BEGIN:VCALENDAR VERSION:2.0 PRODID:-//IHSS - ECPv6.17.0//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:IHSS X-ORIGINAL-URL:https://ihss.hku.hk X-WR-CALDESC:Events for IHSS REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:Asia/Hong_Kong BEGIN:STANDARD TZOFFSETFROM:+0800 TZOFFSETTO:+0800 TZNAME:HKT DTSTART:20170101T000000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;VALUE=DATE:20180517 DTEND;VALUE=DATE:20180519 DTSTAMP:20261102T134201 CREATED:20240725T011656Z LAST-MODIFIED:20260416T102419Z UID:86707-1526515200-1526687999@ihss.hku.hk SUMMARY:Phones\, Drones\, and Disease: Epidemic Intelligence and the Future of Communication in East Asia DESCRIPTION:Language: English\n \n \n \n \n T5\, Meng Wah Complex\, The University of Hong Kong\n \n \n \n \n September 26\, 2014 5:30 pm - 7:00 pm\n \n \n \n \n (Tel) (852) 3917-2461\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABOUT THE FILMS \n \n \n \n \n Harvest On a summer day\, the villagers were harvesting wheat at Xidang Village which lies at the foot of Kawagebo Snow Mountain. Seeing the video camera carried by the film maker\, women villagers rushed up in a crowd\, surrounded him and began performing with abandon in front of the camera. After lunch\, the women showed their old pictures to the film maker\, put on their festival costumes and ask him to take photos for them. At this moment\, the video camera was no longer a dispassionate observational tool; instead\, it became an object with which the villagers were playing about. My Himalayan Vulture In one of the pastoral areas of Qinghai Province\, the number of Himalayan Vulture is dropping dramatically due to the change of environment and human-animal relationship. Two Tibetan lamas took up the camera and video camera to explore the secret behind the change. They had done this because the existence of the Himalayan Vulture is closely related to the celestial burial. These winged creature helps the Tibetans donate their bodies to nature after they pass away as well as keep the ecological balance of the grassland. Both of the two films tell the stories of the Tibetans\, one from the perspective of outside researcher\, the other from the perspective of the local Tibetans. The modern tool of DV plays a key role in their observation. Connected by the bond of DV\, the outsiders and the locals meet each other\, talk with each other and communicate with each other beyond language. They work together and create this new method called Village Video. With the help of this method\, they are documenting the changes in environment and culture and are establishing new indigenous knowledge systems by action research.   麥子—郭淨作品 一個夏日，卡瓦格博雪山下西當村的幾個村民正在收麥子，看到作者的攝錄機，女人們擁了過來，隨即在鏡頭前放肆地表演。午飯後，女人們拿出自家的照片觀看，又穿起節日的盛裝要求作者給她們拍照。此時，攝錄機不再是冷靜觀察的工具，而成了村民們玩耍的對象。 我的高山兀鷲—紮西桑俄、周傑作品 在青海省的一個牧區，由於環境、文化和人獸關係的變化，高山兀鷲的數量急劇減少。兩個藏族僧人拿起了照相機和攝錄機，試圖探尋這種變化的奧秘。他們之所以這樣做，是因為兀鷲的存在與天葬密切相關，這種飛翔的生物幫助藏人在死後把肉體施捨給自然的生靈，也維持了草原生態的平衡。 這兩部影片講的都是藏族的故事，它們一個出自外來研究者的視角，一個出自本地藏族【僧人】的視角。在他們的觀察中，現代的影像工具攝錄機起了關鍵的作用。以攝錄機為紐帶，外來的人與本地的人相遇，產生了對話和交流，他們合作起來，共同創造了「鄉村影像」這個新事物。借助鄉村影像的方法，他們在紀錄環境和文化發生的變化，並以行動性研究，去建立新的地方性的知識體系。 \n \n \n \n \n \n \n \n ABOUT THE DIRECTORS \n \n \n \n 麥子 郭淨，民族史博士，雲南省社科院歷史研究所研究員，致力於影視人類學、自然聖境的調查研究。是中國鄉村影像教育的開創者之一，並參與創辦了中國最重要的紀錄電影節：雲之南紀錄影像展。 我的高山兀鷲 紮西桑俄，藏族僧人，佛學博士（堪布），青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 周杰，藏族僧人，青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 \n \n \n \n \n \n \n \n PHOTO HIGHLIGHTS \n \n \n \n \n \n \n \n \n Previous\n \n \n Next URL:https://ihss.hku.hk/events/phones-drones-and-disease-epidemic-intelligence-and-the-future-of-communication-in-east-asia/ LOCATION:CPD 2.42\, 2/F\, Hong Kong CATEGORIES:Others ATTACH;FMTTYPE=image/jpeg:https://ihss.hku.hk/wp-content/uploads/2024/07/mmea-sub-project-workshop-20180517-1920x1080-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20180511 DTEND;VALUE=DATE:20180512 DTSTAMP:20261102T134201 CREATED:20240725T012749Z LAST-MODIFIED:20260416T102419Z UID:86719-1525996800-1526083199@ihss.hku.hk SUMMARY:Technological Innovations and Social Change: The History of Automation and the Future of Work in East Asia\, 1960s – 2010s (at HKUST) DESCRIPTION:Language: English\n \n \n \n \n T5\, Meng Wah Complex\, The University of Hong Kong\n \n \n \n \n September 26\, 2014 5:30 pm - 7:00 pm\n \n \n \n \n (Tel) (852) 3917-2461\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABOUT THE FILMS \n \n \n \n Harvest On a summer day\, the villagers were harvesting wheat at Xidang Village which lies at the foot of Kawagebo Snow Mountain. Seeing the video camera carried by the film maker\, women villagers rushed up in a crowd\, surrounded him and began performing with abandon in front of the camera. After lunch\, the women showed their old pictures to the film maker\, put on their festival costumes and ask him to take photos for them. At this moment\, the video camera was no longer a dispassionate observational tool; instead\, it became an object with which the villagers were playing about. My Himalayan Vulture In one of the pastoral areas of Qinghai Province\, the number of Himalayan Vulture is dropping dramatically due to the change of environment and human-animal relationship. Two Tibetan lamas took up the camera and video camera to explore the secret behind the change. They had done this because the existence of the Himalayan Vulture is closely related to the celestial burial. These winged creature helps the Tibetans donate their bodies to nature after they pass away as well as keep the ecological balance of the grassland. Both of the two films tell the stories of the Tibetans\, one from the perspective of outside researcher\, the other from the perspective of the local Tibetans. The modern tool of DV plays a key role in their observation. Connected by the bond of DV\, the outsiders and the locals meet each other\, talk with each other and communicate with each other beyond language. They work together and create this new method called Village Video. With the help of this method\, they are documenting the changes in environment and culture and are establishing new indigenous knowledge systems by action research.   麥子—郭淨作品 一個夏日，卡瓦格博雪山下西當村的幾個村民正在收麥子，看到作者的攝錄機，女人們擁了過來，隨即在鏡頭前放肆地表演。午飯後，女人們拿出自家的照片觀看，又穿起節日的盛裝要求作者給她們拍照。此時，攝錄機不再是冷靜觀察的工具，而成了村民們玩耍的對象。 我的高山兀鷲—紮西桑俄、周傑作品 在青海省的一個牧區，由於環境、文化和人獸關係的變化，高山兀鷲的數量急劇減少。兩個藏族僧人拿起了照相機和攝錄機，試圖探尋這種變化的奧秘。他們之所以這樣做，是因為兀鷲的存在與天葬密切相關，這種飛翔的生物幫助藏人在死後把肉體施捨給自然的生靈，也維持了草原生態的平衡。 這兩部影片講的都是藏族的故事，它們一個出自外來研究者的視角，一個出自本地藏族【僧人】的視角。在他們的觀察中，現代的影像工具攝錄機起了關鍵的作用。以攝錄機為紐帶，外來的人與本地的人相遇，產生了對話和交流，他們合作起來，共同創造了「鄉村影像」這個新事物。借助鄉村影像的方法，他們在紀錄環境和文化發生的變化，並以行動性研究，去建立新的地方性的知識體系。 \n \n \n \n \n \n \n \n ABOUT THE DIRECTORS \n \n \n \n 麥子 郭淨，民族史博士，雲南省社科院歷史研究所研究員，致力於影視人類學、自然聖境的調查研究。是中國鄉村影像教育的開創者之一，並參與創辦了中國最重要的紀錄電影節：雲之南紀錄影像展。 我的高山兀鷲 紮西桑俄，藏族僧人，佛學博士（堪布），青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 周杰，藏族僧人，青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 \n \n \n \n \n \n \n \n PHOTO HIGHLIGHTS \n \n \n \n \n \n \n \n \n Previous\n \n \n Next URL:https://ihss.hku.hk/events/technological-innovations-and-social-change-the-history-of-automation-and-the-future-of-work-in-east-asia-1960s-2010s-at-hkust/ LOCATION:Room 5504\, Hong Kong CATEGORIES:Others ATTACH;FMTTYPE=image/jpeg:https://ihss.hku.hk/wp-content/uploads/2024/07/mmea-sub-project-workshop-20180511-1920x1080-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20180507T170000 DTEND;TZID=Asia/Hong_Kong:20180507T183000 DTSTAMP:20261102T134201 CREATED:20240725T173319Z LAST-MODIFIED:20260416T102420Z UID:86755-1525712400-1525717800@ihss.hku.hk SUMMARY:The Invention and Reinvention of Local Food in Japan DESCRIPTION:Language: English\n \n \n \n \n T5\, Meng Wah Complex\, The University of Hong Kong\n \n \n \n \n September 26\, 2014 5:30 pm - 7:00 pm\n \n \n \n \n (Tel) (852) 3917-2461\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABOUT THE FILMS \n \n \n \n Harvest On a summer day\, the villagers were harvesting wheat at Xidang Village which lies at the foot of Kawagebo Snow Mountain. Seeing the video camera carried by the film maker\, women villagers rushed up in a crowd\, surrounded him and began performing with abandon in front of the camera. After lunch\, the women showed their old pictures to the film maker\, put on their festival costumes and ask him to take photos for them. At this moment\, the video camera was no longer a dispassionate observational tool; instead\, it became an object with which the villagers were playing about. My Himalayan Vulture In one of the pastoral areas of Qinghai Province\, the number of Himalayan Vulture is dropping dramatically due to the change of environment and human-animal relationship. Two Tibetan lamas took up the camera and video camera to explore the secret behind the change. They had done this because the existence of the Himalayan Vulture is closely related to the celestial burial. These winged creature helps the Tibetans donate their bodies to nature after they pass away as well as keep the ecological balance of the grassland. Both of the two films tell the stories of the Tibetans\, one from the perspective of outside researcher\, the other from the perspective of the local Tibetans. The modern tool of DV plays a key role in their observation. Connected by the bond of DV\, the outsiders and the locals meet each other\, talk with each other and communicate with each other beyond language. They work together and create this new method called Village Video. With the help of this method\, they are documenting the changes in environment and culture and are establishing new indigenous knowledge systems by action research.   麥子—郭淨作品 一個夏日，卡瓦格博雪山下西當村的幾個村民正在收麥子，看到作者的攝錄機，女人們擁了過來，隨即在鏡頭前放肆地表演。午飯後，女人們拿出自家的照片觀看，又穿起節日的盛裝要求作者給她們拍照。此時，攝錄機不再是冷靜觀察的工具，而成了村民們玩耍的對象。 我的高山兀鷲—紮西桑俄、周傑作品 在青海省的一個牧區，由於環境、文化和人獸關係的變化，高山兀鷲的數量急劇減少。兩個藏族僧人拿起了照相機和攝錄機，試圖探尋這種變化的奧秘。他們之所以這樣做，是因為兀鷲的存在與天葬密切相關，這種飛翔的生物幫助藏人在死後把肉體施捨給自然的生靈，也維持了草原生態的平衡。 這兩部影片講的都是藏族的故事，它們一個出自外來研究者的視角，一個出自本地藏族【僧人】的視角。在他們的觀察中，現代的影像工具攝錄機起了關鍵的作用。以攝錄機為紐帶，外來的人與本地的人相遇，產生了對話和交流，他們合作起來，共同創造了「鄉村影像」這個新事物。借助鄉村影像的方法，他們在紀錄環境和文化發生的變化，並以行動性研究，去建立新的地方性的知識體系。 \n \n \n \n \n \n \n \n ABOUT THE DIRECTORS \n \n \n \n 麥子 郭淨，民族史博士，雲南省社科院歷史研究所研究員，致力於影視人類學、自然聖境的調查研究。是中國鄉村影像教育的開創者之一，並參與創辦了中國最重要的紀錄電影節：雲之南紀錄影像展。 我的高山兀鷲 紮西桑俄，藏族僧人，佛學博士（堪布），青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 周杰，藏族僧人，青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 \n \n \n \n \n \n \n \n PHOTO HIGHLIGHTS \n \n \n \n \n \n \n \n \n Previous\n \n \n Next URL:https://ihss.hku.hk/events/the-invention-and-reinvention-of-local-food-in-japan/ LOCATION:Lecture Hall\, G/F\, Hong Kong CATEGORIES:Others ATTACH;FMTTYPE=image/jpeg:https://ihss.hku.hk/wp-content/uploads/2024/07/mmea-lecture-by-professor-eric-c-rath-20180507-1920x1080-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20180507 DTEND;VALUE=DATE:20180512 DTSTAMP:20261102T134201 CREATED:20240725T013126Z LAST-MODIFIED:20260416T102419Z UID:86727-1525651200-1526083199@ihss.hku.hk SUMMARY:“Food Technology” (Hong Kong and Taiwan) DESCRIPTION:Language: English\n \n \n \n \n T5\, Meng Wah Complex\, The University of Hong Kong\n \n \n \n \n September 26\, 2014 5:30 pm - 7:00 pm\n \n \n \n \n (Tel) (852) 3917-2461\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABOUT THE FILMS \n \n \n \n Harvest On a summer day\, the villagers were harvesting wheat at Xidang Village which lies at the foot of Kawagebo Snow Mountain. Seeing the video camera carried by the film maker\, women villagers rushed up in a crowd\, surrounded him and began performing with abandon in front of the camera. After lunch\, the women showed their old pictures to the film maker\, put on their festival costumes and ask him to take photos for them. At this moment\, the video camera was no longer a dispassionate observational tool; instead\, it became an object with which the villagers were playing about. My Himalayan Vulture In one of the pastoral areas of Qinghai Province\, the number of Himalayan Vulture is dropping dramatically due to the change of environment and human-animal relationship. Two Tibetan lamas took up the camera and video camera to explore the secret behind the change. They had done this because the existence of the Himalayan Vulture is closely related to the celestial burial. These winged creature helps the Tibetans donate their bodies to nature after they pass away as well as keep the ecological balance of the grassland. Both of the two films tell the stories of the Tibetans\, one from the perspective of outside researcher\, the other from the perspective of the local Tibetans. The modern tool of DV plays a key role in their observation. Connected by the bond of DV\, the outsiders and the locals meet each other\, talk with each other and communicate with each other beyond language. They work together and create this new method called Village Video. With the help of this method\, they are documenting the changes in environment and culture and are establishing new indigenous knowledge systems by action research.   麥子—郭淨作品 一個夏日，卡瓦格博雪山下西當村的幾個村民正在收麥子，看到作者的攝錄機，女人們擁了過來，隨即在鏡頭前放肆地表演。午飯後，女人們拿出自家的照片觀看，又穿起節日的盛裝要求作者給她們拍照。此時，攝錄機不再是冷靜觀察的工具，而成了村民們玩耍的對象。 我的高山兀鷲—紮西桑俄、周傑作品 在青海省的一個牧區，由於環境、文化和人獸關係的變化，高山兀鷲的數量急劇減少。兩個藏族僧人拿起了照相機和攝錄機，試圖探尋這種變化的奧秘。他們之所以這樣做，是因為兀鷲的存在與天葬密切相關，這種飛翔的生物幫助藏人在死後把肉體施捨給自然的生靈，也維持了草原生態的平衡。 這兩部影片講的都是藏族的故事，它們一個出自外來研究者的視角，一個出自本地藏族【僧人】的視角。在他們的觀察中，現代的影像工具攝錄機起了關鍵的作用。以攝錄機為紐帶，外來的人與本地的人相遇，產生了對話和交流，他們合作起來，共同創造了「鄉村影像」這個新事物。借助鄉村影像的方法，他們在紀錄環境和文化發生的變化，並以行動性研究，去建立新的地方性的知識體系。 \n \n \n \n \n \n \n \n ABOUT THE DIRECTORS \n \n \n \n 麥子 郭淨，民族史博士，雲南省社科院歷史研究所研究員，致力於影視人類學、自然聖境的調查研究。是中國鄉村影像教育的開創者之一，並參與創辦了中國最重要的紀錄電影節：雲之南紀錄影像展。 我的高山兀鷲 紮西桑俄，藏族僧人，佛學博士（堪布），青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 周杰，藏族僧人，青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 \n \n \n \n \n \n \n \n PHOTO HIGHLIGHTS \n \n \n \n \n \n \n \n \n Previous\n \n \n Next URL:https://ihss.hku.hk/events/food-technology-hong-kong-and-taiwan/ CATEGORIES:Others ATTACH;FMTTYPE=image/jpeg:https://ihss.hku.hk/wp-content/uploads/2024/07/mmea-sub-project-workshop-20180507-1920x1080-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20180424T120000 DTEND;TZID=Asia/Hong_Kong:20180424T130000 DTSTAMP:20261102T134201 CREATED:20240725T173851Z LAST-MODIFIED:20260416T102420Z UID:86772-1524571200-1524574800@ihss.hku.hk SUMMARY:Gratitude Betrayed and Forgotten: Pearl Harbor and America’s Humanitarian Moment with Japan in 1923 DESCRIPTION:Language: English\n \n \n \n \n T5\, Meng Wah Complex\, The University of Hong Kong\n \n \n \n \n September 26\, 2014 5:30 pm - 7:00 pm\n \n \n \n \n (Tel) (852) 3917-2461\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABOUT THE FILMS \n \n \n \n Harvest On a summer day\, the villagers were harvesting wheat at Xidang Village which lies at the foot of Kawagebo Snow Mountain. Seeing the video camera carried by the film maker\, women villagers rushed up in a crowd\, surrounded him and began performing with abandon in front of the camera. After lunch\, the women showed their old pictures to the film maker\, put on their festival costumes and ask him to take photos for them. At this moment\, the video camera was no longer a dispassionate observational tool; instead\, it became an object with which the villagers were playing about. My Himalayan Vulture In one of the pastoral areas of Qinghai Province\, the number of Himalayan Vulture is dropping dramatically due to the change of environment and human-animal relationship. Two Tibetan lamas took up the camera and video camera to explore the secret behind the change. They had done this because the existence of the Himalayan Vulture is closely related to the celestial burial. These winged creature helps the Tibetans donate their bodies to nature after they pass away as well as keep the ecological balance of the grassland. Both of the two films tell the stories of the Tibetans\, one from the perspective of outside researcher\, the other from the perspective of the local Tibetans. The modern tool of DV plays a key role in their observation. Connected by the bond of DV\, the outsiders and the locals meet each other\, talk with each other and communicate with each other beyond language. They work together and create this new method called Village Video. With the help of this method\, they are documenting the changes in environment and culture and are establishing new indigenous knowledge systems by action research.   麥子—郭淨作品 一個夏日，卡瓦格博雪山下西當村的幾個村民正在收麥子，看到作者的攝錄機，女人們擁了過來，隨即在鏡頭前放肆地表演。午飯後，女人們拿出自家的照片觀看，又穿起節日的盛裝要求作者給她們拍照。此時，攝錄機不再是冷靜觀察的工具，而成了村民們玩耍的對象。 我的高山兀鷲—紮西桑俄、周傑作品 在青海省的一個牧區，由於環境、文化和人獸關係的變化，高山兀鷲的數量急劇減少。兩個藏族僧人拿起了照相機和攝錄機，試圖探尋這種變化的奧秘。他們之所以這樣做，是因為兀鷲的存在與天葬密切相關，這種飛翔的生物幫助藏人在死後把肉體施捨給自然的生靈，也維持了草原生態的平衡。 這兩部影片講的都是藏族的故事，它們一個出自外來研究者的視角，一個出自本地藏族【僧人】的視角。在他們的觀察中，現代的影像工具攝錄機起了關鍵的作用。以攝錄機為紐帶，外來的人與本地的人相遇，產生了對話和交流，他們合作起來，共同創造了「鄉村影像」這個新事物。借助鄉村影像的方法，他們在紀錄環境和文化發生的變化，並以行動性研究，去建立新的地方性的知識體系。 \n \n \n \n \n \n \n \n ABOUT THE DIRECTORS \n \n \n \n 麥子 郭淨，民族史博士，雲南省社科院歷史研究所研究員，致力於影視人類學、自然聖境的調查研究。是中國鄉村影像教育的開創者之一，並參與創辦了中國最重要的紀錄電影節：雲之南紀錄影像展。 我的高山兀鷲 紮西桑俄，藏族僧人，佛學博士（堪布），青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 周杰，藏族僧人，青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 \n \n \n \n \n \n \n \n PHOTO HIGHLIGHTS \n \n \n \n \n \n \n \n \n Previous\n \n \n Next URL:https://ihss.hku.hk/events/gratitude-betrayed-and-forgotten-pearl-harbor-and-americas-humanitarian-moment-with-japan-in-1923/ LOCATION:Room 201\, 2/F\, Hong Kong CATEGORIES:IHSS END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20180420T120000 DTEND;TZID=Asia/Hong_Kong:20180420T133000 DTSTAMP:20261102T134201 CREATED:20240725T174358Z LAST-MODIFIED:20260416T102420Z UID:86779-1524225600-1524231000@ihss.hku.hk SUMMARY:Daoist Patronage and Practices of Arts\, Literati Culture\, Local Politics and Society in Late Qing and Early Republican Nanyang DESCRIPTION:Language: English\n \n \n \n \n T5\, Meng Wah Complex\, The University of Hong Kong\n \n \n \n \n September 26\, 2014 5:30 pm - 7:00 pm\n \n \n \n \n (Tel) (852) 3917-2461\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABOUT THE FILMS \n \n \n \n Harvest On a summer day\, the villagers were harvesting wheat at Xidang Village which lies at the foot of Kawagebo Snow Mountain. Seeing the video camera carried by the film maker\, women villagers rushed up in a crowd\, surrounded him and began performing with abandon in front of the camera. After lunch\, the women showed their old pictures to the film maker\, put on their festival costumes and ask him to take photos for them. At this moment\, the video camera was no longer a dispassionate observational tool; instead\, it became an object with which the villagers were playing about. My Himalayan Vulture In one of the pastoral areas of Qinghai Province\, the number of Himalayan Vulture is dropping dramatically due to the change of environment and human-animal relationship. Two Tibetan lamas took up the camera and video camera to explore the secret behind the change. They had done this because the existence of the Himalayan Vulture is closely related to the celestial burial. These winged creature helps the Tibetans donate their bodies to nature after they pass away as well as keep the ecological balance of the grassland. Both of the two films tell the stories of the Tibetans\, one from the perspective of outside researcher\, the other from the perspective of the local Tibetans. The modern tool of DV plays a key role in their observation. Connected by the bond of DV\, the outsiders and the locals meet each other\, talk with each other and communicate with each other beyond language. They work together and create this new method called Village Video. With the help of this method\, they are documenting the changes in environment and culture and are establishing new indigenous knowledge systems by action research.   麥子—郭淨作品 一個夏日，卡瓦格博雪山下西當村的幾個村民正在收麥子，看到作者的攝錄機，女人們擁了過來，隨即在鏡頭前放肆地表演。午飯後，女人們拿出自家的照片觀看，又穿起節日的盛裝要求作者給她們拍照。此時，攝錄機不再是冷靜觀察的工具，而成了村民們玩耍的對象。 我的高山兀鷲—紮西桑俄、周傑作品 在青海省的一個牧區，由於環境、文化和人獸關係的變化，高山兀鷲的數量急劇減少。兩個藏族僧人拿起了照相機和攝錄機，試圖探尋這種變化的奧秘。他們之所以這樣做，是因為兀鷲的存在與天葬密切相關，這種飛翔的生物幫助藏人在死後把肉體施捨給自然的生靈，也維持了草原生態的平衡。 這兩部影片講的都是藏族的故事，它們一個出自外來研究者的視角，一個出自本地藏族【僧人】的視角。在他們的觀察中，現代的影像工具攝錄機起了關鍵的作用。以攝錄機為紐帶，外來的人與本地的人相遇，產生了對話和交流，他們合作起來，共同創造了「鄉村影像」這個新事物。借助鄉村影像的方法，他們在紀錄環境和文化發生的變化，並以行動性研究，去建立新的地方性的知識體系。 \n \n \n \n \n \n \n \n ABOUT THE DIRECTORS \n \n \n \n 麥子 郭淨，民族史博士，雲南省社科院歷史研究所研究員，致力於影視人類學、自然聖境的調查研究。是中國鄉村影像教育的開創者之一，並參與創辦了中國最重要的紀錄電影節：雲之南紀錄影像展。 我的高山兀鷲 紮西桑俄，藏族僧人，佛學博士（堪布），青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 周杰，藏族僧人，青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 \n \n \n \n \n \n \n \n PHOTO HIGHLIGHTS \n \n \n \n \n \n \n \n \n Previous\n \n \n Next URL:https://ihss.hku.hk/events/daoist-patronage-and-practices-of-arts-literati-culture-local-politics-and-society-in-late-qing-and-early-republican-nanyang/ LOCATION:Room 201\, 2/F\, Hong Kong CATEGORIES:Others END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20180417T163000 DTEND;TZID=Asia/Hong_Kong:20180417T180000 DTSTAMP:20261102T134201 CREATED:20240725T175517Z LAST-MODIFIED:20260416T102421Z UID:86793-1523982600-1523988000@ihss.hku.hk SUMMARY:Digging Deep: Anthropological Encounters with the Zambian Copperbelt DESCRIPTION:Language: English\n \n \n \n \n T5\, Meng Wah Complex\, The University of Hong Kong\n \n \n \n \n September 26\, 2014 5:30 pm - 7:00 pm\n \n \n \n \n (Tel) (852) 3917-2461\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABOUT THE FILMS \n \n \n \n Harvest On a summer day\, the villagers were harvesting wheat at Xidang Village which lies at the foot of Kawagebo Snow Mountain. Seeing the video camera carried by the film maker\, women villagers rushed up in a crowd\, surrounded him and began performing with abandon in front of the camera. After lunch\, the women showed their old pictures to the film maker\, put on their festival costumes and ask him to take photos for them. At this moment\, the video camera was no longer a dispassionate observational tool; instead\, it became an object with which the villagers were playing about. My Himalayan Vulture In one of the pastoral areas of Qinghai Province\, the number of Himalayan Vulture is dropping dramatically due to the change of environment and human-animal relationship. Two Tibetan lamas took up the camera and video camera to explore the secret behind the change. They had done this because the existence of the Himalayan Vulture is closely related to the celestial burial. These winged creature helps the Tibetans donate their bodies to nature after they pass away as well as keep the ecological balance of the grassland. Both of the two films tell the stories of the Tibetans\, one from the perspective of outside researcher\, the other from the perspective of the local Tibetans. The modern tool of DV plays a key role in their observation. Connected by the bond of DV\, the outsiders and the locals meet each other\, talk with each other and communicate with each other beyond language. They work together and create this new method called Village Video. With the help of this method\, they are documenting the changes in environment and culture and are establishing new indigenous knowledge systems by action research.   麥子—郭淨作品 一個夏日，卡瓦格博雪山下西當村的幾個村民正在收麥子，看到作者的攝錄機，女人們擁了過來，隨即在鏡頭前放肆地表演。午飯後，女人們拿出自家的照片觀看，又穿起節日的盛裝要求作者給她們拍照。此時，攝錄機不再是冷靜觀察的工具，而成了村民們玩耍的對象。 我的高山兀鷲—紮西桑俄、周傑作品 在青海省的一個牧區，由於環境、文化和人獸關係的變化，高山兀鷲的數量急劇減少。兩個藏族僧人拿起了照相機和攝錄機，試圖探尋這種變化的奧秘。他們之所以這樣做，是因為兀鷲的存在與天葬密切相關，這種飛翔的生物幫助藏人在死後把肉體施捨給自然的生靈，也維持了草原生態的平衡。 這兩部影片講的都是藏族的故事，它們一個出自外來研究者的視角，一個出自本地藏族【僧人】的視角。在他們的觀察中，現代的影像工具攝錄機起了關鍵的作用。以攝錄機為紐帶，外來的人與本地的人相遇，產生了對話和交流，他們合作起來，共同創造了「鄉村影像」這個新事物。借助鄉村影像的方法，他們在紀錄環境和文化發生的變化，並以行動性研究，去建立新的地方性的知識體系。 \n \n \n \n \n \n \n \n ABOUT THE DIRECTORS \n \n \n \n 麥子 郭淨，民族史博士，雲南省社科院歷史研究所研究員，致力於影視人類學、自然聖境的調查研究。是中國鄉村影像教育的開創者之一，並參與創辦了中國最重要的紀錄電影節：雲之南紀錄影像展。 我的高山兀鷲 紮西桑俄，藏族僧人，佛學博士（堪布），青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 周杰，藏族僧人，青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 \n \n \n \n \n \n \n \n PHOTO HIGHLIGHTS \n \n \n \n \n \n \n \n \n Previous\n \n \n Next URL:https://ihss.hku.hk/events/digging-deep-anthropological-encounters-with-the-zambian-copperbelt/ LOCATION:Lecture Hall\, G/F\, Hong Kong CATEGORIES:IHSS ATTACH;FMTTYPE=image/jpeg:https://ihss.hku.hk/wp-content/uploads/2024/07/lecture-by-professor-ellen-hertz-20180417-1920x1080-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20180410T163000 DTEND;TZID=Asia/Hong_Kong:20180410T180000 DTSTAMP:20261102T134201 CREATED:20240725T174818Z LAST-MODIFIED:20260416T102420Z UID:86786-1523377800-1523383200@ihss.hku.hk SUMMARY:Acting for the “Public Good” and Tributary Social Reproduction in a Former Emigrant Village of Shenzhen DESCRIPTION:Language: English\n \n \n \n \n T5\, Meng Wah Complex\, The University of Hong Kong\n \n \n \n \n September 26\, 2014 5:30 pm - 7:00 pm\n \n \n \n \n (Tel) (852) 3917-2461\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABOUT THE FILMS \n \n \n \n Harvest On a summer day\, the villagers were harvesting wheat at Xidang Village which lies at the foot of Kawagebo Snow Mountain. Seeing the video camera carried by the film maker\, women villagers rushed up in a crowd\, surrounded him and began performing with abandon in front of the camera. After lunch\, the women showed their old pictures to the film maker\, put on their festival costumes and ask him to take photos for them. At this moment\, the video camera was no longer a dispassionate observational tool; instead\, it became an object with which the villagers were playing about. My Himalayan Vulture In one of the pastoral areas of Qinghai Province\, the number of Himalayan Vulture is dropping dramatically due to the change of environment and human-animal relationship. Two Tibetan lamas took up the camera and video camera to explore the secret behind the change. They had done this because the existence of the Himalayan Vulture is closely related to the celestial burial. These winged creature helps the Tibetans donate their bodies to nature after they pass away as well as keep the ecological balance of the grassland. Both of the two films tell the stories of the Tibetans\, one from the perspective of outside researcher\, the other from the perspective of the local Tibetans. The modern tool of DV plays a key role in their observation. Connected by the bond of DV\, the outsiders and the locals meet each other\, talk with each other and communicate with each other beyond language. They work together and create this new method called Village Video. With the help of this method\, they are documenting the changes in environment and culture and are establishing new indigenous knowledge systems by action research.   麥子—郭淨作品 一個夏日，卡瓦格博雪山下西當村的幾個村民正在收麥子，看到作者的攝錄機，女人們擁了過來，隨即在鏡頭前放肆地表演。午飯後，女人們拿出自家的照片觀看，又穿起節日的盛裝要求作者給她們拍照。此時，攝錄機不再是冷靜觀察的工具，而成了村民們玩耍的對象。 我的高山兀鷲—紮西桑俄、周傑作品 在青海省的一個牧區，由於環境、文化和人獸關係的變化，高山兀鷲的數量急劇減少。兩個藏族僧人拿起了照相機和攝錄機，試圖探尋這種變化的奧秘。他們之所以這樣做，是因為兀鷲的存在與天葬密切相關，這種飛翔的生物幫助藏人在死後把肉體施捨給自然的生靈，也維持了草原生態的平衡。 這兩部影片講的都是藏族的故事，它們一個出自外來研究者的視角，一個出自本地藏族【僧人】的視角。在他們的觀察中，現代的影像工具攝錄機起了關鍵的作用。以攝錄機為紐帶，外來的人與本地的人相遇，產生了對話和交流，他們合作起來，共同創造了「鄉村影像」這個新事物。借助鄉村影像的方法，他們在紀錄環境和文化發生的變化，並以行動性研究，去建立新的地方性的知識體系。 \n \n \n \n \n \n \n \n ABOUT THE DIRECTORS \n \n \n \n 麥子 郭淨，民族史博士，雲南省社科院歷史研究所研究員，致力於影視人類學、自然聖境的調查研究。是中國鄉村影像教育的開創者之一，並參與創辦了中國最重要的紀錄電影節：雲之南紀錄影像展。 我的高山兀鷲 紮西桑俄，藏族僧人，佛學博士（堪布），青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 周杰，藏族僧人，青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 \n \n \n \n \n \n \n \n PHOTO HIGHLIGHTS \n \n \n \n \n \n \n \n \n Previous\n \n \n Next URL:https://ihss.hku.hk/events/acting-for-the-public-good-and-tributary-social-reproduction-in-a-former-emigrant-village-of-shenzhen/ LOCATION:Room 201\, 2/F\, Hong Kong CATEGORIES:IHSS END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20180322T180000 DTEND;TZID=Asia/Hong_Kong:20180322T193000 DTSTAMP:20261102T134201 CREATED:20240725T180210Z LAST-MODIFIED:20260416T102421Z UID:86809-1521741600-1521747000@ihss.hku.hk SUMMARY:Why Empire? Empire as a Topic in World History DESCRIPTION:Language: English\n \n \n \n \n T5\, Meng Wah Complex\, The University of Hong Kong\n \n \n \n \n September 26\, 2014 5:30 pm - 7:00 pm\n \n \n \n \n (Tel) (852) 3917-2461\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABOUT THE FILMS \n \n \n \n Harvest On a summer day\, the villagers were harvesting wheat at Xidang Village which lies at the foot of Kawagebo Snow Mountain. Seeing the video camera carried by the film maker\, women villagers rushed up in a crowd\, surrounded him and began performing with abandon in front of the camera. After lunch\, the women showed their old pictures to the film maker\, put on their festival costumes and ask him to take photos for them. At this moment\, the video camera was no longer a dispassionate observational tool; instead\, it became an object with which the villagers were playing about. My Himalayan Vulture In one of the pastoral areas of Qinghai Province\, the number of Himalayan Vulture is dropping dramatically due to the change of environment and human-animal relationship. Two Tibetan lamas took up the camera and video camera to explore the secret behind the change. They had done this because the existence of the Himalayan Vulture is closely related to the celestial burial. These winged creature helps the Tibetans donate their bodies to nature after they pass away as well as keep the ecological balance of the grassland. Both of the two films tell the stories of the Tibetans\, one from the perspective of outside researcher\, the other from the perspective of the local Tibetans. The modern tool of DV plays a key role in their observation. Connected by the bond of DV\, the outsiders and the locals meet each other\, talk with each other and communicate with each other beyond language. They work together and create this new method called Village Video. With the help of this method\, they are documenting the changes in environment and culture and are establishing new indigenous knowledge systems by action research.   麥子—郭淨作品 一個夏日，卡瓦格博雪山下西當村的幾個村民正在收麥子，看到作者的攝錄機，女人們擁了過來，隨即在鏡頭前放肆地表演。午飯後，女人們拿出自家的照片觀看，又穿起節日的盛裝要求作者給她們拍照。此時，攝錄機不再是冷靜觀察的工具，而成了村民們玩耍的對象。 我的高山兀鷲—紮西桑俄、周傑作品 在青海省的一個牧區，由於環境、文化和人獸關係的變化，高山兀鷲的數量急劇減少。兩個藏族僧人拿起了照相機和攝錄機，試圖探尋這種變化的奧秘。他們之所以這樣做，是因為兀鷲的存在與天葬密切相關，這種飛翔的生物幫助藏人在死後把肉體施捨給自然的生靈，也維持了草原生態的平衡。 這兩部影片講的都是藏族的故事，它們一個出自外來研究者的視角，一個出自本地藏族【僧人】的視角。在他們的觀察中，現代的影像工具攝錄機起了關鍵的作用。以攝錄機為紐帶，外來的人與本地的人相遇，產生了對話和交流，他們合作起來，共同創造了「鄉村影像」這個新事物。借助鄉村影像的方法，他們在紀錄環境和文化發生的變化，並以行動性研究，去建立新的地方性的知識體系。 \n \n \n \n \n \n \n \n ABOUT THE DIRECTORS \n \n \n \n 麥子 郭淨，民族史博士，雲南省社科院歷史研究所研究員，致力於影視人類學、自然聖境的調查研究。是中國鄉村影像教育的開創者之一，並參與創辦了中國最重要的紀錄電影節：雲之南紀錄影像展。 我的高山兀鷲 紮西桑俄，藏族僧人，佛學博士（堪布），青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 周杰，藏族僧人，青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 \n \n \n \n \n \n \n \n PHOTO HIGHLIGHTS \n \n \n \n \n \n \n \n \n Previous\n \n \n Next URL:https://ihss.hku.hk/events/why-empire-empire-as-a-topic-in-world-history/ CATEGORIES:IHSS END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20180322T100000 DTEND;TZID=Asia/Hong_Kong:20180322T120000 DTSTAMP:20261102T134201 CREATED:20240725T181253Z LAST-MODIFIED:20260416T102443Z UID:86823-1521712800-1521720000@ihss.hku.hk SUMMARY:Egg and Stone (雞蛋和石頭) DESCRIPTION:Language: English\n \n \n \n \n T5\, Meng Wah Complex\, The University of Hong Kong\n \n \n \n \n September 26\, 2014 5:30 pm - 7:00 pm\n \n \n \n \n (Tel) (852) 3917-2461\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABOUT THE FILMS \n \n \n \n Harvest On a summer day\, the villagers were harvesting wheat at Xidang Village which lies at the foot of Kawagebo Snow Mountain. Seeing the video camera carried by the film maker\, women villagers rushed up in a crowd\, surrounded him and began performing with abandon in front of the camera. After lunch\, the women showed their old pictures to the film maker\, put on their festival costumes and ask him to take photos for them. At this moment\, the video camera was no longer a dispassionate observational tool; instead\, it became an object with which the villagers were playing about. My Himalayan Vulture In one of the pastoral areas of Qinghai Province\, the number of Himalayan Vulture is dropping dramatically due to the change of environment and human-animal relationship. Two Tibetan lamas took up the camera and video camera to explore the secret behind the change. They had done this because the existence of the Himalayan Vulture is closely related to the celestial burial. These winged creature helps the Tibetans donate their bodies to nature after they pass away as well as keep the ecological balance of the grassland. Both of the two films tell the stories of the Tibetans\, one from the perspective of outside researcher\, the other from the perspective of the local Tibetans. The modern tool of DV plays a key role in their observation. Connected by the bond of DV\, the outsiders and the locals meet each other\, talk with each other and communicate with each other beyond language. They work together and create this new method called Village Video. With the help of this method\, they are documenting the changes in environment and culture and are establishing new indigenous knowledge systems by action research.   麥子—郭淨作品 一個夏日，卡瓦格博雪山下西當村的幾個村民正在收麥子，看到作者的攝錄機，女人們擁了過來，隨即在鏡頭前放肆地表演。午飯後，女人們拿出自家的照片觀看，又穿起節日的盛裝要求作者給她們拍照。此時，攝錄機不再是冷靜觀察的工具，而成了村民們玩耍的對象。 我的高山兀鷲—紮西桑俄、周傑作品 在青海省的一個牧區，由於環境、文化和人獸關係的變化，高山兀鷲的數量急劇減少。兩個藏族僧人拿起了照相機和攝錄機，試圖探尋這種變化的奧秘。他們之所以這樣做，是因為兀鷲的存在與天葬密切相關，這種飛翔的生物幫助藏人在死後把肉體施捨給自然的生靈，也維持了草原生態的平衡。 這兩部影片講的都是藏族的故事，它們一個出自外來研究者的視角，一個出自本地藏族【僧人】的視角。在他們的觀察中，現代的影像工具攝錄機起了關鍵的作用。以攝錄機為紐帶，外來的人與本地的人相遇，產生了對話和交流，他們合作起來，共同創造了「鄉村影像」這個新事物。借助鄉村影像的方法，他們在紀錄環境和文化發生的變化，並以行動性研究，去建立新的地方性的知識體系。 \n \n \n \n \n \n \n \n ABOUT THE DIRECTORS \n \n \n \n 麥子 郭淨，民族史博士，雲南省社科院歷史研究所研究員，致力於影視人類學、自然聖境的調查研究。是中國鄉村影像教育的開創者之一，並參與創辦了中國最重要的紀錄電影節：雲之南紀錄影像展。 我的高山兀鷲 紮西桑俄，藏族僧人，佛學博士（堪布），青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 周杰，藏族僧人，青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 \n \n \n \n \n \n \n \n PHOTO HIGHLIGHTS \n \n \n \n \n \n \n \n \n Previous\n \n \n Next URL:https://ihss.hku.hk/events/egg-and-stone-%e9%9b%9e%e8%9b%8b%e5%92%8c%e7%9f%b3%e9%a0%ad/ LOCATION:Lecture Hall\, G/F\, Hong Kong CATEGORIES:IHSS ATTACH;FMTTYPE=image/jpeg:https://ihss.hku.hk/wp-content/uploads/2024/07/screening-of-egg-and-stone-20180322-1920x1080-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20180321T170000 DTEND;TZID=Asia/Hong_Kong:20180321T183000 DTSTAMP:20261102T134201 CREATED:20240725T180629Z LAST-MODIFIED:20260416T102441Z UID:86816-1521651600-1521657000@ihss.hku.hk SUMMARY:“Suicide” or Salvation: Margaret Sanger and the Birth Control Debate in Interwar Hong Kong DESCRIPTION:Language: English\n \n \n \n \n T5\, Meng Wah Complex\, The University of Hong Kong\n \n \n \n \n September 26\, 2014 5:30 pm - 7:00 pm\n \n \n \n \n (Tel) (852) 3917-2461\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABOUT THE FILMS \n \n \n \n Harvest On a summer day\, the villagers were harvesting wheat at Xidang Village which lies at the foot of Kawagebo Snow Mountain. Seeing the video camera carried by the film maker\, women villagers rushed up in a crowd\, surrounded him and began performing with abandon in front of the camera. After lunch\, the women showed their old pictures to the film maker\, put on their festival costumes and ask him to take photos for them. At this moment\, the video camera was no longer a dispassionate observational tool; instead\, it became an object with which the villagers were playing about. My Himalayan Vulture In one of the pastoral areas of Qinghai Province\, the number of Himalayan Vulture is dropping dramatically due to the change of environment and human-animal relationship. Two Tibetan lamas took up the camera and video camera to explore the secret behind the change. They had done this because the existence of the Himalayan Vulture is closely related to the celestial burial. These winged creature helps the Tibetans donate their bodies to nature after they pass away as well as keep the ecological balance of the grassland. Both of the two films tell the stories of the Tibetans\, one from the perspective of outside researcher\, the other from the perspective of the local Tibetans. The modern tool of DV plays a key role in their observation. Connected by the bond of DV\, the outsiders and the locals meet each other\, talk with each other and communicate with each other beyond language. They work together and create this new method called Village Video. With the help of this method\, they are documenting the changes in environment and culture and are establishing new indigenous knowledge systems by action research.   麥子—郭淨作品 一個夏日，卡瓦格博雪山下西當村的幾個村民正在收麥子，看到作者的攝錄機，女人們擁了過來，隨即在鏡頭前放肆地表演。午飯後，女人們拿出自家的照片觀看，又穿起節日的盛裝要求作者給她們拍照。此時，攝錄機不再是冷靜觀察的工具，而成了村民們玩耍的對象。 我的高山兀鷲—紮西桑俄、周傑作品 在青海省的一個牧區，由於環境、文化和人獸關係的變化，高山兀鷲的數量急劇減少。兩個藏族僧人拿起了照相機和攝錄機，試圖探尋這種變化的奧秘。他們之所以這樣做，是因為兀鷲的存在與天葬密切相關，這種飛翔的生物幫助藏人在死後把肉體施捨給自然的生靈，也維持了草原生態的平衡。 這兩部影片講的都是藏族的故事，它們一個出自外來研究者的視角，一個出自本地藏族【僧人】的視角。在他們的觀察中，現代的影像工具攝錄機起了關鍵的作用。以攝錄機為紐帶，外來的人與本地的人相遇，產生了對話和交流，他們合作起來，共同創造了「鄉村影像」這個新事物。借助鄉村影像的方法，他們在紀錄環境和文化發生的變化，並以行動性研究，去建立新的地方性的知識體系。 \n \n \n \n \n \n \n \n ABOUT THE DIRECTORS \n \n \n \n 麥子 郭淨，民族史博士，雲南省社科院歷史研究所研究員，致力於影視人類學、自然聖境的調查研究。是中國鄉村影像教育的開創者之一，並參與創辦了中國最重要的紀錄電影節：雲之南紀錄影像展。 我的高山兀鷲 紮西桑俄，藏族僧人，佛學博士（堪布），青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 周杰，藏族僧人，青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 \n \n \n \n \n \n \n \n PHOTO HIGHLIGHTS \n \n \n \n \n \n \n \n \n Previous\n \n \n Next URL:https://ihss.hku.hk/events/suicide-or-salvation-margaret-sanger-and-the-birth-control-debate-in-interwar-hong-kong/ LOCATION:Room 201\, 2/F\, Hong Kong CATEGORIES:IHSS END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20180320T163000 DTEND;TZID=Asia/Hong_Kong:20180320T180000 DTSTAMP:20261102T134201 CREATED:20240725T181817Z LAST-MODIFIED:20260416T102443Z UID:86836-1521563400-1521568800@ihss.hku.hk SUMMARY:Politics and Scientific Change in Dynastic China DESCRIPTION:Language: English\n \n \n \n \n T5\, Meng Wah Complex\, The University of Hong Kong\n \n \n \n \n September 26\, 2014 5:30 pm - 7:00 pm\n \n \n \n \n (Tel) (852) 3917-2461\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABOUT THE FILMS \n \n \n \n Harvest On a summer day\, the villagers were harvesting wheat at Xidang Village which lies at the foot of Kawagebo Snow Mountain. Seeing the video camera carried by the film maker\, women villagers rushed up in a crowd\, surrounded him and began performing with abandon in front of the camera. After lunch\, the women showed their old pictures to the film maker\, put on their festival costumes and ask him to take photos for them. At this moment\, the video camera was no longer a dispassionate observational tool; instead\, it became an object with which the villagers were playing about. My Himalayan Vulture In one of the pastoral areas of Qinghai Province\, the number of Himalayan Vulture is dropping dramatically due to the change of environment and human-animal relationship. Two Tibetan lamas took up the camera and video camera to explore the secret behind the change. They had done this because the existence of the Himalayan Vulture is closely related to the celestial burial. These winged creature helps the Tibetans donate their bodies to nature after they pass away as well as keep the ecological balance of the grassland. Both of the two films tell the stories of the Tibetans\, one from the perspective of outside researcher\, the other from the perspective of the local Tibetans. The modern tool of DV plays a key role in their observation. Connected by the bond of DV\, the outsiders and the locals meet each other\, talk with each other and communicate with each other beyond language. They work together and create this new method called Village Video. With the help of this method\, they are documenting the changes in environment and culture and are establishing new indigenous knowledge systems by action research.   麥子—郭淨作品 一個夏日，卡瓦格博雪山下西當村的幾個村民正在收麥子，看到作者的攝錄機，女人們擁了過來，隨即在鏡頭前放肆地表演。午飯後，女人們拿出自家的照片觀看，又穿起節日的盛裝要求作者給她們拍照。此時，攝錄機不再是冷靜觀察的工具，而成了村民們玩耍的對象。 我的高山兀鷲—紮西桑俄、周傑作品 在青海省的一個牧區，由於環境、文化和人獸關係的變化，高山兀鷲的數量急劇減少。兩個藏族僧人拿起了照相機和攝錄機，試圖探尋這種變化的奧秘。他們之所以這樣做，是因為兀鷲的存在與天葬密切相關，這種飛翔的生物幫助藏人在死後把肉體施捨給自然的生靈，也維持了草原生態的平衡。 這兩部影片講的都是藏族的故事，它們一個出自外來研究者的視角，一個出自本地藏族【僧人】的視角。在他們的觀察中，現代的影像工具攝錄機起了關鍵的作用。以攝錄機為紐帶，外來的人與本地的人相遇，產生了對話和交流，他們合作起來，共同創造了「鄉村影像」這個新事物。借助鄉村影像的方法，他們在紀錄環境和文化發生的變化，並以行動性研究，去建立新的地方性的知識體系。 \n \n \n \n \n \n \n \n ABOUT THE DIRECTORS \n \n \n \n 麥子 郭淨，民族史博士，雲南省社科院歷史研究所研究員，致力於影視人類學、自然聖境的調查研究。是中國鄉村影像教育的開創者之一，並參與創辦了中國最重要的紀錄電影節：雲之南紀錄影像展。 我的高山兀鷲 紮西桑俄，藏族僧人，佛學博士（堪布），青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 周杰，藏族僧人，青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 \n \n \n \n \n \n \n \n PHOTO HIGHLIGHTS \n \n \n \n \n \n \n \n \n Previous\n \n \n Next URL:https://ihss.hku.hk/events/politics-and-scientific-change-in-dynastic-china/ LOCATION:Lecture Hall\, G/F\, Hong Kong CATEGORIES:Others ATTACH;FMTTYPE=image/jpeg:https://ihss.hku.hk/wp-content/uploads/2024/07/mmea-lecture-by-professor-dagmar-schaefer-20180320-1920x1080-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20180320T120000 DTEND;TZID=Asia/Hong_Kong:20180320T130000 DTSTAMP:20261102T134201 CREATED:20240725T182328Z LAST-MODIFIED:20260416T102444Z UID:86855-1521547200-1521550800@ihss.hku.hk SUMMARY:“Ordinary Language” as Legal Fiction DESCRIPTION:Language: English\n \n \n \n \n T5\, Meng Wah Complex\, The University of Hong Kong\n \n \n \n \n September 26\, 2014 5:30 pm - 7:00 pm\n \n \n \n \n (Tel) (852) 3917-2461\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABOUT THE FILMS \n \n \n \n Harvest On a summer day\, the villagers were harvesting wheat at Xidang Village which lies at the foot of Kawagebo Snow Mountain. Seeing the video camera carried by the film maker\, women villagers rushed up in a crowd\, surrounded him and began performing with abandon in front of the camera. After lunch\, the women showed their old pictures to the film maker\, put on their festival costumes and ask him to take photos for them. At this moment\, the video camera was no longer a dispassionate observational tool; instead\, it became an object with which the villagers were playing about. My Himalayan Vulture In one of the pastoral areas of Qinghai Province\, the number of Himalayan Vulture is dropping dramatically due to the change of environment and human-animal relationship. Two Tibetan lamas took up the camera and video camera to explore the secret behind the change. They had done this because the existence of the Himalayan Vulture is closely related to the celestial burial. These winged creature helps the Tibetans donate their bodies to nature after they pass away as well as keep the ecological balance of the grassland. Both of the two films tell the stories of the Tibetans\, one from the perspective of outside researcher\, the other from the perspective of the local Tibetans. The modern tool of DV plays a key role in their observation. Connected by the bond of DV\, the outsiders and the locals meet each other\, talk with each other and communicate with each other beyond language. They work together and create this new method called Village Video. With the help of this method\, they are documenting the changes in environment and culture and are establishing new indigenous knowledge systems by action research.   麥子—郭淨作品 一個夏日，卡瓦格博雪山下西當村的幾個村民正在收麥子，看到作者的攝錄機，女人們擁了過來，隨即在鏡頭前放肆地表演。午飯後，女人們拿出自家的照片觀看，又穿起節日的盛裝要求作者給她們拍照。此時，攝錄機不再是冷靜觀察的工具，而成了村民們玩耍的對象。 我的高山兀鷲—紮西桑俄、周傑作品 在青海省的一個牧區，由於環境、文化和人獸關係的變化，高山兀鷲的數量急劇減少。兩個藏族僧人拿起了照相機和攝錄機，試圖探尋這種變化的奧秘。他們之所以這樣做，是因為兀鷲的存在與天葬密切相關，這種飛翔的生物幫助藏人在死後把肉體施捨給自然的生靈，也維持了草原生態的平衡。 這兩部影片講的都是藏族的故事，它們一個出自外來研究者的視角，一個出自本地藏族【僧人】的視角。在他們的觀察中，現代的影像工具攝錄機起了關鍵的作用。以攝錄機為紐帶，外來的人與本地的人相遇，產生了對話和交流，他們合作起來，共同創造了「鄉村影像」這個新事物。借助鄉村影像的方法，他們在紀錄環境和文化發生的變化，並以行動性研究，去建立新的地方性的知識體系。 \n \n \n \n \n \n \n \n ABOUT THE DIRECTORS \n \n \n \n 麥子 郭淨，民族史博士，雲南省社科院歷史研究所研究員，致力於影視人類學、自然聖境的調查研究。是中國鄉村影像教育的開創者之一，並參與創辦了中國最重要的紀錄電影節：雲之南紀錄影像展。 我的高山兀鷲 紮西桑俄，藏族僧人，佛學博士（堪布），青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 周杰，藏族僧人，青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 \n \n \n \n \n \n \n \n PHOTO HIGHLIGHTS \n \n \n \n \n \n \n \n \n Previous\n \n \n Next URL:https://ihss.hku.hk/events/ordinary-language-as-legal-fiction/ LOCATION:Room 201\, 2/F\, Hong Kong CATEGORIES:IHSS END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20180313T120000 DTEND;TZID=Asia/Hong_Kong:20180313T130000 DTSTAMP:20261102T134201 CREATED:20240725T182847Z LAST-MODIFIED:20260416T102444Z UID:86862-1520942400-1520946000@ihss.hku.hk SUMMARY:Sexuality\, Intimacy and Venereal Disease Control during the Occupation of Japan\, 1945 – 1952 DESCRIPTION:Language: English\n \n \n \n \n T5\, Meng Wah Complex\, The University of Hong Kong\n \n \n \n \n September 26\, 2014 5:30 pm - 7:00 pm\n \n \n \n \n (Tel) (852) 3917-2461\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABOUT THE FILMS \n \n \n \n Harvest On a summer day\, the villagers were harvesting wheat at Xidang Village which lies at the foot of Kawagebo Snow Mountain. Seeing the video camera carried by the film maker\, women villagers rushed up in a crowd\, surrounded him and began performing with abandon in front of the camera. After lunch\, the women showed their old pictures to the film maker\, put on their festival costumes and ask him to take photos for them. At this moment\, the video camera was no longer a dispassionate observational tool; instead\, it became an object with which the villagers were playing about. My Himalayan Vulture In one of the pastoral areas of Qinghai Province\, the number of Himalayan Vulture is dropping dramatically due to the change of environment and human-animal relationship. Two Tibetan lamas took up the camera and video camera to explore the secret behind the change. They had done this because the existence of the Himalayan Vulture is closely related to the celestial burial. These winged creature helps the Tibetans donate their bodies to nature after they pass away as well as keep the ecological balance of the grassland. Both of the two films tell the stories of the Tibetans\, one from the perspective of outside researcher\, the other from the perspective of the local Tibetans. The modern tool of DV plays a key role in their observation. Connected by the bond of DV\, the outsiders and the locals meet each other\, talk with each other and communicate with each other beyond language. They work together and create this new method called Village Video. With the help of this method\, they are documenting the changes in environment and culture and are establishing new indigenous knowledge systems by action research.   麥子—郭淨作品 一個夏日，卡瓦格博雪山下西當村的幾個村民正在收麥子，看到作者的攝錄機，女人們擁了過來，隨即在鏡頭前放肆地表演。午飯後，女人們拿出自家的照片觀看，又穿起節日的盛裝要求作者給她們拍照。此時，攝錄機不再是冷靜觀察的工具，而成了村民們玩耍的對象。 我的高山兀鷲—紮西桑俄、周傑作品 在青海省的一個牧區，由於環境、文化和人獸關係的變化，高山兀鷲的數量急劇減少。兩個藏族僧人拿起了照相機和攝錄機，試圖探尋這種變化的奧秘。他們之所以這樣做，是因為兀鷲的存在與天葬密切相關，這種飛翔的生物幫助藏人在死後把肉體施捨給自然的生靈，也維持了草原生態的平衡。 這兩部影片講的都是藏族的故事，它們一個出自外來研究者的視角，一個出自本地藏族【僧人】的視角。在他們的觀察中，現代的影像工具攝錄機起了關鍵的作用。以攝錄機為紐帶，外來的人與本地的人相遇，產生了對話和交流，他們合作起來，共同創造了「鄉村影像」這個新事物。借助鄉村影像的方法，他們在紀錄環境和文化發生的變化，並以行動性研究，去建立新的地方性的知識體系。 \n \n \n \n \n \n \n \n ABOUT THE DIRECTORS \n \n \n \n 麥子 郭淨，民族史博士，雲南省社科院歷史研究所研究員，致力於影視人類學、自然聖境的調查研究。是中國鄉村影像教育的開創者之一，並參與創辦了中國最重要的紀錄電影節：雲之南紀錄影像展。 我的高山兀鷲 紮西桑俄，藏族僧人，佛學博士（堪布），青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 周杰，藏族僧人，青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 \n \n \n \n \n \n \n \n PHOTO HIGHLIGHTS \n \n \n \n \n \n \n \n \n Previous\n \n \n Next URL:https://ihss.hku.hk/events/sexuality-intimacy-and-venereal-disease-control-during-the-occupation-of-japan-1945-1952/ LOCATION:Room 201\, 2/F\, Hong Kong CATEGORIES:IHSS END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20180228T173000 DTEND;TZID=Asia/Hong_Kong:20180228T190000 DTSTAMP:20261102T134201 CREATED:20240725T183656Z LAST-MODIFIED:20260416T102444Z UID:86870-1519839000-1519844400@ihss.hku.hk SUMMARY:The Ethics of Mastery in Global Perspective: Skill and Trust among Artisans in Bangkok DESCRIPTION:Language: English\n \n \n \n \n T5\, Meng Wah Complex\, The University of Hong Kong\n \n \n \n \n September 26\, 2014 5:30 pm - 7:00 pm\n \n \n \n \n (Tel) (852) 3917-2461\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABOUT THE FILMS \n \n \n \n Harvest On a summer day\, the villagers were harvesting wheat at Xidang Village which lies at the foot of Kawagebo Snow Mountain. Seeing the video camera carried by the film maker\, women villagers rushed up in a crowd\, surrounded him and began performing with abandon in front of the camera. After lunch\, the women showed their old pictures to the film maker\, put on their festival costumes and ask him to take photos for them. At this moment\, the video camera was no longer a dispassionate observational tool; instead\, it became an object with which the villagers were playing about. My Himalayan Vulture In one of the pastoral areas of Qinghai Province\, the number of Himalayan Vulture is dropping dramatically due to the change of environment and human-animal relationship. Two Tibetan lamas took up the camera and video camera to explore the secret behind the change. They had done this because the existence of the Himalayan Vulture is closely related to the celestial burial. These winged creature helps the Tibetans donate their bodies to nature after they pass away as well as keep the ecological balance of the grassland. Both of the two films tell the stories of the Tibetans\, one from the perspective of outside researcher\, the other from the perspective of the local Tibetans. The modern tool of DV plays a key role in their observation. Connected by the bond of DV\, the outsiders and the locals meet each other\, talk with each other and communicate with each other beyond language. They work together and create this new method called Village Video. With the help of this method\, they are documenting the changes in environment and culture and are establishing new indigenous knowledge systems by action research.   麥子—郭淨作品 一個夏日，卡瓦格博雪山下西當村的幾個村民正在收麥子，看到作者的攝錄機，女人們擁了過來，隨即在鏡頭前放肆地表演。午飯後，女人們拿出自家的照片觀看，又穿起節日的盛裝要求作者給她們拍照。此時，攝錄機不再是冷靜觀察的工具，而成了村民們玩耍的對象。 我的高山兀鷲—紮西桑俄、周傑作品 在青海省的一個牧區，由於環境、文化和人獸關係的變化，高山兀鷲的數量急劇減少。兩個藏族僧人拿起了照相機和攝錄機，試圖探尋這種變化的奧秘。他們之所以這樣做，是因為兀鷲的存在與天葬密切相關，這種飛翔的生物幫助藏人在死後把肉體施捨給自然的生靈，也維持了草原生態的平衡。 這兩部影片講的都是藏族的故事，它們一個出自外來研究者的視角，一個出自本地藏族【僧人】的視角。在他們的觀察中，現代的影像工具攝錄機起了關鍵的作用。以攝錄機為紐帶，外來的人與本地的人相遇，產生了對話和交流，他們合作起來，共同創造了「鄉村影像」這個新事物。借助鄉村影像的方法，他們在紀錄環境和文化發生的變化，並以行動性研究，去建立新的地方性的知識體系。 \n \n \n \n \n \n \n \n ABOUT THE DIRECTORS \n \n \n \n 麥子 郭淨，民族史博士，雲南省社科院歷史研究所研究員，致力於影視人類學、自然聖境的調查研究。是中國鄉村影像教育的開創者之一，並參與創辦了中國最重要的紀錄電影節：雲之南紀錄影像展。 我的高山兀鷲 紮西桑俄，藏族僧人，佛學博士（堪布），青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 周杰，藏族僧人，青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 \n \n \n \n \n \n \n \n PHOTO HIGHLIGHTS \n \n \n \n \n \n \n \n \n Previous\n \n \n Next URL:https://ihss.hku.hk/events/the-ethics-of-mastery-in-global-perspective-skill-and-trust-among-artisans-in-bangkok/ LOCATION:Lecture Hall\, G/F\, Hong Kong CATEGORIES:Others ATTACH;FMTTYPE=image/jpeg:https://ihss.hku.hk/wp-content/uploads/2024/07/mmea-lecture-by-professor-michael-herzfeld-20180228-1920x1080-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20180226T160000 DTEND;TZID=Asia/Hong_Kong:20180226T173000 DTSTAMP:20261102T134201 CREATED:20240725T184700Z LAST-MODIFIED:20260416T102445Z UID:86893-1519660800-1519666200@ihss.hku.hk SUMMARY:The World in Guangzhou: Africans and Other Foreigners in South China’s Global Marketplace DESCRIPTION:Language: English\n \n \n \n \n T5\, Meng Wah Complex\, The University of Hong Kong\n \n \n \n \n September 26\, 2014 5:30 pm - 7:00 pm\n \n \n \n \n (Tel) (852) 3917-2461\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABOUT THE FILMS \n \n \n \n Harvest On a summer day\, the villagers were harvesting wheat at Xidang Village which lies at the foot of Kawagebo Snow Mountain. Seeing the video camera carried by the film maker\, women villagers rushed up in a crowd\, surrounded him and began performing with abandon in front of the camera. After lunch\, the women showed their old pictures to the film maker\, put on their festival costumes and ask him to take photos for them. At this moment\, the video camera was no longer a dispassionate observational tool; instead\, it became an object with which the villagers were playing about. My Himalayan Vulture In one of the pastoral areas of Qinghai Province\, the number of Himalayan Vulture is dropping dramatically due to the change of environment and human-animal relationship. Two Tibetan lamas took up the camera and video camera to explore the secret behind the change. They had done this because the existence of the Himalayan Vulture is closely related to the celestial burial. These winged creature helps the Tibetans donate their bodies to nature after they pass away as well as keep the ecological balance of the grassland. Both of the two films tell the stories of the Tibetans\, one from the perspective of outside researcher\, the other from the perspective of the local Tibetans. The modern tool of DV plays a key role in their observation. Connected by the bond of DV\, the outsiders and the locals meet each other\, talk with each other and communicate with each other beyond language. They work together and create this new method called Village Video. With the help of this method\, they are documenting the changes in environment and culture and are establishing new indigenous knowledge systems by action research.   麥子—郭淨作品 一個夏日，卡瓦格博雪山下西當村的幾個村民正在收麥子，看到作者的攝錄機，女人們擁了過來，隨即在鏡頭前放肆地表演。午飯後，女人們拿出自家的照片觀看，又穿起節日的盛裝要求作者給她們拍照。此時，攝錄機不再是冷靜觀察的工具，而成了村民們玩耍的對象。 我的高山兀鷲—紮西桑俄、周傑作品 在青海省的一個牧區，由於環境、文化和人獸關係的變化，高山兀鷲的數量急劇減少。兩個藏族僧人拿起了照相機和攝錄機，試圖探尋這種變化的奧秘。他們之所以這樣做，是因為兀鷲的存在與天葬密切相關，這種飛翔的生物幫助藏人在死後把肉體施捨給自然的生靈，也維持了草原生態的平衡。 這兩部影片講的都是藏族的故事，它們一個出自外來研究者的視角，一個出自本地藏族【僧人】的視角。在他們的觀察中，現代的影像工具攝錄機起了關鍵的作用。以攝錄機為紐帶，外來的人與本地的人相遇，產生了對話和交流，他們合作起來，共同創造了「鄉村影像」這個新事物。借助鄉村影像的方法，他們在紀錄環境和文化發生的變化，並以行動性研究，去建立新的地方性的知識體系。 \n \n \n \n \n \n \n \n ABOUT THE DIRECTORS \n \n \n \n 麥子 郭淨，民族史博士，雲南省社科院歷史研究所研究員，致力於影視人類學、自然聖境的調查研究。是中國鄉村影像教育的開創者之一，並參與創辦了中國最重要的紀錄電影節：雲之南紀錄影像展。 我的高山兀鷲 紮西桑俄，藏族僧人，佛學博士（堪布），青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 周杰，藏族僧人，青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 \n \n \n \n \n \n \n \n PHOTO HIGHLIGHTS \n \n \n \n \n \n \n \n \n Previous\n \n \n Next URL:https://ihss.hku.hk/events/the-world-in-guangzhou-africans-and-other-foreigners-in-south-chinas-global-marketplace/ LOCATION:Room 201\, 2/F\, Hong Kong CATEGORIES:IHSS END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20180213T120000 DTEND;TZID=Asia/Hong_Kong:20180213T130000 DTSTAMP:20261102T134201 CREATED:20240725T184256Z LAST-MODIFIED:20260416T102445Z UID:86886-1518523200-1518526800@ihss.hku.hk SUMMARY:Unconditional Hospitality? Translation\, Travel and Telling Tales DESCRIPTION:Language: English\n \n \n \n \n T5\, Meng Wah Complex\, The University of Hong Kong\n \n \n \n \n September 26\, 2014 5:30 pm - 7:00 pm\n \n \n \n \n (Tel) (852) 3917-2461\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABOUT THE FILMS \n \n \n \n Harvest On a summer day\, the villagers were harvesting wheat at Xidang Village which lies at the foot of Kawagebo Snow Mountain. Seeing the video camera carried by the film maker\, women villagers rushed up in a crowd\, surrounded him and began performing with abandon in front of the camera. After lunch\, the women showed their old pictures to the film maker\, put on their festival costumes and ask him to take photos for them. At this moment\, the video camera was no longer a dispassionate observational tool; instead\, it became an object with which the villagers were playing about. My Himalayan Vulture In one of the pastoral areas of Qinghai Province\, the number of Himalayan Vulture is dropping dramatically due to the change of environment and human-animal relationship. Two Tibetan lamas took up the camera and video camera to explore the secret behind the change. They had done this because the existence of the Himalayan Vulture is closely related to the celestial burial. These winged creature helps the Tibetans donate their bodies to nature after they pass away as well as keep the ecological balance of the grassland. Both of the two films tell the stories of the Tibetans\, one from the perspective of outside researcher\, the other from the perspective of the local Tibetans. The modern tool of DV plays a key role in their observation. Connected by the bond of DV\, the outsiders and the locals meet each other\, talk with each other and communicate with each other beyond language. They work together and create this new method called Village Video. With the help of this method\, they are documenting the changes in environment and culture and are establishing new indigenous knowledge systems by action research.   麥子—郭淨作品 一個夏日，卡瓦格博雪山下西當村的幾個村民正在收麥子，看到作者的攝錄機，女人們擁了過來，隨即在鏡頭前放肆地表演。午飯後，女人們拿出自家的照片觀看，又穿起節日的盛裝要求作者給她們拍照。此時，攝錄機不再是冷靜觀察的工具，而成了村民們玩耍的對象。 我的高山兀鷲—紮西桑俄、周傑作品 在青海省的一個牧區，由於環境、文化和人獸關係的變化，高山兀鷲的數量急劇減少。兩個藏族僧人拿起了照相機和攝錄機，試圖探尋這種變化的奧秘。他們之所以這樣做，是因為兀鷲的存在與天葬密切相關，這種飛翔的生物幫助藏人在死後把肉體施捨給自然的生靈，也維持了草原生態的平衡。 這兩部影片講的都是藏族的故事，它們一個出自外來研究者的視角，一個出自本地藏族【僧人】的視角。在他們的觀察中，現代的影像工具攝錄機起了關鍵的作用。以攝錄機為紐帶，外來的人與本地的人相遇，產生了對話和交流，他們合作起來，共同創造了「鄉村影像」這個新事物。借助鄉村影像的方法，他們在紀錄環境和文化發生的變化，並以行動性研究，去建立新的地方性的知識體系。 \n \n \n \n \n \n \n \n ABOUT THE DIRECTORS \n \n \n \n 麥子 郭淨，民族史博士，雲南省社科院歷史研究所研究員，致力於影視人類學、自然聖境的調查研究。是中國鄉村影像教育的開創者之一，並參與創辦了中國最重要的紀錄電影節：雲之南紀錄影像展。 我的高山兀鷲 紮西桑俄，藏族僧人，佛學博士（堪布），青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 周杰，藏族僧人，青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 \n \n \n \n \n \n \n \n PHOTO HIGHLIGHTS \n \n \n \n \n \n \n \n \n Previous\n \n \n Next URL:https://ihss.hku.hk/events/unconditional-hospitality-translation-travel-and-telling-tales/ LOCATION:Room 201\, 2/F\, Hong Kong CATEGORIES:IHSS END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20180212T120000 DTEND;TZID=Asia/Hong_Kong:20180212T130000 DTSTAMP:20261102T134201 CREATED:20240725T185509Z LAST-MODIFIED:20260416T102445Z UID:86900-1518436800-1518440400@ihss.hku.hk SUMMARY:Interactions Between Christianity and Local Folk Religions in 19th and 20th Century China DESCRIPTION:Language: English\n \n \n \n \n T5\, Meng Wah Complex\, The University of Hong Kong\n \n \n \n \n September 26\, 2014 5:30 pm - 7:00 pm\n \n \n \n \n (Tel) (852) 3917-2461\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABOUT THE FILMS \n \n \n \n Harvest On a summer day\, the villagers were harvesting wheat at Xidang Village which lies at the foot of Kawagebo Snow Mountain. Seeing the video camera carried by the film maker\, women villagers rushed up in a crowd\, surrounded him and began performing with abandon in front of the camera. After lunch\, the women showed their old pictures to the film maker\, put on their festival costumes and ask him to take photos for them. At this moment\, the video camera was no longer a dispassionate observational tool; instead\, it became an object with which the villagers were playing about. My Himalayan Vulture In one of the pastoral areas of Qinghai Province\, the number of Himalayan Vulture is dropping dramatically due to the change of environment and human-animal relationship. Two Tibetan lamas took up the camera and video camera to explore the secret behind the change. They had done this because the existence of the Himalayan Vulture is closely related to the celestial burial. These winged creature helps the Tibetans donate their bodies to nature after they pass away as well as keep the ecological balance of the grassland. Both of the two films tell the stories of the Tibetans\, one from the perspective of outside researcher\, the other from the perspective of the local Tibetans. The modern tool of DV plays a key role in their observation. Connected by the bond of DV\, the outsiders and the locals meet each other\, talk with each other and communicate with each other beyond language. They work together and create this new method called Village Video. With the help of this method\, they are documenting the changes in environment and culture and are establishing new indigenous knowledge systems by action research.   麥子—郭淨作品 一個夏日，卡瓦格博雪山下西當村的幾個村民正在收麥子，看到作者的攝錄機，女人們擁了過來，隨即在鏡頭前放肆地表演。午飯後，女人們拿出自家的照片觀看，又穿起節日的盛裝要求作者給她們拍照。此時，攝錄機不再是冷靜觀察的工具，而成了村民們玩耍的對象。 我的高山兀鷲—紮西桑俄、周傑作品 在青海省的一個牧區，由於環境、文化和人獸關係的變化，高山兀鷲的數量急劇減少。兩個藏族僧人拿起了照相機和攝錄機，試圖探尋這種變化的奧秘。他們之所以這樣做，是因為兀鷲的存在與天葬密切相關，這種飛翔的生物幫助藏人在死後把肉體施捨給自然的生靈，也維持了草原生態的平衡。 這兩部影片講的都是藏族的故事，它們一個出自外來研究者的視角，一個出自本地藏族【僧人】的視角。在他們的觀察中，現代的影像工具攝錄機起了關鍵的作用。以攝錄機為紐帶，外來的人與本地的人相遇，產生了對話和交流，他們合作起來，共同創造了「鄉村影像」這個新事物。借助鄉村影像的方法，他們在紀錄環境和文化發生的變化，並以行動性研究，去建立新的地方性的知識體系。 \n \n \n \n \n \n \n \n ABOUT THE DIRECTORS \n \n \n \n 麥子 郭淨，民族史博士，雲南省社科院歷史研究所研究員，致力於影視人類學、自然聖境的調查研究。是中國鄉村影像教育的開創者之一，並參與創辦了中國最重要的紀錄電影節：雲之南紀錄影像展。 我的高山兀鷲 紮西桑俄，藏族僧人，佛學博士（堪布），青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 周杰，藏族僧人，青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 \n \n \n \n \n \n \n \n PHOTO HIGHLIGHTS \n \n \n \n \n \n \n \n \n Previous\n \n \n Next URL:https://ihss.hku.hk/events/interactions-between-christianity-and-local-folk-religions-in-19th-and-20th-century-china/ LOCATION:Room 201\, 2/F\, Hong Kong CATEGORIES:Others END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20180130T120000 DTEND;TZID=Asia/Hong_Kong:20180130T130000 DTSTAMP:20261102T134201 CREATED:20240725T190549Z LAST-MODIFIED:20260416T102446Z UID:86907-1517313600-1517317200@ihss.hku.hk SUMMARY:Industrializing the Chinese Countryside in Representational and Aesthetic Forms: A Socialist Fantasia of Human Creativity DESCRIPTION:Language: English\n \n \n \n \n T5\, Meng Wah Complex\, The University of Hong Kong\n \n \n \n \n September 26\, 2014 5:30 pm - 7:00 pm\n \n \n \n \n (Tel) (852) 3917-2461\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABOUT THE FILMS \n \n \n \n Harvest On a summer day\, the villagers were harvesting wheat at Xidang Village which lies at the foot of Kawagebo Snow Mountain. Seeing the video camera carried by the film maker\, women villagers rushed up in a crowd\, surrounded him and began performing with abandon in front of the camera. After lunch\, the women showed their old pictures to the film maker\, put on their festival costumes and ask him to take photos for them. At this moment\, the video camera was no longer a dispassionate observational tool; instead\, it became an object with which the villagers were playing about. My Himalayan Vulture In one of the pastoral areas of Qinghai Province\, the number of Himalayan Vulture is dropping dramatically due to the change of environment and human-animal relationship. Two Tibetan lamas took up the camera and video camera to explore the secret behind the change. They had done this because the existence of the Himalayan Vulture is closely related to the celestial burial. These winged creature helps the Tibetans donate their bodies to nature after they pass away as well as keep the ecological balance of the grassland. Both of the two films tell the stories of the Tibetans\, one from the perspective of outside researcher\, the other from the perspective of the local Tibetans. The modern tool of DV plays a key role in their observation. Connected by the bond of DV\, the outsiders and the locals meet each other\, talk with each other and communicate with each other beyond language. They work together and create this new method called Village Video. With the help of this method\, they are documenting the changes in environment and culture and are establishing new indigenous knowledge systems by action research.   麥子—郭淨作品 一個夏日，卡瓦格博雪山下西當村的幾個村民正在收麥子，看到作者的攝錄機，女人們擁了過來，隨即在鏡頭前放肆地表演。午飯後，女人們拿出自家的照片觀看，又穿起節日的盛裝要求作者給她們拍照。此時，攝錄機不再是冷靜觀察的工具，而成了村民們玩耍的對象。 我的高山兀鷲—紮西桑俄、周傑作品 在青海省的一個牧區，由於環境、文化和人獸關係的變化，高山兀鷲的數量急劇減少。兩個藏族僧人拿起了照相機和攝錄機，試圖探尋這種變化的奧秘。他們之所以這樣做，是因為兀鷲的存在與天葬密切相關，這種飛翔的生物幫助藏人在死後把肉體施捨給自然的生靈，也維持了草原生態的平衡。 這兩部影片講的都是藏族的故事，它們一個出自外來研究者的視角，一個出自本地藏族【僧人】的視角。在他們的觀察中，現代的影像工具攝錄機起了關鍵的作用。以攝錄機為紐帶，外來的人與本地的人相遇，產生了對話和交流，他們合作起來，共同創造了「鄉村影像」這個新事物。借助鄉村影像的方法，他們在紀錄環境和文化發生的變化，並以行動性研究，去建立新的地方性的知識體系。 \n \n \n \n \n \n \n \n ABOUT THE DIRECTORS \n \n \n \n 麥子 郭淨，民族史博士，雲南省社科院歷史研究所研究員，致力於影視人類學、自然聖境的調查研究。是中國鄉村影像教育的開創者之一，並參與創辦了中國最重要的紀錄電影節：雲之南紀錄影像展。 我的高山兀鷲 紮西桑俄，藏族僧人，佛學博士（堪布），青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 周杰，藏族僧人，青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 \n \n \n \n \n \n \n \n PHOTO HIGHLIGHTS \n \n \n \n \n \n \n \n \n Previous\n \n \n Next URL:https://ihss.hku.hk/events/industrializing-the-chinese-countryside-in-representational-and-aesthetic-forms-a-socialist-fantasia-of-human-creativity/ LOCATION:Room 201\, 2/F\, Hong Kong CATEGORIES:IHSS END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20180123T160000 DTEND;TZID=Asia/Hong_Kong:20180123T173000 DTSTAMP:20261102T134201 CREATED:20240725T191933Z LAST-MODIFIED:20260416T102446Z UID:86916-1516723200-1516728600@ihss.hku.hk SUMMARY:The Spiritual Practice of Orthodoxy (東正教的靈修傳統) DESCRIPTION:Language: English\n \n \n \n \n T5\, Meng Wah Complex\, The University of Hong Kong\n \n \n \n \n September 26\, 2014 5:30 pm - 7:00 pm\n \n \n \n \n (Tel) (852) 3917-2461\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABOUT THE FILMS \n \n \n \n Harvest On a summer day\, the villagers were harvesting wheat at Xidang Village which lies at the foot of Kawagebo Snow Mountain. Seeing the video camera carried by the film maker\, women villagers rushed up in a crowd\, surrounded him and began performing with abandon in front of the camera. After lunch\, the women showed their old pictures to the film maker\, put on their festival costumes and ask him to take photos for them. At this moment\, the video camera was no longer a dispassionate observational tool; instead\, it became an object with which the villagers were playing about. My Himalayan Vulture In one of the pastoral areas of Qinghai Province\, the number of Himalayan Vulture is dropping dramatically due to the change of environment and human-animal relationship. Two Tibetan lamas took up the camera and video camera to explore the secret behind the change. They had done this because the existence of the Himalayan Vulture is closely related to the celestial burial. These winged creature helps the Tibetans donate their bodies to nature after they pass away as well as keep the ecological balance of the grassland. Both of the two films tell the stories of the Tibetans\, one from the perspective of outside researcher\, the other from the perspective of the local Tibetans. The modern tool of DV plays a key role in their observation. Connected by the bond of DV\, the outsiders and the locals meet each other\, talk with each other and communicate with each other beyond language. They work together and create this new method called Village Video. With the help of this method\, they are documenting the changes in environment and culture and are establishing new indigenous knowledge systems by action research.   麥子—郭淨作品 一個夏日，卡瓦格博雪山下西當村的幾個村民正在收麥子，看到作者的攝錄機，女人們擁了過來，隨即在鏡頭前放肆地表演。午飯後，女人們拿出自家的照片觀看，又穿起節日的盛裝要求作者給她們拍照。此時，攝錄機不再是冷靜觀察的工具，而成了村民們玩耍的對象。 我的高山兀鷲—紮西桑俄、周傑作品 在青海省的一個牧區，由於環境、文化和人獸關係的變化，高山兀鷲的數量急劇減少。兩個藏族僧人拿起了照相機和攝錄機，試圖探尋這種變化的奧秘。他們之所以這樣做，是因為兀鷲的存在與天葬密切相關，這種飛翔的生物幫助藏人在死後把肉體施捨給自然的生靈，也維持了草原生態的平衡。 這兩部影片講的都是藏族的故事，它們一個出自外來研究者的視角，一個出自本地藏族【僧人】的視角。在他們的觀察中，現代的影像工具攝錄機起了關鍵的作用。以攝錄機為紐帶，外來的人與本地的人相遇，產生了對話和交流，他們合作起來，共同創造了「鄉村影像」這個新事物。借助鄉村影像的方法，他們在紀錄環境和文化發生的變化，並以行動性研究，去建立新的地方性的知識體系。 \n \n \n \n \n \n \n \n ABOUT THE DIRECTORS \n \n \n \n 麥子 郭淨，民族史博士，雲南省社科院歷史研究所研究員，致力於影視人類學、自然聖境的調查研究。是中國鄉村影像教育的開創者之一，並參與創辦了中國最重要的紀錄電影節：雲之南紀錄影像展。 我的高山兀鷲 紮西桑俄，藏族僧人，佛學博士（堪布），青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 周杰，藏族僧人，青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 \n \n \n \n \n \n \n \n PHOTO HIGHLIGHTS \n \n \n \n \n \n \n \n \n Previous\n \n \n Next URL:https://ihss.hku.hk/events/the-spiritual-practice-of-orthodoxy-%e6%9d%b1%e6%ad%a3%e6%95%99%e7%9a%84%e9%9d%88%e4%bf%ae%e5%82%b3%e7%b5%b1/ LOCATION:Room 201\, 2/F\, Hong Kong CATEGORIES:Others END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20180117T170000 DTEND;TZID=Asia/Hong_Kong:20180117T183000 DTSTAMP:20261102T134201 CREATED:20240725T193708Z LAST-MODIFIED:20260416T102446Z UID:86923-1516208400-1516213800@ihss.hku.hk SUMMARY:Controlling the Population: From Family Social Science to Family Planning in 20th Century China\, Taiwan\, and Korea DESCRIPTION:Language: English\n \n \n \n \n T5\, Meng Wah Complex\, The University of Hong Kong\n \n \n \n \n September 26\, 2014 5:30 pm - 7:00 pm\n \n \n \n \n (Tel) (852) 3917-2461\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABOUT THE FILMS \n \n \n \n Harvest On a summer day\, the villagers were harvesting wheat at Xidang Village which lies at the foot of Kawagebo Snow Mountain. Seeing the video camera carried by the film maker\, women villagers rushed up in a crowd\, surrounded him and began performing with abandon in front of the camera. After lunch\, the women showed their old pictures to the film maker\, put on their festival costumes and ask him to take photos for them. At this moment\, the video camera was no longer a dispassionate observational tool; instead\, it became an object with which the villagers were playing about. My Himalayan Vulture In one of the pastoral areas of Qinghai Province\, the number of Himalayan Vulture is dropping dramatically due to the change of environment and human-animal relationship. Two Tibetan lamas took up the camera and video camera to explore the secret behind the change. They had done this because the existence of the Himalayan Vulture is closely related to the celestial burial. These winged creature helps the Tibetans donate their bodies to nature after they pass away as well as keep the ecological balance of the grassland. Both of the two films tell the stories of the Tibetans\, one from the perspective of outside researcher\, the other from the perspective of the local Tibetans. The modern tool of DV plays a key role in their observation. Connected by the bond of DV\, the outsiders and the locals meet each other\, talk with each other and communicate with each other beyond language. They work together and create this new method called Village Video. With the help of this method\, they are documenting the changes in environment and culture and are establishing new indigenous knowledge systems by action research.   麥子—郭淨作品 一個夏日，卡瓦格博雪山下西當村的幾個村民正在收麥子，看到作者的攝錄機，女人們擁了過來，隨即在鏡頭前放肆地表演。午飯後，女人們拿出自家的照片觀看，又穿起節日的盛裝要求作者給她們拍照。此時，攝錄機不再是冷靜觀察的工具，而成了村民們玩耍的對象。 我的高山兀鷲—紮西桑俄、周傑作品 在青海省的一個牧區，由於環境、文化和人獸關係的變化，高山兀鷲的數量急劇減少。兩個藏族僧人拿起了照相機和攝錄機，試圖探尋這種變化的奧秘。他們之所以這樣做，是因為兀鷲的存在與天葬密切相關，這種飛翔的生物幫助藏人在死後把肉體施捨給自然的生靈，也維持了草原生態的平衡。 這兩部影片講的都是藏族的故事，它們一個出自外來研究者的視角，一個出自本地藏族【僧人】的視角。在他們的觀察中，現代的影像工具攝錄機起了關鍵的作用。以攝錄機為紐帶，外來的人與本地的人相遇，產生了對話和交流，他們合作起來，共同創造了「鄉村影像」這個新事物。借助鄉村影像的方法，他們在紀錄環境和文化發生的變化，並以行動性研究，去建立新的地方性的知識體系。 \n \n \n \n \n \n \n \n ABOUT THE DIRECTORS \n \n \n \n 麥子 郭淨，民族史博士，雲南省社科院歷史研究所研究員，致力於影視人類學、自然聖境的調查研究。是中國鄉村影像教育的開創者之一，並參與創辦了中國最重要的紀錄電影節：雲之南紀錄影像展。 我的高山兀鷲 紮西桑俄，藏族僧人，佛學博士（堪布），青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 周杰，藏族僧人，青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 \n \n \n \n \n \n \n \n PHOTO HIGHLIGHTS \n \n \n \n \n \n \n \n \n Previous\n \n \n Next URL:https://ihss.hku.hk/events/controlling-the-population-from-family-social-science-to-family-planning-in-20th-century-china-taiwan-and-korea/ LOCATION:Room 201\, 2/F\, Hong Kong CATEGORIES:IHSS END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20180116T120000 DTEND;TZID=Asia/Hong_Kong:20180116T153000 DTSTAMP:20261102T134201 CREATED:20240725T194433Z LAST-MODIFIED:20260416T102447Z UID:86929-1516104000-1516116600@ihss.hku.hk SUMMARY:Chinese-Style\, Japanese Green Tea for Americans: Japanese Tea Exports to the United States\, 1860 to 1890 DESCRIPTION:Language: English\n \n \n \n \n T5\, Meng Wah Complex\, The University of Hong Kong\n \n \n \n \n September 26\, 2014 5:30 pm - 7:00 pm\n \n \n \n \n (Tel) (852) 3917-2461\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABOUT THE FILMS \n \n \n \n Harvest On a summer day\, the villagers were harvesting wheat at Xidang Village which lies at the foot of Kawagebo Snow Mountain. Seeing the video camera carried by the film maker\, women villagers rushed up in a crowd\, surrounded him and began performing with abandon in front of the camera. After lunch\, the women showed their old pictures to the film maker\, put on their festival costumes and ask him to take photos for them. At this moment\, the video camera was no longer a dispassionate observational tool; instead\, it became an object with which the villagers were playing about. My Himalayan Vulture In one of the pastoral areas of Qinghai Province\, the number of Himalayan Vulture is dropping dramatically due to the change of environment and human-animal relationship. Two Tibetan lamas took up the camera and video camera to explore the secret behind the change. They had done this because the existence of the Himalayan Vulture is closely related to the celestial burial. These winged creature helps the Tibetans donate their bodies to nature after they pass away as well as keep the ecological balance of the grassland. Both of the two films tell the stories of the Tibetans\, one from the perspective of outside researcher\, the other from the perspective of the local Tibetans. The modern tool of DV plays a key role in their observation. Connected by the bond of DV\, the outsiders and the locals meet each other\, talk with each other and communicate with each other beyond language. They work together and create this new method called Village Video. With the help of this method\, they are documenting the changes in environment and culture and are establishing new indigenous knowledge systems by action research.   麥子—郭淨作品 一個夏日，卡瓦格博雪山下西當村的幾個村民正在收麥子，看到作者的攝錄機，女人們擁了過來，隨即在鏡頭前放肆地表演。午飯後，女人們拿出自家的照片觀看，又穿起節日的盛裝要求作者給她們拍照。此時，攝錄機不再是冷靜觀察的工具，而成了村民們玩耍的對象。 我的高山兀鷲—紮西桑俄、周傑作品 在青海省的一個牧區，由於環境、文化和人獸關係的變化，高山兀鷲的數量急劇減少。兩個藏族僧人拿起了照相機和攝錄機，試圖探尋這種變化的奧秘。他們之所以這樣做，是因為兀鷲的存在與天葬密切相關，這種飛翔的生物幫助藏人在死後把肉體施捨給自然的生靈，也維持了草原生態的平衡。 這兩部影片講的都是藏族的故事，它們一個出自外來研究者的視角，一個出自本地藏族【僧人】的視角。在他們的觀察中，現代的影像工具攝錄機起了關鍵的作用。以攝錄機為紐帶，外來的人與本地的人相遇，產生了對話和交流，他們合作起來，共同創造了「鄉村影像」這個新事物。借助鄉村影像的方法，他們在紀錄環境和文化發生的變化，並以行動性研究，去建立新的地方性的知識體系。 \n \n \n \n \n \n \n \n ABOUT THE DIRECTORS \n \n \n \n 麥子 郭淨，民族史博士，雲南省社科院歷史研究所研究員，致力於影視人類學、自然聖境的調查研究。是中國鄉村影像教育的開創者之一，並參與創辦了中國最重要的紀錄電影節：雲之南紀錄影像展。 我的高山兀鷲 紮西桑俄，藏族僧人，佛學博士（堪布），青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 周杰，藏族僧人，青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 \n \n \n \n \n \n \n \n PHOTO HIGHLIGHTS \n \n \n \n \n \n \n \n \n Previous\n \n \n Next URL:https://ihss.hku.hk/events/chinese-style-japanese-green-tea-for-americans-japanese-tea-exports-to-the-united-states-1860-to-1890/ LOCATION:Room 201\, 2/F\, Hong Kong CATEGORIES:IHSS END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20180113T100000 DTEND;TZID=Asia/Hong_Kong:20180113T110000 DTSTAMP:20261102T134201 CREATED:20240725T195221Z LAST-MODIFIED:20260416T102447Z UID:86935-1515837600-1515841200@ihss.hku.hk SUMMARY:Past Knowledge\, Present Status and Future Threats: A Personal Reflection of the Status of Coastal Biology in China DESCRIPTION:Language: English\n \n \n \n \n T5\, Meng Wah Complex\, The University of Hong Kong\n \n \n \n \n September 26\, 2014 5:30 pm - 7:00 pm\n \n \n \n \n (Tel) (852) 3917-2461\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABOUT THE FILMS \n \n \n \n Harvest On a summer day\, the villagers were harvesting wheat at Xidang Village which lies at the foot of Kawagebo Snow Mountain. Seeing the video camera carried by the film maker\, women villagers rushed up in a crowd\, surrounded him and began performing with abandon in front of the camera. After lunch\, the women showed their old pictures to the film maker\, put on their festival costumes and ask him to take photos for them. At this moment\, the video camera was no longer a dispassionate observational tool; instead\, it became an object with which the villagers were playing about. My Himalayan Vulture In one of the pastoral areas of Qinghai Province\, the number of Himalayan Vulture is dropping dramatically due to the change of environment and human-animal relationship. Two Tibetan lamas took up the camera and video camera to explore the secret behind the change. They had done this because the existence of the Himalayan Vulture is closely related to the celestial burial. These winged creature helps the Tibetans donate their bodies to nature after they pass away as well as keep the ecological balance of the grassland. Both of the two films tell the stories of the Tibetans\, one from the perspective of outside researcher\, the other from the perspective of the local Tibetans. The modern tool of DV plays a key role in their observation. Connected by the bond of DV\, the outsiders and the locals meet each other\, talk with each other and communicate with each other beyond language. They work together and create this new method called Village Video. With the help of this method\, they are documenting the changes in environment and culture and are establishing new indigenous knowledge systems by action research.   麥子—郭淨作品 一個夏日，卡瓦格博雪山下西當村的幾個村民正在收麥子，看到作者的攝錄機，女人們擁了過來，隨即在鏡頭前放肆地表演。午飯後，女人們拿出自家的照片觀看，又穿起節日的盛裝要求作者給她們拍照。此時，攝錄機不再是冷靜觀察的工具，而成了村民們玩耍的對象。 我的高山兀鷲—紮西桑俄、周傑作品 在青海省的一個牧區，由於環境、文化和人獸關係的變化，高山兀鷲的數量急劇減少。兩個藏族僧人拿起了照相機和攝錄機，試圖探尋這種變化的奧秘。他們之所以這樣做，是因為兀鷲的存在與天葬密切相關，這種飛翔的生物幫助藏人在死後把肉體施捨給自然的生靈，也維持了草原生態的平衡。 這兩部影片講的都是藏族的故事，它們一個出自外來研究者的視角，一個出自本地藏族【僧人】的視角。在他們的觀察中，現代的影像工具攝錄機起了關鍵的作用。以攝錄機為紐帶，外來的人與本地的人相遇，產生了對話和交流，他們合作起來，共同創造了「鄉村影像」這個新事物。借助鄉村影像的方法，他們在紀錄環境和文化發生的變化，並以行動性研究，去建立新的地方性的知識體系。 \n \n \n \n \n \n \n \n ABOUT THE DIRECTORS \n \n \n \n 麥子 郭淨，民族史博士，雲南省社科院歷史研究所研究員，致力於影視人類學、自然聖境的調查研究。是中國鄉村影像教育的開創者之一，並參與創辦了中國最重要的紀錄電影節：雲之南紀錄影像展。 我的高山兀鷲 紮西桑俄，藏族僧人，佛學博士（堪布），青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 周杰，藏族僧人，青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 \n \n \n \n \n \n \n \n PHOTO HIGHLIGHTS \n \n \n \n \n \n \n \n \n Previous\n \n \n Next URL:https://ihss.hku.hk/events/past-knowledge-present-status-and-future-threats-a-personal-reflection-of-the-status-of-coastal-biology-in-china/ LOCATION:Room 201\, 2/F\, Hong Kong CATEGORIES:IHSS,IHSS Public Lecture END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20171207T090000 DTEND;TZID=Asia/Hong_Kong:20171207T103000 DTSTAMP:20261102T134201 CREATED:20240725T222033Z LAST-MODIFIED:20260416T102447Z UID:86949-1512637200-1512642600@ihss.hku.hk SUMMARY:How History of Technology Can Point to New Forms of Innovation Policy — Two Indian Cases DESCRIPTION:Language: English\n \n \n \n \n T5\, Meng Wah Complex\, The University of Hong Kong\n \n \n \n \n September 26\, 2014 5:30 pm - 7:00 pm\n \n \n \n \n (Tel) (852) 3917-2461\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABOUT THE FILMS \n \n \n \n Harvest On a summer day\, the villagers were harvesting wheat at Xidang Village which lies at the foot of Kawagebo Snow Mountain. Seeing the video camera carried by the film maker\, women villagers rushed up in a crowd\, surrounded him and began performing with abandon in front of the camera. After lunch\, the women showed their old pictures to the film maker\, put on their festival costumes and ask him to take photos for them. At this moment\, the video camera was no longer a dispassionate observational tool; instead\, it became an object with which the villagers were playing about. My Himalayan Vulture In one of the pastoral areas of Qinghai Province\, the number of Himalayan Vulture is dropping dramatically due to the change of environment and human-animal relationship. Two Tibetan lamas took up the camera and video camera to explore the secret behind the change. They had done this because the existence of the Himalayan Vulture is closely related to the celestial burial. These winged creature helps the Tibetans donate their bodies to nature after they pass away as well as keep the ecological balance of the grassland. Both of the two films tell the stories of the Tibetans\, one from the perspective of outside researcher\, the other from the perspective of the local Tibetans. The modern tool of DV plays a key role in their observation. Connected by the bond of DV\, the outsiders and the locals meet each other\, talk with each other and communicate with each other beyond language. They work together and create this new method called Village Video. With the help of this method\, they are documenting the changes in environment and culture and are establishing new indigenous knowledge systems by action research.   麥子—郭淨作品 一個夏日，卡瓦格博雪山下西當村的幾個村民正在收麥子，看到作者的攝錄機，女人們擁了過來，隨即在鏡頭前放肆地表演。午飯後，女人們拿出自家的照片觀看，又穿起節日的盛裝要求作者給她們拍照。此時，攝錄機不再是冷靜觀察的工具，而成了村民們玩耍的對象。 我的高山兀鷲—紮西桑俄、周傑作品 在青海省的一個牧區，由於環境、文化和人獸關係的變化，高山兀鷲的數量急劇減少。兩個藏族僧人拿起了照相機和攝錄機，試圖探尋這種變化的奧秘。他們之所以這樣做，是因為兀鷲的存在與天葬密切相關，這種飛翔的生物幫助藏人在死後把肉體施捨給自然的生靈，也維持了草原生態的平衡。 這兩部影片講的都是藏族的故事，它們一個出自外來研究者的視角，一個出自本地藏族【僧人】的視角。在他們的觀察中，現代的影像工具攝錄機起了關鍵的作用。以攝錄機為紐帶，外來的人與本地的人相遇，產生了對話和交流，他們合作起來，共同創造了「鄉村影像」這個新事物。借助鄉村影像的方法，他們在紀錄環境和文化發生的變化，並以行動性研究，去建立新的地方性的知識體系。 \n \n \n \n \n \n \n \n ABOUT THE DIRECTORS \n \n \n \n 麥子 郭淨，民族史博士，雲南省社科院歷史研究所研究員，致力於影視人類學、自然聖境的調查研究。是中國鄉村影像教育的開創者之一，並參與創辦了中國最重要的紀錄電影節：雲之南紀錄影像展。 我的高山兀鷲 紮西桑俄，藏族僧人，佛學博士（堪布），青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 周杰，藏族僧人，青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 \n \n \n \n \n \n \n \n PHOTO HIGHLIGHTS \n \n \n \n \n \n \n \n \n Previous\n \n \n Next URL:https://ihss.hku.hk/events/how-history-of-technology-can-point-to-new-forms-of-innovation-policy-two-indian-cases/ LOCATION:Lecture Hall\, G/F\, Hong Kong CATEGORIES:Others ATTACH;FMTTYPE=image/jpeg:https://ihss.hku.hk/wp-content/uploads/2024/07/mmea-lecture-by-wiebe-bijker-20171207-960x1024-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20171130T120000 DTEND;TZID=Asia/Hong_Kong:20171130T130000 DTSTAMP:20261102T134201 CREATED:20240725T223431Z LAST-MODIFIED:20260416T102448Z UID:86989-1512043200-1512046800@ihss.hku.hk SUMMARY:The Radical Roots of Love: Christianity\, Communism\, and the Politics of “Love” in Modern China DESCRIPTION:Language: English\n \n \n \n \n T5\, Meng Wah Complex\, The University of Hong Kong\n \n \n \n \n September 26\, 2014 5:30 pm - 7:00 pm\n \n \n \n \n (Tel) (852) 3917-2461\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABOUT THE FILMS \n \n \n \n Harvest On a summer day\, the villagers were harvesting wheat at Xidang Village which lies at the foot of Kawagebo Snow Mountain. Seeing the video camera carried by the film maker\, women villagers rushed up in a crowd\, surrounded him and began performing with abandon in front of the camera. After lunch\, the women showed their old pictures to the film maker\, put on their festival costumes and ask him to take photos for them. At this moment\, the video camera was no longer a dispassionate observational tool; instead\, it became an object with which the villagers were playing about. My Himalayan Vulture In one of the pastoral areas of Qinghai Province\, the number of Himalayan Vulture is dropping dramatically due to the change of environment and human-animal relationship. Two Tibetan lamas took up the camera and video camera to explore the secret behind the change. They had done this because the existence of the Himalayan Vulture is closely related to the celestial burial. These winged creature helps the Tibetans donate their bodies to nature after they pass away as well as keep the ecological balance of the grassland. Both of the two films tell the stories of the Tibetans\, one from the perspective of outside researcher\, the other from the perspective of the local Tibetans. The modern tool of DV plays a key role in their observation. Connected by the bond of DV\, the outsiders and the locals meet each other\, talk with each other and communicate with each other beyond language. They work together and create this new method called Village Video. With the help of this method\, they are documenting the changes in environment and culture and are establishing new indigenous knowledge systems by action research.   麥子—郭淨作品 一個夏日，卡瓦格博雪山下西當村的幾個村民正在收麥子，看到作者的攝錄機，女人們擁了過來，隨即在鏡頭前放肆地表演。午飯後，女人們拿出自家的照片觀看，又穿起節日的盛裝要求作者給她們拍照。此時，攝錄機不再是冷靜觀察的工具，而成了村民們玩耍的對象。 我的高山兀鷲—紮西桑俄、周傑作品 在青海省的一個牧區，由於環境、文化和人獸關係的變化，高山兀鷲的數量急劇減少。兩個藏族僧人拿起了照相機和攝錄機，試圖探尋這種變化的奧秘。他們之所以這樣做，是因為兀鷲的存在與天葬密切相關，這種飛翔的生物幫助藏人在死後把肉體施捨給自然的生靈，也維持了草原生態的平衡。 這兩部影片講的都是藏族的故事，它們一個出自外來研究者的視角，一個出自本地藏族【僧人】的視角。在他們的觀察中，現代的影像工具攝錄機起了關鍵的作用。以攝錄機為紐帶，外來的人與本地的人相遇，產生了對話和交流，他們合作起來，共同創造了「鄉村影像」這個新事物。借助鄉村影像的方法，他們在紀錄環境和文化發生的變化，並以行動性研究，去建立新的地方性的知識體系。 \n \n \n \n \n \n \n \n ABOUT THE DIRECTORS \n \n \n \n 麥子 郭淨，民族史博士，雲南省社科院歷史研究所研究員，致力於影視人類學、自然聖境的調查研究。是中國鄉村影像教育的開創者之一，並參與創辦了中國最重要的紀錄電影節：雲之南紀錄影像展。 我的高山兀鷲 紮西桑俄，藏族僧人，佛學博士（堪布），青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 周杰，藏族僧人，青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 \n \n \n \n \n \n \n \n PHOTO HIGHLIGHTS \n \n \n \n \n \n \n \n \n Previous\n \n \n Next URL:https://ihss.hku.hk/events/the-radical-roots-of-love-christianity-communism-and-the-politics-of-love-in-modern-china/ LOCATION:Room 201\, 2/F\, Hong Kong CATEGORIES:Others END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20171128T120000 DTEND;TZID=Asia/Hong_Kong:20171128T130000 DTSTAMP:20261102T134201 CREATED:20240725T224017Z LAST-MODIFIED:20260416T102448Z UID:86998-1511870400-1511874000@ihss.hku.hk SUMMARY:How Finance Learned to Stop Worrying and Love the Soviet Union DESCRIPTION:Language: English\n \n \n \n \n T5\, Meng Wah Complex\, The University of Hong Kong\n \n \n \n \n September 26\, 2014 5:30 pm - 7:00 pm\n \n \n \n \n (Tel) (852) 3917-2461\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABOUT THE FILMS \n \n \n \n Harvest On a summer day\, the villagers were harvesting wheat at Xidang Village which lies at the foot of Kawagebo Snow Mountain. Seeing the video camera carried by the film maker\, women villagers rushed up in a crowd\, surrounded him and began performing with abandon in front of the camera. After lunch\, the women showed their old pictures to the film maker\, put on their festival costumes and ask him to take photos for them. At this moment\, the video camera was no longer a dispassionate observational tool; instead\, it became an object with which the villagers were playing about. My Himalayan Vulture In one of the pastoral areas of Qinghai Province\, the number of Himalayan Vulture is dropping dramatically due to the change of environment and human-animal relationship. Two Tibetan lamas took up the camera and video camera to explore the secret behind the change. They had done this because the existence of the Himalayan Vulture is closely related to the celestial burial. These winged creature helps the Tibetans donate their bodies to nature after they pass away as well as keep the ecological balance of the grassland. Both of the two films tell the stories of the Tibetans\, one from the perspective of outside researcher\, the other from the perspective of the local Tibetans. The modern tool of DV plays a key role in their observation. Connected by the bond of DV\, the outsiders and the locals meet each other\, talk with each other and communicate with each other beyond language. They work together and create this new method called Village Video. With the help of this method\, they are documenting the changes in environment and culture and are establishing new indigenous knowledge systems by action research.   麥子—郭淨作品 一個夏日，卡瓦格博雪山下西當村的幾個村民正在收麥子，看到作者的攝錄機，女人們擁了過來，隨即在鏡頭前放肆地表演。午飯後，女人們拿出自家的照片觀看，又穿起節日的盛裝要求作者給她們拍照。此時，攝錄機不再是冷靜觀察的工具，而成了村民們玩耍的對象。 我的高山兀鷲—紮西桑俄、周傑作品 在青海省的一個牧區，由於環境、文化和人獸關係的變化，高山兀鷲的數量急劇減少。兩個藏族僧人拿起了照相機和攝錄機，試圖探尋這種變化的奧秘。他們之所以這樣做，是因為兀鷲的存在與天葬密切相關，這種飛翔的生物幫助藏人在死後把肉體施捨給自然的生靈，也維持了草原生態的平衡。 這兩部影片講的都是藏族的故事，它們一個出自外來研究者的視角，一個出自本地藏族【僧人】的視角。在他們的觀察中，現代的影像工具攝錄機起了關鍵的作用。以攝錄機為紐帶，外來的人與本地的人相遇，產生了對話和交流，他們合作起來，共同創造了「鄉村影像」這個新事物。借助鄉村影像的方法，他們在紀錄環境和文化發生的變化，並以行動性研究，去建立新的地方性的知識體系。 \n \n \n \n \n \n \n \n ABOUT THE DIRECTORS \n \n \n \n 麥子 郭淨，民族史博士，雲南省社科院歷史研究所研究員，致力於影視人類學、自然聖境的調查研究。是中國鄉村影像教育的開創者之一，並參與創辦了中國最重要的紀錄電影節：雲之南紀錄影像展。 我的高山兀鷲 紮西桑俄，藏族僧人，佛學博士（堪布），青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 周杰，藏族僧人，青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 \n \n \n \n \n \n \n \n PHOTO HIGHLIGHTS \n \n \n \n \n \n \n \n \n Previous\n \n \n Next URL:https://ihss.hku.hk/events/how-finance-learned-to-stop-worrying-and-love-the-soviet-union/ LOCATION:Room 201\, 2/F\, Hong Kong CATEGORIES:IHSS END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20171123T163000 DTEND;TZID=Asia/Hong_Kong:20171123T180000 DTSTAMP:20261102T134201 CREATED:20240725T224516Z LAST-MODIFIED:20260416T102448Z UID:87006-1511454600-1511460000@ihss.hku.hk SUMMARY:How Indigenous Industrialization Began in Postwar Taiwan DESCRIPTION:Language: English\n \n \n \n \n T5\, Meng Wah Complex\, The University of Hong Kong\n \n \n \n \n September 26\, 2014 5:30 pm - 7:00 pm\n \n \n \n \n (Tel) (852) 3917-2461\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABOUT THE FILMS \n \n \n \n Harvest On a summer day\, the villagers were harvesting wheat at Xidang Village which lies at the foot of Kawagebo Snow Mountain. Seeing the video camera carried by the film maker\, women villagers rushed up in a crowd\, surrounded him and began performing with abandon in front of the camera. After lunch\, the women showed their old pictures to the film maker\, put on their festival costumes and ask him to take photos for them. At this moment\, the video camera was no longer a dispassionate observational tool; instead\, it became an object with which the villagers were playing about. My Himalayan Vulture In one of the pastoral areas of Qinghai Province\, the number of Himalayan Vulture is dropping dramatically due to the change of environment and human-animal relationship. Two Tibetan lamas took up the camera and video camera to explore the secret behind the change. They had done this because the existence of the Himalayan Vulture is closely related to the celestial burial. These winged creature helps the Tibetans donate their bodies to nature after they pass away as well as keep the ecological balance of the grassland. Both of the two films tell the stories of the Tibetans\, one from the perspective of outside researcher\, the other from the perspective of the local Tibetans. The modern tool of DV plays a key role in their observation. Connected by the bond of DV\, the outsiders and the locals meet each other\, talk with each other and communicate with each other beyond language. They work together and create this new method called Village Video. With the help of this method\, they are documenting the changes in environment and culture and are establishing new indigenous knowledge systems by action research.   麥子—郭淨作品 一個夏日，卡瓦格博雪山下西當村的幾個村民正在收麥子，看到作者的攝錄機，女人們擁了過來，隨即在鏡頭前放肆地表演。午飯後，女人們拿出自家的照片觀看，又穿起節日的盛裝要求作者給她們拍照。此時，攝錄機不再是冷靜觀察的工具，而成了村民們玩耍的對象。 我的高山兀鷲—紮西桑俄、周傑作品 在青海省的一個牧區，由於環境、文化和人獸關係的變化，高山兀鷲的數量急劇減少。兩個藏族僧人拿起了照相機和攝錄機，試圖探尋這種變化的奧秘。他們之所以這樣做，是因為兀鷲的存在與天葬密切相關，這種飛翔的生物幫助藏人在死後把肉體施捨給自然的生靈，也維持了草原生態的平衡。 這兩部影片講的都是藏族的故事，它們一個出自外來研究者的視角，一個出自本地藏族【僧人】的視角。在他們的觀察中，現代的影像工具攝錄機起了關鍵的作用。以攝錄機為紐帶，外來的人與本地的人相遇，產生了對話和交流，他們合作起來，共同創造了「鄉村影像」這個新事物。借助鄉村影像的方法，他們在紀錄環境和文化發生的變化，並以行動性研究，去建立新的地方性的知識體系。 \n \n \n \n \n \n \n \n ABOUT THE DIRECTORS \n \n \n \n 麥子 郭淨，民族史博士，雲南省社科院歷史研究所研究員，致力於影視人類學、自然聖境的調查研究。是中國鄉村影像教育的開創者之一，並參與創辦了中國最重要的紀錄電影節：雲之南紀錄影像展。 我的高山兀鷲 紮西桑俄，藏族僧人，佛學博士（堪布），青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 周杰，藏族僧人，青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 \n \n \n \n \n \n \n \n PHOTO HIGHLIGHTS \n \n \n \n \n \n \n \n \n Previous\n \n \n Next URL:https://ihss.hku.hk/events/how-indigenous-industrialization-began-in-postwar-taiwan/ LOCATION:Lecture Hall\, G/F\, Hong Kong CATEGORIES:Others ATTACH;FMTTYPE=image/jpeg:https://ihss.hku.hk/wp-content/uploads/2024/07/mmea-lecture-by-professor-wan-wen-chu-20180223-1920x1080-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20171117T160000 DTEND;TZID=Asia/Hong_Kong:20171117T170000 DTSTAMP:20261102T134201 CREATED:20240725T225045Z LAST-MODIFIED:20260416T102449Z UID:87018-1510934400-1510938000@ihss.hku.hk SUMMARY:Murmuring Days (日日喃喃) DESCRIPTION:Language: English\n \n \n \n \n T5\, Meng Wah Complex\, The University of Hong Kong\n \n \n \n \n September 26\, 2014 5:30 pm - 7:00 pm\n \n \n \n \n (Tel) (852) 3917-2461\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABOUT THE FILMS \n \n \n \n Harvest On a summer day\, the villagers were harvesting wheat at Xidang Village which lies at the foot of Kawagebo Snow Mountain. Seeing the video camera carried by the film maker\, women villagers rushed up in a crowd\, surrounded him and began performing with abandon in front of the camera. After lunch\, the women showed their old pictures to the film maker\, put on their festival costumes and ask him to take photos for them. At this moment\, the video camera was no longer a dispassionate observational tool; instead\, it became an object with which the villagers were playing about. My Himalayan Vulture In one of the pastoral areas of Qinghai Province\, the number of Himalayan Vulture is dropping dramatically due to the change of environment and human-animal relationship. Two Tibetan lamas took up the camera and video camera to explore the secret behind the change. They had done this because the existence of the Himalayan Vulture is closely related to the celestial burial. These winged creature helps the Tibetans donate their bodies to nature after they pass away as well as keep the ecological balance of the grassland. Both of the two films tell the stories of the Tibetans\, one from the perspective of outside researcher\, the other from the perspective of the local Tibetans. The modern tool of DV plays a key role in their observation. Connected by the bond of DV\, the outsiders and the locals meet each other\, talk with each other and communicate with each other beyond language. They work together and create this new method called Village Video. With the help of this method\, they are documenting the changes in environment and culture and are establishing new indigenous knowledge systems by action research.   麥子—郭淨作品 一個夏日，卡瓦格博雪山下西當村的幾個村民正在收麥子，看到作者的攝錄機，女人們擁了過來，隨即在鏡頭前放肆地表演。午飯後，女人們拿出自家的照片觀看，又穿起節日的盛裝要求作者給她們拍照。此時，攝錄機不再是冷靜觀察的工具，而成了村民們玩耍的對象。 我的高山兀鷲—紮西桑俄、周傑作品 在青海省的一個牧區，由於環境、文化和人獸關係的變化，高山兀鷲的數量急劇減少。兩個藏族僧人拿起了照相機和攝錄機，試圖探尋這種變化的奧秘。他們之所以這樣做，是因為兀鷲的存在與天葬密切相關，這種飛翔的生物幫助藏人在死後把肉體施捨給自然的生靈，也維持了草原生態的平衡。 這兩部影片講的都是藏族的故事，它們一個出自外來研究者的視角，一個出自本地藏族【僧人】的視角。在他們的觀察中，現代的影像工具攝錄機起了關鍵的作用。以攝錄機為紐帶，外來的人與本地的人相遇，產生了對話和交流，他們合作起來，共同創造了「鄉村影像」這個新事物。借助鄉村影像的方法，他們在紀錄環境和文化發生的變化，並以行動性研究，去建立新的地方性的知識體系。 \n \n \n \n \n \n \n \n ABOUT THE DIRECTORS \n \n \n \n 麥子 郭淨，民族史博士，雲南省社科院歷史研究所研究員，致力於影視人類學、自然聖境的調查研究。是中國鄉村影像教育的開創者之一，並參與創辦了中國最重要的紀錄電影節：雲之南紀錄影像展。 我的高山兀鷲 紮西桑俄，藏族僧人，佛學博士（堪布），青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 周杰，藏族僧人，青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 \n \n \n \n \n \n \n \n PHOTO HIGHLIGHTS \n \n \n \n \n \n \n \n \n Previous\n \n \n Next URL:https://ihss.hku.hk/events/murmuring-days-%e6%97%a5%e6%97%a5%e5%96%83%e5%96%83/ LOCATION:Lecture Hall\, G/F\, Hong Kong CATEGORIES:IHSS ATTACH;FMTTYPE=image/jpeg:https://ihss.hku.hk/wp-content/uploads/2024/07/screening-of-murmuring-days-20171117-1920x1080-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20171115T170000 DTEND;TZID=Asia/Hong_Kong:20171115T183000 DTSTAMP:20261102T134201 CREATED:20240725T225719Z LAST-MODIFIED:20260416T102449Z UID:87028-1510765200-1510770600@ihss.hku.hk SUMMARY:Masculine Compromise: Migration\, Family and Gender in China DESCRIPTION:Language: English\n \n \n \n \n T5\, Meng Wah Complex\, The University of Hong Kong\n \n \n \n \n September 26\, 2014 5:30 pm - 7:00 pm\n \n \n \n \n (Tel) (852) 3917-2461\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABOUT THE FILMS \n \n \n \n Harvest On a summer day\, the villagers were harvesting wheat at Xidang Village which lies at the foot of Kawagebo Snow Mountain. Seeing the video camera carried by the film maker\, women villagers rushed up in a crowd\, surrounded him and began performing with abandon in front of the camera. After lunch\, the women showed their old pictures to the film maker\, put on their festival costumes and ask him to take photos for them. At this moment\, the video camera was no longer a dispassionate observational tool; instead\, it became an object with which the villagers were playing about. My Himalayan Vulture In one of the pastoral areas of Qinghai Province\, the number of Himalayan Vulture is dropping dramatically due to the change of environment and human-animal relationship. Two Tibetan lamas took up the camera and video camera to explore the secret behind the change. They had done this because the existence of the Himalayan Vulture is closely related to the celestial burial. These winged creature helps the Tibetans donate their bodies to nature after they pass away as well as keep the ecological balance of the grassland. Both of the two films tell the stories of the Tibetans\, one from the perspective of outside researcher\, the other from the perspective of the local Tibetans. The modern tool of DV plays a key role in their observation. Connected by the bond of DV\, the outsiders and the locals meet each other\, talk with each other and communicate with each other beyond language. They work together and create this new method called Village Video. With the help of this method\, they are documenting the changes in environment and culture and are establishing new indigenous knowledge systems by action research.   麥子—郭淨作品 一個夏日，卡瓦格博雪山下西當村的幾個村民正在收麥子，看到作者的攝錄機，女人們擁了過來，隨即在鏡頭前放肆地表演。午飯後，女人們拿出自家的照片觀看，又穿起節日的盛裝要求作者給她們拍照。此時，攝錄機不再是冷靜觀察的工具，而成了村民們玩耍的對象。 我的高山兀鷲—紮西桑俄、周傑作品 在青海省的一個牧區，由於環境、文化和人獸關係的變化，高山兀鷲的數量急劇減少。兩個藏族僧人拿起了照相機和攝錄機，試圖探尋這種變化的奧秘。他們之所以這樣做，是因為兀鷲的存在與天葬密切相關，這種飛翔的生物幫助藏人在死後把肉體施捨給自然的生靈，也維持了草原生態的平衡。 這兩部影片講的都是藏族的故事，它們一個出自外來研究者的視角，一個出自本地藏族【僧人】的視角。在他們的觀察中，現代的影像工具攝錄機起了關鍵的作用。以攝錄機為紐帶，外來的人與本地的人相遇，產生了對話和交流，他們合作起來，共同創造了「鄉村影像」這個新事物。借助鄉村影像的方法，他們在紀錄環境和文化發生的變化，並以行動性研究，去建立新的地方性的知識體系。 \n \n \n \n \n \n \n \n ABOUT THE DIRECTORS \n \n \n \n 麥子 郭淨，民族史博士，雲南省社科院歷史研究所研究員，致力於影視人類學、自然聖境的調查研究。是中國鄉村影像教育的開創者之一，並參與創辦了中國最重要的紀錄電影節：雲之南紀錄影像展。 我的高山兀鷲 紮西桑俄，藏族僧人，佛學博士（堪布），青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 周杰，藏族僧人，青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 \n \n \n \n \n \n \n \n PHOTO HIGHLIGHTS \n \n \n \n \n \n \n \n \n Previous\n \n \n Next URL:https://ihss.hku.hk/events/masculine-compromise-migration-family-and-gender-in-china/ LOCATION:Room 201\, 2/F\, Hong Kong CATEGORIES:IHSS END:VEVENT BEGIN:VEVENT DTSTART;TZID=Asia/Hong_Kong:20171114T120000 DTEND;TZID=Asia/Hong_Kong:20171114T130000 DTSTAMP:20261102T134201 CREATED:20240725T230943Z LAST-MODIFIED:20260416T102450Z UID:87048-1510660800-1510664400@ihss.hku.hk SUMMARY:Building the Design and Architecture Collection at Hong Kong’s M+ Museum DESCRIPTION:Language: English\n \n \n \n \n T5\, Meng Wah Complex\, The University of Hong Kong\n \n \n \n \n September 26\, 2014 5:30 pm - 7:00 pm\n \n \n \n \n (Tel) (852) 3917-2461\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ABOUT THE FILMS \n \n \n \n Harvest On a summer day\, the villagers were harvesting wheat at Xidang Village which lies at the foot of Kawagebo Snow Mountain. Seeing the video camera carried by the film maker\, women villagers rushed up in a crowd\, surrounded him and began performing with abandon in front of the camera. After lunch\, the women showed their old pictures to the film maker\, put on their festival costumes and ask him to take photos for them. At this moment\, the video camera was no longer a dispassionate observational tool; instead\, it became an object with which the villagers were playing about. My Himalayan Vulture In one of the pastoral areas of Qinghai Province\, the number of Himalayan Vulture is dropping dramatically due to the change of environment and human-animal relationship. Two Tibetan lamas took up the camera and video camera to explore the secret behind the change. They had done this because the existence of the Himalayan Vulture is closely related to the celestial burial. These winged creature helps the Tibetans donate their bodies to nature after they pass away as well as keep the ecological balance of the grassland. Both of the two films tell the stories of the Tibetans\, one from the perspective of outside researcher\, the other from the perspective of the local Tibetans. The modern tool of DV plays a key role in their observation. Connected by the bond of DV\, the outsiders and the locals meet each other\, talk with each other and communicate with each other beyond language. They work together and create this new method called Village Video. With the help of this method\, they are documenting the changes in environment and culture and are establishing new indigenous knowledge systems by action research.   麥子—郭淨作品 一個夏日，卡瓦格博雪山下西當村的幾個村民正在收麥子，看到作者的攝錄機，女人們擁了過來，隨即在鏡頭前放肆地表演。午飯後，女人們拿出自家的照片觀看，又穿起節日的盛裝要求作者給她們拍照。此時，攝錄機不再是冷靜觀察的工具，而成了村民們玩耍的對象。 我的高山兀鷲—紮西桑俄、周傑作品 在青海省的一個牧區，由於環境、文化和人獸關係的變化，高山兀鷲的數量急劇減少。兩個藏族僧人拿起了照相機和攝錄機，試圖探尋這種變化的奧秘。他們之所以這樣做，是因為兀鷲的存在與天葬密切相關，這種飛翔的生物幫助藏人在死後把肉體施捨給自然的生靈，也維持了草原生態的平衡。 這兩部影片講的都是藏族的故事，它們一個出自外來研究者的視角，一個出自本地藏族【僧人】的視角。在他們的觀察中，現代的影像工具攝錄機起了關鍵的作用。以攝錄機為紐帶，外來的人與本地的人相遇，產生了對話和交流，他們合作起來，共同創造了「鄉村影像」這個新事物。借助鄉村影像的方法，他們在紀錄環境和文化發生的變化，並以行動性研究，去建立新的地方性的知識體系。 \n \n \n \n \n \n \n \n ABOUT THE DIRECTORS \n \n \n \n 麥子 郭淨，民族史博士，雲南省社科院歷史研究所研究員，致力於影視人類學、自然聖境的調查研究。是中國鄉村影像教育的開創者之一，並參與創辦了中國最重要的紀錄電影節：雲之南紀錄影像展。 我的高山兀鷲 紮西桑俄，藏族僧人，佛學博士（堪布），青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 周杰，藏族僧人，青海省果洛州白玉鄉人，是環保組織「年寶玉則生態環境保護協會」領導者之一，亦為藏地鄉村影像的主要推動者之一。 \n \n \n \n \n \n \n \n PHOTO HIGHLIGHTS \n \n \n \n \n \n \n \n \n Previous\n \n \n Next URL:https://ihss.hku.hk/events/building-the-design-and-architecture-collection-at-hong-kongs-m-museum/ LOCATION:Room 201\, 2/F\, Hong Kong CATEGORIES:IHSS END:VEVENT END:VCALENDAR