Chan Is Missing

Chan Is Missing is a 1982 American independent comedy-drama film produced and directed by Wayne Wang. The film, shot in black and white, is plotted as a mystery with noir undertones, its title is a play on the popular Charlie Chan film series which focuses on a fictional Chinese immigrant detective in Honolulu. Chan Is Missing turns the Charlie Chan detective trope on its head by making "Chan" the missing person that the film's two protagonists, Jo and Steve, search for. In the process of trying to locate Chan, a fractured contradictory portrait of him emerges, mirroring the complexities of the polyglot Chinese American community that Chan's character allegorizes, it is recognized as the first Asian-American feature narrative film to gain both theatrical distribution and critical acclaim outside of the Asian American community. Jo is a taxi driver in Chinatown, San Francisco who, with his nephew Steve, is seeking to purchase a cab license. Jo's friend Chan Hung has disappeared, taking Jo's money.

The two men search for Chan by speaking with various Chinatown locals, each of whom has a different impression of Chan's personality and motivations. The portrait, created is incomplete and, at times, contradictory; as the mystery behind Chan's disappearance deepens, Jo becomes paranoid that Chan may be involved in the death of a man killed during a "flag-waving incident" between opposing supporters of the People's Republic of China and the Republic of China. In the end, Chan remains missing but, through his daughter, returns Steve's money. Jo, holding a photo of Chan where his face is obscured accepts that Chan is an enigma, saying in a voiceover, "here's a picture of Chan Hung but I still can't see him." Chan is Missing is acclaimed. On Rotten Tomatoes, the movie has a 100% rating with 12 votes, while IMDb gives it a 7/10 with 832 votes. Roger Ebert of the Chicago Sun-Times awarded the film 3 out of 4 stars and wrote that the film is "whimsical treasure of a film that gives us a real feeling for the people of San Francisco's Chinatown" and it "has become something of a legend because of the way it was filmed" that it demonstrates a "warm, low-key and funny look at some real Chinese-Americans" and went to say "almost without realizing it, we are taken beyond the plot into the everyday lives of these people."Vincent Canby of The New York Times said in his review that "Chan Is Missing is not only an appreciation of a way of life that few of us know anything about.

A true Indy film, a delight.”Wayne Wang's primary distribution goal was to have the film, “play at festivals and college campuses,” and as one of the first Asian American feature films, audience reactions to it spanned a spectrum of responses, sometimes dependent on the ethnicity of the viewer. One Chinese American viewer claimed the movie was written for a white audience because “…there being so much explaining, so many footnotes...” says Lem. According to Sterrit we see that “…its initial audience has not been an ethnic one, Chinese viewers are being wooed through newspaper ads…” Furthermore, the Asians were ‘wooed’ to watch the film by the white reviewers who reviewed the movie in the Asian press, therefore raising questions about whom the film catered to. Peter X Feng believes the success of this movie was through “the art-house audiences and brought the Asian Americans into the theaters.” He states that “reviews in the Asian American press simply advertise the screenings. Chinese America and absence The absence and lack of definite character in the film are central themes in Chan Is Missing, reflect how the film takes on the challenge of being an early Chinese/Asian American feature narrative.

Chan Is Missing is able to use the absence of Chan to fill that space with a series of a broad and complicated portrait of San Francisco's Chinese American community. According to Diane Mei Lin Mark, who wrote the framing essay for the movie's published screenplay, "this presentation of diversity among Chinese American characters in a film is a concept untested in American movies." The diversity is addressed in the film in at least two ways. First, there is Chan himself. In a voiceover monologue at the end of the film, Jo explains, "Steve thinks that Chan Hung is slow with it, but sly when it comes to money. Jenny thinks that her father is trustworthy. Mrs. Chan thinks. Amy thinks he's a hard-headed political activist... Presco thinks he's an eccentric who likes mariachi music." Chan, is meant to stand in for the Chinese American community as a whole. Second, there is an eclectic cast of other Chinese American characters that Steve and Jo encounter while looking for Chan; that includes Henry, the cook, who wears a Samurai Night Fever T-shirt while singing "Fry Me to the Moon" as he stir-fries in the kitchen.

Both Chan and the film's characters suggest that Chinese America, is impossible to summarize or characterize. Film scholar Peter Feng suggests that Chan Is Missing can be understood via the metaphor of a doughnut: "Each character...holds a doughnut that contains the possibilities of for Chinese American identity in its center. Each of the film's characters only serve to widen that hole, t

Cerulean Salt

Cerulean Salt is the second studio album by American indie musician Waxahatchee, released on March 5, 2013 on Don Giovanni Records. Co-produced by Swearin' members, Kyle Gilbride and Keith Spencer, the album was recorded in primary recording artist Katie Crutchfield's basement; the album was recognized as one of The 100 Best Albums of the Decade So Far, a list published by Pitchfork Media in August 2014. Following the release of Waxahatchee's debut album, American Weekend, Katie Crutchfield toured extensively as a duo, with her friend Katherine: "It was just the two of us, kind of hard staying away from pretty much everybody that I know for that long, it was hard I came home and kind of worked on writing and flushing out some of the new songs and I went out on tour again with Swearin' for the same amount of time, for two months, so, crazy."In April 2012, Crutchfield began working on new material with boyfriend and Swearin' band member Keith Spencer: "I went to Alabama with my boyfriend and he kinda' played drums with me, we sort of fleshed out everything and decided what needed drums, what didn’t need drums, reworked a lot of the songs I had."

Five months Crutchfield and Spencer began recording Cerulean Salt, alongside Swearin' members Kyle Gilbride and Allison Crutchfield: "We recorded it here at my house with Kyle. And Keith and Kyle are both in Swearin,’, my sister’s band, they sort of, we all kind of, still like Allison is a part of my life and her entire band is an everyday part of my life, so it still felt comfortable. We recorded it here in my basement and Kyle and Allison and Keith and another roommate of ours Sam all played on it."Crutchfield praised the collaborative recording sessions, noting: "I feel like I have talented friends and wanted to bounce ideas off them. Like, two heads are better than one, four are better than two, maybe if we all got together on this they could present ideas to me that I had never thought of; that was the sort of process on this record, different than American Weekend in every possible way." Songwriter and primary recording artist Katie Crutchfield wrote Cerulean Salt over the course of a year, stating: "For me, I’ve always been, like, I can just spit out a bunch of songs quickly.

But this was a much slower, more vigilant, meticulous process."The album's lyrical content is concerned with songwriter and recording artist Katie Crutchfield's views on adulthood: "A lot of it is about realizing that your childhood is over, that your innocence is gone. When you're a kid, you're always happy, everything's good, and you realize,'That's never gonna be how I am again.' It's not sad as much as it is these weird existential realizations, like,'This is life, nothing matters.'" The album reached #1 on the Official Record Store Chart for the week of July 13, 2013. The A. V. Club ranked the record at a high #7 on their year end list; the album was voted #36 on Rolling Stone's 50 Best Albums of 2013 list. Pitchfork ranked the album #22 on their year end list. Spin ranked the album placing it at #20 on their top album list. "Hollow Bedroom" – 1:52 "Dixie Cups and Jars" – 3:36 "Lips and Limbs" – 2:37 "Blue Pt. II" – 2:19 "Brother Bryan" – 2:36 "Coast to Coast" – 1:46 "Tangled Envisioning" – 2:27 "Misery Over Dispute" – 1:45 "Lively" – 2:32 "Waiting" – 1:41 "Swan Dive" – 3:14 "Peace and Quiet" – 2:37 "You're Damaged" – 3:33 Katie Crutchfield - vocals, various instruments Keith Spencer - drums, bass guitar, guitar Kyle Gilbride - bass guitar, synth, backing vocals Allison Crutchfield - drums, vocals Sam Cook-Parrott - bass guitar, backing vocals Kyle Gilbride - producer, engineer Keith Spencer - producer Katie Crutchfield - producer Sam Cook-Parrott - additional production Allison Crutchfield - additional production Ryan Russell - art direction and photography Katie Crutchfield - art direction

Eichler–Shimura isomorphism

In mathematics, Eichler cohomology is a cohomology theory for Fuchsian groups, introduced by Eichler, a variation of group cohomology analogous to the image of the cohomology with compact support in the ordinary cohomology group. The Eichler–Shimura isomorphism, introduced by Eichler for complex cohomology and by Shimura for real cohomology, is an isomorphism between an Eichler cohomology group and a space of cusp forms. There are several variations of the Eichler–Shimura isomorphism, because one can use either real or complex coefficients, can use either Eichler cohomology or ordinary group cohomology as in. There is a variation of the Eichler–Shimura isomorphisms using l-adic cohomology instead of real cohomology, which relates the coefficients of cusp forms to eigenvalues of Frobenius acting on these groups. Deligne used this to reduce the Ramanujan conjecture to the Weil conjectures that he proved. If G is a Fuchsian group and M is a representation of it the Eichler cohomology group H1P is defined to be the kernel of the map from H1 to Πc H1, where the product is over the cusps c of a fundamental domain of G, Gc is the subgroup fixing the cusp c.

Deligne, Pierre, "Formes modulaires et représentations l-adiques", Séminaire Bourbaki vol. 1968/69 Exposés 347-363, Lecture Notes in Mathematics, 179, New York: Springer-Verlag, doi:10.1007/BFb0058801, ISBN 978-3-540-05356-9 Eichler, Martin, "Eine Verallgemeinerung der Abelschen Integrale", Mathematische Zeitschrift, 67: 267–298, doi:10.1007/BF01258863, ISSN 0025-5874, MR 0089928 Gunning, Robert C. "The Eichler cohomology groups and automorphic forms", Transactions of the American Mathematical Society, 100: 44–62, doi:10.2307/1993353, ISSN 0002-9947, JSTOR 1993353, MR 0140126 Knopp, M. I. "Eichler_cohomology", in Hazewinkel, Encyclopedia of Mathematics, Springer Science+Business Media B. V. / Kluwer Academic Publishers, ISBN 978-1-55608-010-4 Shimura, Goro, "Sur les intégrales attachées aux formes automorphes", Journal of the Mathematical Society of Japan, 11: 291–311, doi:10.4099/jmath.11.291, ISSN 0025-5645, MR 0120372