of temporality through the metamorphosis of today＇s audiovisual culture, outlining the subject＇s embodiment of voyeurism and exhibitionism, ushering in a hyper-real era of self-myth making and consumption.展开更多
This paper provides a historical review of the star system in China's Mainland＇s music industry from 1978 to 2012. It suggests that from 1978 to 1989, parW stars and semi-commercialized stars appeared in China＇s...This paper provides a historical review of the star system in China's Mainland＇s music industry from 1978 to 2012. It suggests that from 1978 to 1989, parW stars and semi-commercialized stars appeared in China＇s music industry; while commercialized stars blossomed from 1990 to 1999. From 2000 to 2012, the decline of party stars and commercialized stars contributed to the rise of talent show stars. This paper also argues that talent show stars first entered the music industry＇s star system as party stars and commercialized stars around 2005. Notably, it analyzes the power relationship that shapes the current star system and the meaning of stardom in Chinese popular culture. Party stars are largely a manifestation of state power that must occasionally negotiate with media power. Commercialized stars, as representatives of popular culture, primarily rely on media power but, to a certain degree, must also conform to state power. Talent show stars, however, after 2007 gradually stopped representing audience power alone and instead became results of negotiation and rehalancing of state power, media power, and audience power.展开更多
This paper investigates the organizational culture of one of the largest auto manufacturers in the world Toyota Motor Corporation using various corporate culture and management models. The investigation was conducted ...This paper investigates the organizational culture of one of the largest auto manufacturers in the world Toyota Motor Corporation using various corporate culture and management models. The investigation was conducted in 2009 using qualitative analysis with the help of various secondary sources. The study reveals that the company＇s management style can be characterized as the Family type that implies collectivistic society with male domination, strict rules and laws at work, and long-term orientation. It is also based on several essential principles, such as continuous improvement and learning, respect for people, mutual trust, and teamwork. Two core elements of the Toyota＇s success are technological innovations and qualified human resources.展开更多
文摘The scope of this paper is to investigate a number of emerging contemporary popular subgenres, namely that of ＂mumblecore film＂, the ＂best-worst film＂ and ＂the gonzo documentary＂. Unlike historical cinematic movements, these subgenres are the result of our techocentric culture and commercialism. In this respect these subgenres are less motivated by a collective ideology, but rather a cultural phenomenon resulting from increased access to popular culture, hypermedia devices, social media, and new marketing techniques. This paper investigates the displacement of traditional models of temporality through the metamorphosis of today＇s audiovisual culture, outlining the subject＇s embodiment of voyeurism and exhibitionism, ushering in a hyper-real era of self-myth making and consumption.
文摘This paper provides a historical review of the star system in China's Mainland＇s music industry from 1978 to 2012. It suggests that from 1978 to 1989, parW stars and semi-commercialized stars appeared in China＇s music industry; while commercialized stars blossomed from 1990 to 1999. From 2000 to 2012, the decline of party stars and commercialized stars contributed to the rise of talent show stars. This paper also argues that talent show stars first entered the music industry＇s star system as party stars and commercialized stars around 2005. Notably, it analyzes the power relationship that shapes the current star system and the meaning of stardom in Chinese popular culture. Party stars are largely a manifestation of state power that must occasionally negotiate with media power. Commercialized stars, as representatives of popular culture, primarily rely on media power but, to a certain degree, must also conform to state power. Talent show stars, however, after 2007 gradually stopped representing audience power alone and instead became results of negotiation and rehalancing of state power, media power, and audience power.
文摘This paper investigates the organizational culture of one of the largest auto manufacturers in the world Toyota Motor Corporation using various corporate culture and management models. The investigation was conducted in 2009 using qualitative analysis with the help of various secondary sources. The study reveals that the company＇s management style can be characterized as the Family type that implies collectivistic society with male domination, strict rules and laws at work, and long-term orientation. It is also based on several essential principles, such as continuous improvement and learning, respect for people, mutual trust, and teamwork. Two core elements of the Toyota＇s success are technological innovations and qualified human resources.
