Luke Robinson
Biographic Data
| ID | 3675200 |
|---|---|
| NAME | Luke Robinson |
| GIVEN NAMES | Luke |
| FAMILY NAME | Robinson |
| SIGNATURE | ROBINSON L |
| AFFILIATIONS | University of Sussex |
| ORCID | 0000-0002-8324-8786 |
| VERIFIED | Yes |
| TOTAL WORKS | 17 |
| TOTAL CITATIONS | 3 |
| WORKS AS AUTHOR | 16 |
| WORKS AS EDITOR | 1 |
| FIRST PUBLICATION YEAR | 1926 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
Cameo Performance and Industrial Allegory in Joanna Hogg’s The Souvenir and The Souvenir
This article explores Joanna Hogg’s The Souvenir (2019) and The Souvenir: Part II (2021) as reflexive commentaries on casting and structural exclusion in the British film industry. Contra the history of non-professional casting, Hogg’s tendency to recruit ambiguously non-professional performers from within her inner circle exacerbates her cinema’s racial and social exclusivity. This dynamic is revealed in The Souvenir and The Souvenir: Part II th…
Costs and economic impact of student‐led clinics—A systematic review
Parent's Perceptions of the Family Impacts of Covid‐19 Lockdowns on Themselves and Siblings of Children With Developmental Disabilities
Family members may be impacted by complex care requirements around childhood disability, although little research provides guidance on the changing needs of families under unexpected circumstances. This study investigated parents' experiences and reports of the impact of COVID‐19 lockdowns in Australia on family members in families raising a child with a disability and at least one other child. This study focused on parents' perspectives of their…
Introduction to “Back to the Site
Wu Wenguang's article ‘Back to the Site: Documentary as I Understand It’ is one of the first attempts to theorize the Chinese concept of xianchang, or working on site. A location-based practice common to filmmakers and experimental artists, xianchang evolved in 1990s China both as a reaction against Socialist Realist aesthetics, and as an attempt to recuperate their socially engaged potential. This introduction explores Wu's understanding of the …
Worrying about China
This article explores the impact of cross-border collaboration on independent Chinese documentary.Through a study of Wang Jiuliang's Plastic China, I argue that the film, which passed through training events run by CNEX and the Sundance Institute's Documentary Film Programme in China, bears the formal impact of the industrial-humanitarian logic central to these workshops: character-driven storytelling as the key to generating a global Anglophone …
Can rules ground moral obligations
What are the principles that ground our moral obligations? One obvious answer is that they are prescriptive rules that govern conduct by imposing obligations much like (certain) legal rules govern conduct by imposing legal obligations. This rule conception of moral principles merits our attention for at least three reasons. It's the obvious and most straightforward way to develop the analogy between morality and law, and between moral principles …
Young carers and educational engagement
Young carers support family members affected by disability or a health condition. The Young Carer Bursary Program aims to support young carers' education. This paper analysed data from consenting bursary applicants (2017-2019) to investigate relationships between wellbeing, educational attendance, home study and other factors. Descriptive statistics, correlation and regression analysis determined significant issues, relationships and influential …
Midi Z, network aesthetics from below, and the cultural politics of Taiwanese subimperialism
Taiwan's Ministry of Culture (MoC) announced its entry for Best Foreign Language Film at the 2015 Academy Awards. The government's choice was Bingdu/Ice Poison (2014), directed by the Myanmar-born but Taiwan-based filmmaker Zhao Deyin, better known as Midi Z. Described by the MoC's press release as "a brutally honest take on the day-to-day reality in his homeland Myanmar", 1 Ice Poison beat out features by more high profile directors. These inclu…
The View from the Border Crossing
Book Review| March 01 2020 The View from the Border Crossing China at Its Limits: An Empire’s Rise beyond Its Borders, by Messmer, Matthias; Chuang, Hsin-Mei, Bielefeld, Germany: Kerber, 2018, 416 pages, €59.00 (hardcover), ISBN 978-3-7356-0404-0 Luke Robinson Luke Robinson Luke Robinson teaches film studies at the University of Sussex. He is the author of Independent Chinese Documentary: From the Studio to the Street (2013) and editor (with Chri…
Chinese Film Festivals
This book is the first anthology of research devoted to the booming world of Chinese film festivals, covering both mainstream and independent films. It also explores festivals in the Chinese-speaking
DV-Made China
In 1990s post-Reform China, a growing number of people armed with video cameras poured out upon the Chinese landscape to both observe and contribute to the social changes then underway. Happening upon the crucial platform of an older independent film movement, this digital turn has given us a "DV China" that includes film and media communities across different social strata and disenfranchised groups, including ethnic and religious minorities and…
Voice, Liveness, Digital Video
This article addresses the use of the human voice in contemporary Chinese independent documentary in relation to xianchang. Broadly analogous to the Anglophone concept of “liveness,” xianchang is a shooting practice that interrogates questions of immediacy (being “on the scene”) and mediated distance (the reflexive consideration of such a practice). It is critical to any genealogy of independent documentary in the People's Republic of China. In t…
Independent Chinese Documentary
In the past twenty years, China has witnessed the flowering of an independent documentary cinema characterized by a particular verite aesthetic. Independent Chinese Documentary traces the roots of this style back to the 1980s, and the gradual abandonment of studio-based filmmaking, dominant during the Maoist era, for shooting live and on location. Known in Chinese as xianchang - or being on 'the scene' - this documentary practice is partly distin…
Independent Chinese Documentary
The rise of independent documentary film production is the most radical development in the contemporary Chinese mediascape. This book is a sustained examination of Chinese independent documentary in r
Animating the Chinese Child Consumer
This article explores the contemporary adaptation of the Chinese children's live feature film Sparkling Red Star as a feature-length animation. By comparing their representations of play, it demonstrates how the 1974 source text deploys a political understanding of childhood, and the 2007 remake a commercial one; and how stylistic differences between the feature and the animation also underline an address to the child as consumer, not political a…
Moral Principles Are Not Moral Laws
What are moral principles? The assumption underlying much of the generalism–particularism debate in ethics is that they are (or would be) moral laws: generalizations or some special class thereof, such as explanatory or counterfactual-supporting generalizations. I argue that this law conception of moral principles is mistaken. For moral principles do at least three things that moral laws cannot do, at least not in their own right: explain certain…
The Neuroses of the Nations
Young carers and educational engagement
Young carers support family members affected by disability or a health condition. The Young Carer Bursary Program aims to support young carers' education. This paper analysed data from consenting bursary applicants (2017-2019) to investigate relationships between wellbeing, educational attendance, home study and other factors. Descriptive statistics, correlation and regression analysis determined significant issues, relationships and influential …
Midi Z, network aesthetics from below, and the cultural politics of Taiwanese subimperialism
Taiwan's Ministry of Culture (MoC) announced its entry for Best Foreign Language Film at the 2015 Academy Awards. The government's choice was Bingdu/Ice Poison (2014), directed by the Myanmar-born but Taiwan-based filmmaker Zhao Deyin, better known as Midi Z. Described by the MoC's press release as "a brutally honest take on the day-to-day reality in his homeland Myanmar", 1 Ice Poison beat out features by more high profile directors. These inclu…
Voice, Liveness, Digital Video
This article addresses the use of the human voice in contemporary Chinese independent documentary in relation to xianchang. Broadly analogous to the Anglophone concept of “liveness,” xianchang is a shooting practice that interrogates questions of immediacy (being “on the scene”) and mediated distance (the reflexive consideration of such a practice). It is critical to any genealogy of independent documentary in the People's Republic of China. In t…
The Neuroses of the Nations
Moral Principles Are Not Moral Laws
What are moral principles? The assumption underlying much of the generalism–particularism debate in ethics is that they are (or would be) moral laws: generalizations or some special class thereof, such as explanatory or counterfactual-supporting generalizations. I argue that this law conception of moral principles is mistaken. For moral principles do at least three things that moral laws cannot do, at least not in their own right: explain certain…
Animating the Chinese Child Consumer
This article explores the contemporary adaptation of the Chinese children's live feature film Sparkling Red Star as a feature-length animation. By comparing their representations of play, it demonstrates how the 1974 source text deploys a political understanding of childhood, and the 2007 remake a commercial one; and how stylistic differences between the feature and the animation also underline an address to the child as consumer, not political a…
Independent Chinese Documentary
In the past twenty years, China has witnessed the flowering of an independent documentary cinema characterized by a particular verite aesthetic. Independent Chinese Documentary traces the roots of this style back to the 1980s, and the gradual abandonment of studio-based filmmaking, dominant during the Maoist era, for shooting live and on location. Known in Chinese as xianchang - or being on 'the scene' - this documentary practice is partly distin…
Independent Chinese Documentary
The rise of independent documentary film production is the most radical development in the contemporary Chinese mediascape. This book is a sustained examination of Chinese independent documentary in r
Voice, Liveness, Digital Video
This article addresses the use of the human voice in contemporary Chinese independent documentary in relation to xianchang. Broadly analogous to the Anglophone concept of “liveness,” xianchang is a shooting practice that interrogates questions of immediacy (being “on the scene”) and mediated distance (the reflexive consideration of such a practice). It is critical to any genealogy of independent documentary in the People's Republic of China. In t…
Chinese Film Festivals
This book is the first anthology of research devoted to the booming world of Chinese film festivals, covering both mainstream and independent films. It also explores festivals in the Chinese-speaking
DV-Made China
In 1990s post-Reform China, a growing number of people armed with video cameras poured out upon the Chinese landscape to both observe and contribute to the social changes then underway. Happening upon the crucial platform of an older independent film movement, this digital turn has given us a "DV China" that includes film and media communities across different social strata and disenfranchised groups, including ethnic and religious minorities and…
Midi Z, network aesthetics from below, and the cultural politics of Taiwanese subimperialism
Taiwan's Ministry of Culture (MoC) announced its entry for Best Foreign Language Film at the 2015 Academy Awards. The government's choice was Bingdu/Ice Poison (2014), directed by the Myanmar-born but Taiwan-based filmmaker Zhao Deyin, better known as Midi Z. Described by the MoC's press release as "a brutally honest take on the day-to-day reality in his homeland Myanmar", 1 Ice Poison beat out features by more high profile directors. These inclu…
The View from the Border Crossing
Book Review| March 01 2020 The View from the Border Crossing China at Its Limits: An Empire’s Rise beyond Its Borders, by Messmer, Matthias; Chuang, Hsin-Mei, Bielefeld, Germany: Kerber, 2018, 416 pages, €59.00 (hardcover), ISBN 978-3-7356-0404-0 Luke Robinson Luke Robinson Luke Robinson teaches film studies at the University of Sussex. He is the author of Independent Chinese Documentary: From the Studio to the Street (2013) and editor (with Chri…
Young carers and educational engagement
Young carers support family members affected by disability or a health condition. The Young Carer Bursary Program aims to support young carers' education. This paper analysed data from consenting bursary applicants (2017-2019) to investigate relationships between wellbeing, educational attendance, home study and other factors. Descriptive statistics, correlation and regression analysis determined significant issues, relationships and influential …
Introduction to “Back to the Site
Wu Wenguang's article ‘Back to the Site: Documentary as I Understand It’ is one of the first attempts to theorize the Chinese concept of xianchang, or working on site. A location-based practice common to filmmakers and experimental artists, xianchang evolved in 1990s China both as a reaction against Socialist Realist aesthetics, and as an attempt to recuperate their socially engaged potential. This introduction explores Wu's understanding of the …
Worrying about China
This article explores the impact of cross-border collaboration on independent Chinese documentary.Through a study of Wang Jiuliang's Plastic China, I argue that the film, which passed through training events run by CNEX and the Sundance Institute's Documentary Film Programme in China, bears the formal impact of the industrial-humanitarian logic central to these workshops: character-driven storytelling as the key to generating a global Anglophone …
Can rules ground moral obligations
What are the principles that ground our moral obligations? One obvious answer is that they are prescriptive rules that govern conduct by imposing obligations much like (certain) legal rules govern conduct by imposing legal obligations. This rule conception of moral principles merits our attention for at least three reasons. It's the obvious and most straightforward way to develop the analogy between morality and law, and between moral principles …
Costs and economic impact of student‐led clinics—A systematic review
Parent's Perceptions of the Family Impacts of Covid‐19 Lockdowns on Themselves and Siblings of Children With Developmental Disabilities
Family members may be impacted by complex care requirements around childhood disability, although little research provides guidance on the changing needs of families under unexpected circumstances. This study investigated parents' experiences and reports of the impact of COVID‐19 lockdowns in Australia on family members in families raising a child with a disability and at least one other child. This study focused on parents' perspectives of their…
Cameo Performance and Industrial Allegory in Joanna Hogg’s The Souvenir and The Souvenir
This article explores Joanna Hogg’s The Souvenir (2019) and The Souvenir: Part II (2021) as reflexive commentaries on casting and structural exclusion in the British film industry. Contra the history of non-professional casting, Hogg’s tendency to recruit ambiguously non-professional performers from within her inner circle exacerbates her cinema’s racial and social exclusivity. This dynamic is revealed in The Souvenir and The Souvenir: Part II th…
Sociology (10 works) · Political science (9 works) · Law (8 works) · Art (7 works) · Hong Kong and Taiwan Politics (7 works) · Media studies (7 works) · History (5 works) · Visual arts (5 works) · Asian Culture and Media Studies (4 works) · china (4 works)