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The festival fosters the exchange of cultural and artistic ideals between East and West, provides a public forum for homegrown Asian media artists and their work and fuels the growing appreciation for Asian cinema in Canada. By studying this changing curriculum, the contributors to this volume attempt to clarify the ways in which issues of authority, audience, and discourse have intersected to create meaning. The collection highlights the screen as a site forthe reflection, projection and reimagination of identities and communities, and explores the idea that 'Asian Canada' is less a demographic category than it is a term of art. Phyllis Kahaney and Judith Liu, with this collection, call for a new way of creating discourse communities, one that changes the rules about how meaning is made in various academic disciplines by opening discourse to include more voices--voices that reflect the changing American society. Asian Canada on Screen presents a multi-faceted picture of independent Asian film in Canada.

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Whether calling geopolitical and generic categories into question or finding new ways of unleashing the magic of the cinematic image, the anthology showcases the ways in which Asian Canadians are making their distinctive mark on screens from the multiplex to the iPod, across Canada and beyond. Strong programming and deep roots attract a super-hyphenated tribe. From artist-run centres, theories of hyphenation, distribution networks and gay and lesbian cinema to F-words, new media technologies and sweet n' sour controversies, Reel Asian: Asian Canada on Screen presents a multi-faceted picture of independent Asian film in Canada. Asian Canada on Screen, contributors, many of them filmmakers, examine East and Southeast Asian Canadian contributions to independent film and video. The festival fosters the exchange of cultural and artistic ideals between East and West, provides a public forum for homegrown Asian media artists and their work and fuels the growing appreciation for Asian cinema in Canada. Reel Asian brings together creators of award-winning features and acclaimed experimental shorts; critics, curators, artists and activists; enemy aliens, impersonators, ex-pats and 'Food Jammers' to explore how history and culture have played out onscreen. Though professors often declare that a student paper is unsuccessful is because citations are incorrect or grammar is poor, contributors to this volume demonstrate that such responses to student writing often mask the deeper problems of personal and social constructs versus socially independent absolutes. Phyllis Kahaney and Judith Liu, with this collection, call for a new way of creating discourse communities, one that changes the rules about how meaning is made in various academic disciplines by opening discourse to include more voices--voices that reflect the changing American society. By studying this changing curriculum, the contributors to this volume attempt to clarify the ways in which issues of authority, audience, and discourse have intersected to create meaning. Co-published with the Toronto Reel Asian International Film Festival, this is the first anthology of its kind, and includes a substantial selection of images and stills, as well as a resources section providing detailed artist and distribution information. The collection highlights the screen as a site forthe reflection, projection and reimagination of identities and communities, and explores the idea that 'Asian Canada' is less a demographic category than it is a term of art. It makes explicit the fact that certain kinds of logical strategies and social conventions are implicit when a writer sets out to convince a reader to adopt a particular viewpoint. Contested Terrain seeks to flesh out the key concepts that mark the field of study when writing is used to infuse cultural diversity into the curriculum. Contested Terrain--like the Writing Across the Curriculum movement--roots itself in the position that reading and writing are political activities.

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  1. Phyllis Kahaney and Judith Liu, with this collection, call for a new way of creating discourse communities, one that changes the rules about how meaning is made in various academic disciplines by opening discourse to include more voices--voices that reflect the changing American society. Though professors often declare that a student paper is unsuccessful is because citations are incorrect or grammar is poor, contributors to this volume demonstrate that such responses to student writing often mask the deeper problems of personal and social constructs versus socially independent absolutes.

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