Vol 3 No 1 (2022)

Published: 2022-03-30

--In Progress --

Abstract views: 116   PDF downloads: 43  
2022-09-21
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Pages 101-110

From a critical perspective: The defects of Hong Kong comedy since the 1950s

blankpage Moshan Guo

This paper elucidates the defects of Hong Kong comedy since the 1950s with regard to five aspects: the inflexibility of structure, the obviousness of theme, the drawback of the plot, the slapstick style and the vulgarity of taste. The story and the characters are relatively stereotypical and rigid in terms of structure. The dialogue and the camera angles are straightforward and obvious in the way that they express the theme. With regard to the plot, the structural design is simplistic and lacking in depth and nuance. Their characteristic slapstick style is expressed through the liveliness and nonsense of folk discourse. They are typically in vulgar taste, which finds expression in the customs, imagery and language of carnivalesque civic culture. The Hong Kong comedy genre has a very strong aesthetic tradition and has performed brilliantly in a commercial sense, but filmmakers need to recognize and introspect on its shortcomings, with a view to improving the aesthetic quality of Hong Kong comedy films and Chinese comedy films more generally.

Abstract views: 199   PDF downloads: 81  
2022-08-29
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Pages 93-100

Nigerian theatre in a digital era and environment

blankpage Aghogho Lucky Imiti

Theatre, the earliest form of entertainment and enlightenment in Nigeria, is becoming a ghost of itself as a result of its inability to take on the colouration of the times. Some scholars are of the view that there should be a revival of the theatre by establishing more theatre while it remains bonded to its functional root, the live stage, because of its uniqueness. This study examined the likelihood of this renaissance and its survival in the face of the deluge of other media of entertainment in a digitally advanced era and environment. The study relied on the Media Displacement Theory, MDT, which explains a paradigm shift in an individual's use of new media by discarding the preceding one. Using in-depth interviews and Focus Group Discussions, FGD, the study revealed that live theatre-going culture has become unpopular with the Nigerian audience as a result of digital technology and sundry circumstances in recent times, which include insecurity and the COVID-19 outbreak that negates public gathering. The paper advanced that Nigerian theatre cannot afford to remain glued to its roots in a technologically digitalised environment or society, but has to evolve.

Abstract views: 321   PDF downloads: 208  
2022-03-30
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Pages 78-92

Good and God: The Enlightenment Projects in Europe and China

blankpage Keekok Lee

This paper will explore the following themes: (1) To argue that the concepts of Good and God belong to distinctly different discourses – the former to ethics or moral philosophy, the latter to religion; (2) There is no necessary logical link between Good and God; (3) Far from God logically preceding Good, it is Good which logically precedes God and guarantees its existence as a supernatural entity; (4) From above it follows that a society can be moral and not subscribe to a religion which postulates the existence of God as a supernatural entity; (5) Chinese history, its culture and its civilisation which have lasted and continues to endure for at least two and a half thousand years constitutes a refutation of the thesis that there can be no morality without religion and that a society resting solely on Good and not God could survive; (6) European Enlightenment which occurred in the 18th century is about dispensing with God and religion, ushering in secularism and humanism as an alternative philosophical foundation for society; (7) The Chinese has been secular and humanistic since the Spring and Autumn period when Kongzi and other philosophers lived and taught. This means that the Chinese Enlightenment Project has occurred, more than two thousand years before the European Enlightenment Project; (8) Furthermore, there is compelling circumstantial evidence that the Chinese Project could have played a role in the emergence of the European Project via the Jesuit route of knowledge transmission from the East to the West.