By Bkra shis bzang po
Marriage customs and comparable oral traditions in Bang smad Village, Bang smad Township, Nyag rong County, Dkar mdzes Tibetan independent Prefecture, Sichuan Province, China. Villagers communicate the poorly documented Mi nyag language are documented, delivering targeted linguistic and ethnographic facts, together with a Mi nyag-English glossary, maps exhibiting the distribution of Mi nyag-speaking groups, and various full-color photos of village existence and marriage ceremony festivities. Of targeted curiosity are the transcribed marriage ceremony speeches in the community given in Mi nyag and Tibetan.
Audio on the topic of this ebook are available at: http://www.oralliterature.org/collections/bkrashis001.html
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Extra resources for ASIAN HIGHLANDS PERSPECTIVES Volume 14: May All Good Things Gather Here - Life, Religion, and Marriage in a Mi nyag Tibetan Village
Performance Styles Another factor I wish to discuss here is the way in which actors conduct themselves on screen; the acting performance styles that are recognisably different from Western cinematic performances and can be traced back to the theatrical heritage found in such forms as Noh theatre, South East Asian cultural dance and Beijing Opera. As Morcom states, the unwritten rules of performance in Hindi film differ from other cinemas because the sudden ‘breaking into song by characters is seen as unrealistic and illogical, especially since the characters sing in voices other than their own and the song sequences tend to shift to extranarrative locations’ (2007: 2).
Constructing the Orient: The Cathay Aesthetic in Wong Kar Wai’s Hong Kong Throughout a long and successful career Wong Kar Wai has exhibited a strong sense of the use of cinema as an art form. From the contemporary settings of Chungking Express (Chóngqìng Sēnlín 1994), Happy Together (Chūn Guāng Zhà Xiè 1997) and the US-made My Blueberry Nights (2007) to the historical epic 34 orientalism and tradition on screen of Ashes of Time (Dōng Xié Xī Dú 1994), the 1960s inspired Days of Being Wild (Ā Fēi Zhèng Zhuàn, lit.
As Morcom states, the unwritten rules of performance in Hindi film differ from other cinemas because the sudden ‘breaking into song by characters is seen as unrealistic and illogical, especially since the characters sing in voices other than their own and the song sequences tend to shift to extranarrative locations’ (2007: 2). Drawing from Vasudevan, Morcom also notes that commercial Bollywood films (and I would add, all popular Indian films) magnify this melodramatic style ‘with exaggerated emotions and characters that represent types rather than psychological portrayals’ (2007: 2).