📰 Judo player wins Taiwan’s first medal at Tokyo Olympics
🀄 柔道選手在東京奧運會上獲得台灣第一枚獎牌
TAIPEI (Taiwan News) – Yang Yung-wei (楊勇緯) won a silver for judo Saturday (July 24) as the country’s first medal at the Tokyo Olympics and its best-ever performance in the Japanese martial art.
📌 楊勇緯在週六贏得柔道銀牌,這是該國在東京奧運會上的第一枚獎牌,也是日本武術史上最好的表現。
While he was defeated in the final of the 60 kg category by host country star Takato Naohisa, earlier Yang beat French judoka Luka Mkheidze, earning him the certainty of a medal. The bronze medals were shared by Mkheidze and Yeldos Smetov of Kazakhstan.
📌 雖然他在 60 公斤級決賽中被地主國(日本)之星高人直久擊敗,但早些時候楊擊敗了法國柔道選手盧卡·姆赫澤,為他自己贏得了獎牌。銅牌則由哈薩克的姆赫澤和耶爾多斯·斯梅托夫取得。
Yang’s silver was not only the first medal a Taiwanese athlete scored at the current Olympics, which opened Friday (July 23), but it was also the first ever medal for a judoka from the island and the fastest medal Taiwan ever won at the Games, CNA reported. At past Olympics, taekwondo was the martial art Taiwanese athletes most excelled in.
📌 楊的銀牌不僅是台灣運動員在周五開幕的本屆奧運會上獲得的第一枚獎牌,也是該島柔道運動員的第一枚獎牌,也是台灣在奧運會上獲得的最快獎牌,中央社報導。在過去的奧運會上,跆拳道是台灣運動員最擅長的武術。
資料來源: https://is.gd/3JXdnV
🥈 楊勇緯 Yang Yung Wei
🟡🔵🟠🔹2021新作品🔹🔴⚪️🟣
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《Ken的寫作筆記A+B》
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同時也有7部Youtube影片,追蹤數超過92萬的網紅Kuma Films,也在其Youtube影片中提到,This girl has real life ninja skills! Kiki Okubo is a 16 year martial artist, tricker, stuntwoman, and dancer from Los Angeles. She is also a 2x world...
「japanese martial art」的推薦目錄:
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- 關於japanese martial art 在 VOP Facebook 的精選貼文
- 關於japanese martial art 在 VOP Facebook 的最讚貼文
- 關於japanese martial art 在 Kuma Films Youtube 的精選貼文
- 關於japanese martial art 在 Tiger Muay Thai and MMA Training Camp, Phuket, Thailand Youtube 的最佳解答
- 關於japanese martial art 在 ブチかまし Youtube 的最讚貼文
japanese martial art 在 VOP Facebook 的精選貼文
Voices of Photography 攝影之聲
Issue 21: 影像刊誌考
A Study of Photo Publications
◼︎ 購書 | Order : http://bit.ly/2uhMNd6
◼︎ 訂閱 | Subscribe : http://bit.ly/2tTlqn6
在本期專題裡,我們埋首雜誌報刊堆中,透過梳理台灣、中國和香港攝影雜誌的出版歷程,作為初探東亞影像刊誌的歷史迴路及攝影文化脈動連結的支點,試圖疊映出這個影像時代過去與現在的考驗和變貌。
走過日本殖民與國府戒嚴的重重歷史,歷經戰後攝影發展的流變,台灣影像雜誌的存在與承續,彷若一趟崎嶇蜿蜒的旅程——陳佳琦追蹤台灣攝影刊物的沓雜步履,瞭望島嶼影像出版百年來的起落波潮;張世倫重訪七〇年代發行的《ECHO》英文漢聲雜誌,追述這份台灣民俗調查攝影先鋒刊物的歷史脈絡與文化影響;梁秋虹考掘日治期間出版的「黃色刊物」,剖析台灣女性作為視覺消費商品的殖民結構與政治關係;李威儀蒐集台灣戒嚴年代官方編印發行的「今日」系列政宣畫刊,探查國府曾經透過出版啟動的對外影像心戰。
在對岸中國,長久以來由政府當局全面管控的媒體與出版體系,塑造了「具中國特色」的攝影媒介生態——顧錚回看自1949年至今、在文革到改革開放帶來的政經變化下,攝影雜誌所承載的理想、現實與時代肌理;此外,何伊寧書寫近年中國獨立刊物的多樣風景,體現這些在限制中試圖開拓道路的紙本與網路同人誌的某種可能與想像,為中國攝影注入了不同以往的革新感與清新氣息。放眼香港,李泳麒則細數自戰後以來發行的眾多香港攝影刊物,揭示早期攝影雜誌與左派團體的隱密關係,以及面對商業市場的掙扎取捨,回溯這些影像刊誌曾經點燃的火花。
本期Artist’s Showcase單元,我們專訪台灣藝術家侯怡亭,在她的作品《歷史刺繡人》系列中,藉由刺繡、勞動生產與殖民時期歷史照片的交疊展現,反射出社會集體意識灌輸的性別設定與身體感。在「Q」單元裡,法國攝影雜誌《The Eyes》創辦人文森.馬熙哈希與我們分享這份新的半年刊的編輯概念以及他對攝影的前線觀察;同時,我們也造訪巴黎視覺藝術空間「LE BAL」,一探這個位在紅燈區、前身曾是酒館舞廳的展演場,如何變成新穎的歐洲影像文化據點。
我們在籌備本期專題、記述這些影像刊物生命史之時,特別能夠感受到催生與維持一份刊物背後所需付出的心血與懷抱的理想,在此我們向眾出版人們致敬。出版的路上時而快意、時而蹌踉,我們也想再次感謝親愛的《攝影之聲》讀者給予這份刊物持續的動力,謝謝你與我們一起共度這段雜誌時光。
In this issue of VOP, we combed through and compiled numerous photo publications from Taiwan, China and Hong Kong. Using this as a fulcrum in our primary examination of the historical development and cultural ripples of photo publications in East Asia, we tried to map the past and current challenges and transformation of this age of images.
Through the Japanese colonization and martial law eras, the existence and evolution of post-war photo publications in Taiwan is not unlike a winding journey. Chia-Chi Chen traces the complex development and the ups and downs of Taiwanese photographic journals in the last century; Shih-Lun Chang revisits ECHO, a magazine published in the 1970s, and recounts the historical context and cultural influence of this pioneering publication on Taiwanese folklore and documentary photography. Chiu-Hong Liang takes a look at “adult publications” from the Japanese colonial period and examines the relationship between politics and the colonial structure of objectifying Taiwanese women as a form of visual consumer product. Wei-I Lee puts together the Today series of KMT government propaganda materials published during the martial law era and explores how the government engaged in psychological warfare through the use of such publications.
Over in China, the media and publication industry, which has long been heavily controlled by the state, has given birth to a photographic media ecology with “Chinese characteristics." Gu Zheng takes a look at how political and economic changes since the Cultural Revolution and the Reform Era gave shape to the expectations, reality and texture that photo publications have had to bear since 1949. Yi-Ning He also explores how independent publications in China, in an attempt to blaze a trail in a much-restricted environment, with their dedication to possibility and imagination, have brought with them a new sense of innovation and a breath of fresh air into the scene of Chinese photography. Turning to Hong Kong, Wing-Ki Lee showcases Hong Kong’s post-war photo magazines and recounts their impact on the society as he reveals the close relationship between early photo publications and leftist groups and their struggles with the commercial market.
In this issue’s “Artist Showcase”, I-Ting Hou tells us how her work Li̍k-sú Tsiam-tsílâng reflects gender definition and sensory perceptiveness instilled by the social collective consciousness through the overlapping historical photographs of embroidery and labor productivity from the colonial period. In the “Q” segment, Vincent Marcilhacy, the founder of French photography magazine The Eyes, shares with us his editorial concept for this new magazine and his first-hand observations of photography. At the same time, we also pay a visit to Le Bal, a visual art space in Paris, and see its transformation from a haven of drinks and dance to a new cultural stronghold in Europe.
While preparing for this volume of VOP, we had renewed respect for all the work and effort these publications put in as we articulate their histories. Hence, we would like to pay tribute to our fellow publishers. The same time, we also want to express our gratitude to our beloved VOP readers for giving us the reason to persevere with this publication. The road of publishing is at times smooth-sailing, and at times discouraging. Thank you for always staying with us on this journey.
---
Voices of Photography 攝影之聲
www.vopmagazine.com
japanese martial art 在 VOP Facebook 的最讚貼文
#新刊發行 | New Release
Voices of Photography 攝影之聲
Issue 21: 影像刊誌考
A Study of Photo Publications
在本期專題裡,我們埋首雜誌報刊堆中,透過梳理台灣、中國和香港攝影雜誌的出版歷程,作為初探東亞影像刊誌的歷史迴路及攝影文化脈動連結的支點,試圖疊映出這個影像時代過去與現在的考驗和變貌。
走過日本殖民與國府戒嚴的重重歷史,歷經戰後攝影發展的流變,台灣影像雜誌的存在與承續,彷若一趟崎嶇蜿蜒的旅程——陳佳琦追蹤台灣攝影刊物的沓雜步履,瞭望島嶼影像出版百年來的起落波潮;張世倫重訪七〇年代發行的《ECHO》英文漢聲雜誌,追述這份台灣民俗調查攝影先鋒刊物的歷史脈絡與文化影響;梁秋虹考掘日治期間出版的「黃色刊物」,剖析台灣女性作為視覺消費商品的殖民結構與政治關係;李威儀蒐集台灣戒嚴年代官方編印發行的「今日」系列政宣畫刊,探查國府曾經透過出版啟動的對外影像心戰。
在對岸中國,長久以來由政府當局全面管控的媒體與出版體系,塑造了「具中國特色」的攝影媒介生態——顧錚回看自1949年至今、在文革到改革開放帶來的政經變化下,攝影雜誌所承載的理想、現實與時代肌理;此外,何伊寧書寫近年中國獨立刊物的多樣風景,體現這些在限制中試圖開拓道路的紙本與網路同人誌的某種可能與想像,為中國攝影注入了不同以往的革新感與清新氣息。放眼香港,李泳麒則細數自戰後以來發行的眾多香港攝影刊物,揭示早期攝影雜誌與左派團體的隱密關係,以及面對商業市場的掙扎取捨,回溯這些影像刊誌曾經點燃的火花。
本期Artist’s Showcase單元,我們專訪台灣藝術家侯怡亭,在她的作品《歷史刺繡人》系列中,藉由刺繡、勞動生產與殖民時期歷史照片的交疊展現,反射出社會集體意識灌輸的性別設定與身體感。在「Q」單元裡,法國攝影雜誌《The Eyes》創辦人文森.馬熙哈希與我們分享這份新的半年刊的編輯概念以及他對攝影的前線觀察;同時,我們也造訪巴黎視覺藝術空間「LE BAL」,一探這個位在紅燈區、前身曾是酒館舞廳的展演場,如何變成新穎的歐洲影像文化據點。
我們在籌備本期專題、記述這些影像刊物生命史之時,特別能夠感受到催生與維持一份刊物背後所需付出的心血與懷抱的理想,在此我們向眾出版人們致敬。出版的路上時而快意、時而蹌踉,我們也想再次感謝親愛的《攝影之聲》讀者給予這份刊物持續的動力,謝謝你與我們一起共度這段雜誌時光。
◼︎ 購書 | Order : http://bit.ly/2uhMNd6
◼︎ 訂閱 | Subscribe : http://bit.ly/2tTlqn6
In this issue of VOP, we combed through and compiled numerous photo publications from Taiwan, China and Hong Kong. Using this as a fulcrum in our primary examination of the historical development and cultural ripples of photo publications in East Asia, we tried to map the past and current challenges and transformation of this age of images.
Through the Japanese colonization and martial law eras, the existence and evolution of post-war photo publications in Taiwan is not unlike a winding journey. Chia-Chi Chen traces the complex development and the ups and downs of Taiwanese photographic journals in the last century; Shih-Lun Chang revisits ECHO, a magazine published in the 1970s, and recounts the historical context and cultural influence of this pioneering publication on Taiwanese folklore and documentary photography. Chiu-Hong Liang takes a look at “adult publications” from the Japanese colonial period and examines the relationship between politics and the colonial structure of objectifying Taiwanese women as a form of visual consumer product. Wei-I Lee puts together the Today series of KMT government propaganda materials published during the martial law era and explores how the government engaged in psychological warfare through the use of such publications.
Over in China, the media and publication industry, which has long been heavily controlled by the state, has given birth to a photographic media ecology with “Chinese characteristics." Gu Zheng takes a look at how political and economic changes since the Cultural Revolution and the Reform Era gave shape to the expectations, reality and texture that photo publications have had to bear since 1949. Yi-Ning He also explores how independent publications in China, in an attempt to blaze a trail in a much-restricted environment, with their dedication to possibility and imagination, have brought with them a new sense of innovation and a breath of fresh air into the scene of Chinese photography. Turning to Hong Kong, Wing-Ki Lee showcases Hong Kong’s post-war photo magazines and recounts their impact on the society as he reveals the close relationship between early photo publications and leftist groups and their struggles with the commercial market.
In this issue’s “Artist Showcase”, I-Ting Hou tells us how her work Li̍k-sú Tsiam-tsílâng reflects gender definition and sensory perceptiveness instilled by the social collective consciousness through the overlapping historical photographs of embroidery and labor productivity from the colonial period. In the “Q” segment, Vincent Marcilhacy, the founder of French photography magazine The Eyes, shares with us his editorial concept for this new magazine and his first-hand observations of photography. At the same time, we also pay a visit to Le Bal, a visual art space in Paris, and see its transformation from a haven of drinks and dance to a new cultural stronghold in Europe.
While preparing for this volume of VOP, we had renewed respect for all the work and effort these publications put in as we articulate their histories. Hence, we would like to pay tribute to our fellow publishers. The same time, we also want to express our gratitude to our beloved VOP readers for giving us the reason to persevere with this publication. The road of publishing is at times smooth-sailing, and at times discouraging. Thank you for always staying with us on this journey.
---
Voices of Photography 攝影之聲
www.vopmagazine.com
japanese martial art 在 Kuma Films Youtube 的精選貼文
This girl has real life ninja skills! Kiki Okubo is a 16 year martial artist, tricker, stuntwoman, and dancer from Los Angeles. She is also a 2x world champion in musical weapons and extreme weapons. // Kuma hats/shirts → http://www.kumafilms.com/merch
Subscribe→ http://bit.ly/kumaf1lms
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Send us stuff!
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japanese martial art 在 Tiger Muay Thai and MMA Training Camp, Phuket, Thailand Youtube 的最佳解答
Tiger Muay Thai fighter Nick Hein(12-2) has been preparing for his next UFC bout against Japanese newcomer, Yusuke Kasuya(9-1-2) at UFC Fight Night 75 in Tokyo, Japan on September 27th.
Hein is 2-1 in the UFC coming off a unanimous decisioin win from Lukasz Sajewski at UFC Fight Night in front of his home fans in Berlin, Germany.
Watch for Hein to make a name for himself in the lightweight division.
Jeff Sainlar Film
www.jeffsainlar.com
www.tigermuaythai.com
japanese martial art 在 ブチかまし Youtube 的最讚貼文
Look!
"Over 9000" in Dragon Ball is a cheap fake!
This is the real "0ver 9000" in Japanese Sumo wrestler's life!
Buchikamashi(ブチかまし) is one of the sumo technique which means "striking the face hard".