Manga Ormolu enters the dialogue on contemporary culture, technology, and globalization through a fabricated relationship between ceramic tradition (using the form of Chinese Ming dynasty vessels) and techno-Pop Art. The futuristic update of the Ming vessels in this series recalls 18th century French gilded ormolu, where historic Chinese vessels were transformed into curiosity pieces for aristocrats. But here, robotic prosthetics inspired by anime (Japanese animation) and manga (the beloved comics and picture novels of Japan) subvert elitism with the accessibility of popular culture.
Working with Asian cultural elements highlights the evolving Western experience of the “Orient.” This narrative is personal: the hybridization of cultures mirrors my identity as an ethnically-mixed Asian Canadian. My family history is one of successive generations shedding the markers of ethnic identity in order to succeed in an adopted country – within a few generations this cultural filtration has spanned China, India, Trinidad, Ireland and Canada.
While Manga Ormolu offers multiple points of entry into sociocultural dialogue, manga, by nature, doesn’t take itself too seriously. The futuristic ornamentation can be excessive, self-aggrandizing, even ridiculous. This is a fitting reflection of our human need to envision and translate fantastic ideas into reality; in fact, striving for transcendence is a unifying feature of human cultural history. This characteristic is reflected in the unassuming, yet utterly transformable material of clay. Manga Ormolu, through content, form and material, vividly demonstrates the conflicting and complementary forces that shape our perceptions of Ourselves and the Other.
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Explanation:
In film, people are able to portray people and events to fit the needs of the audience and the intended purpose of the film. However, it is also noted how certain people/communities may be biased for their perspective of said film. According to a study by Martin Novelli, the depictions of the Vietnamese in American war films is often negatively stereotyped. Vietnamese civilians are usually shown as passive victims, prostitutes, or conniving with the enemy, while North Vietnamese Army and Viet Cong guerilla fighters are frequently drawn as cruel torturers or effeminate cowards, and the ARVN are described as incompetent. In addition, many relevant facts concerning the conception of the war, or America’s subsequent acknowledgement of how the war was a mistake were not properly addressed. Instead, filmmakers focused more on the themes of war compared with educating the populace with hard facts.
In Walsh and Louvre's opinion, "the ideology of such films speaks of several basic and widespread public attitudes towards the war".
Donna Alvah reported that students writing an introductory essay on the war often reflect the perception shared by most Americans born after the war. According to Alvah, students' conceptions of the Vietnam War are "largely gleaned from movies, documentaries, music, and .. relatives who served in the war, or who in any case hold strong opinions about it."
The first Roman theatrical performance in 240 by
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Acharges
Everyone today feels the effects of pollution and the loss of natural resources in our societies. In paragraph form, explain how you have seen the effects of pollution and identify at least one things
that is being done in your local community to stop pollution and the loss of natural resources.
