Journal articles on the topic 'Mixologie'

Loewy is one of the restaurants and bars in Jakarta who serves drinks to the concept of molecular mixology. Molecular mixology itself developed in conjunction with the method of Molecular gastronomy which is a scientific study about gastronomy or the branch of science that studies the transformation of physiochemical on food during the cooking process and the phenomenon of knowledge as they consumed. However, molecular mixology is not as popular as molecular gastronomy where the general public still have yet to understand or even be aware of drinks made with this method. Therefore, the researchers want to do an analysis on consumer perceptions of product of molecular mixology in Loewy Jakarta. The research method used is descriptive methods. This is done to obtain a systematically and factual. By this study, it is expected to know the consumers’ perception in Loewy Jakarta on beverage products made with the molecular mixology method.

Laboratory work often requires making up solutions with defined concentrations of various components. Mixology is a tool we have created to simplify calculation of the masses and volumes required to obtain particular concentrations. It operates with many kinds of volumetric, mass and concentration units, including conversion between molarity- and mass-based concentrations using molecular masses retrieved from the Chemical Entities of Biological Interest (ChEBI) database. Mixology can be accessed at https://mixology.science.

In uncovering female mixologists as actors from the tourism industry, on the basis of the theory of cultural concepts, work ethic, and community views. The work ethic of women to actualize themselves in order to improve the family economy is based on socio-cultural, educational, technological and environmental factors. although the role of women is able to contribute significantly to their own, family and community departments but social views about their profession as mixologists which add a series of stereotypes to women that have a negative impact on female workers including mixologist workers.

SUMMARY We examine the strain accumulation and localization process throughout 12 triaxial compression experiments on six rock types deformed in an X-ray transparent apparatus. In each experiment, we acquire 50–100 tomograms of rock samples at differential stress steps during loading, revealing the evolving 3-D distribution of X-ray absorption contrasts, indicative of density. Using digital volume correlation (DVC) of pairs of tomograms, we build time-series of 3-D incremental strain tensor fields as the rocks are deformed towards failure. The Pearson correlation coefficients between components of the local incremental strain tensor at each stress step indicate that the correlation strength between pairs of local strain components, including dilation, contraction and shear strain, are moderate-strong in 11 of 12 experiments. In addition, changes in the local strain components from one DVC calculation to the next show differences in the correlations between pairs of strain components. In particular, the correlation of the local changes in dilation and shear strain tends to be stronger than the correlation of changes in dilation-contraction and contraction-shear strain. In 11 of 12 experiments, the most volumetrically frequent mode of strain accommodation includes a synchronized increase in multiple strain components. Early in loading, under lower differential stress, the most frequent strain accumulation mode involves the paired increase in dilation and contraction at neighbouring locations. Under higher differential stress, the most frequent mode is the paired increase in dilation and shear strain. This mode is also the first or second most frequent throughout each complete experiment. Tracking the mean values of the strain components in the sample and the volume of rock that each component occupies reveals fundamental differences in the nature of strain accumulation and localization between the volumetric and shear strain modes. As the dilative strain increases in magnitude throughout loading, it tends to occupy larger volumes within the rock sample and thus delocalizes. In contrast, the increasing shear strain components (left- or right-lateral) do not necessarily occupy larger volumes and so involve localization. Consistent with these evolutions, the correlation length of the dilatational strains tends to increase by the largest amounts of the strain components from lower to higher differential stress. In contrast, the correlation length of the shear strains does not consistently increase or decrease with increasing differential stress.

Complexity is generally perceived to be a desirable attribute as far as the design/delivery of food and beverage experiences is concerned. However, that said, there are many different kinds of complexity, or at least people use the term when talking about quite different things, and not all of them are relevant to the design of food and drink experiences nor are they all necessarily perceptible within the tasting experience (either in the moment or over time). Consequently, the consumer often needs to infer the complexity of a tasting experience that is unlikely to be perceptible (in its entirety) in the moment. This paper outlines a number of different routes by which the chef, mixologist, and/or blender can both design and signal the complexity in the tasting experience.

Vibrionaceae is a widespread family of aquatic bacteria that includes emerging pathogens and symbionts. Many Vibrionaceae harbor a type VI secretion system (T6SS), which is a secretion apparatus used to deliver toxins, termed effectors, into neighboring cells. T6SSs mediate both antibacterial and anti-eukaryotic activities. Notably, antibacterial effectors are encoded together with a gene that encodes a cognate immunity protein so as to antagonize the toxicity of the effector. The MIX (Marker for type sIX effectors) domain has been previously defined as a marker of T6SS effectors carrying polymorphic C-terminal toxins. Here, we set out to identify the Vibrionaceae MIX-effector repertoire and to analyze the various toxin domains they carry. We used a computational approach to search for the MIX-effectors in the Vibrionaceae genomes, and grouped them into clusters based on the C-terminal toxin domains. We classified MIX-effectors as either antibacterial or anti-eukaryotic, based on the presence or absence of adjacent putative immunity genes, respectively. Antibacterial MIX-effectors carrying pore-forming, phospholipase, nuclease, peptidoglycan hydrolase, and protease activities were found. Furthermore, we uncovered novel virulence MIX-effectors. These are encoded by “professional MIXologist” strains that employ a cocktail of antibacterial and anti-eukaryotic MIX-effectors. Our findings suggest that certain Vibrionaceae adapted their antibacterial T6SS to mediate interactions with eukaryotic hosts or predators.

Purpose With growing stress at work, the need for scholars to focus on humanizing organizations is pressing. Scholars agree five factors lead to humanizing organizations. This study dwells upon one factor – employee strengths at work (ESAW) – problematizes, identifies the gap in its conceptualization, deploys critical social systems theory and reconceptualizes the construct of ESAW by taking key contextual factors into consideration. Thereafter, this study aims to develop a conceptual model and makes propositions related to the mediating effects of ESAW on the association of leadership style and employee performance. Design/methodology/approach Aimed at contributing to humanizing organizations, this conceptual study problematizes the construct of competency and the trait-based conceptualization of strengths in identifying gaps in the construct of competency for humanizing organizations. Next, the study deploys the technique of construct mixology for evolving the new construct of ESAW. To empirically test ESAW in the field, the authors deploy the critical social systems theory and develop a conceptual model. Further, drawing upon the conceptual model and the extant literature, the authors develop many propositions for enabling future research. Findings The study develops a new construct of ESAW that holds the promise of contributing to humanizing organizations. By embedding the current trait-based conceptualization of employee strengths to the context of the organization, the new five-factor construct of ESAW is indigenous to the field of organization science, hence, has a higher relevance. The study develops a conceptual model and makes propositions for empirically testing the new construct in the field that future researchers may focus upon. Research limitations/implications There is a compelling need for humanizing organizations. This conceptual study attempts to bring back the focus of researchers on humanizing organizations, within the framework of the market-driven economy. The new construct of ESAW has huge potential for theory-building and empirical testing. Practical implications Deployment of ESAW will contribute to humanizing organizations. The construct of ESAW is relevant to practice as it has evolved from the domain of organization science, unlike the earlier trait-based conceptualization of strength that emerged in personality psychology. Practitioners can deploy the construct of ESAW and achieve the two seemingly conflicting objectives of enabling employee well-being while also ensuring superior performance. Social implications Any contribution toward humanizing organizations forebodes increasing the social capital and the personal well-being of employees. If employees are happy at work, their productivity increases. As per the broaden and build theory of Fredrickson, higher well-being and productivity at work creates a spiral of positivity that transcends the working life of an employee. Hence, the study has huge social implications at times when the social fabric is stretched because of multiple demands on an employee. Originality/value Constructs developed in other fields and adopted in organization science have less relevance than those evolved in the domain of organization science. Past deficient conceptualization and practices persist unless scholars logically challenge it an alternative and improved conceptualization provided. The new construct of ESAW uses the method of construct mixology after unravelling the assumptions that impedes humanizing organizations.

For disciplines heavily reliant upon traditional classroom teaching, such as medicine and health sciences, incorporating new learning models may pose challenges for students and faculty. In an effort to innovate curricula, better align courses to required student learning outcomes, and address the call to redesign health professions education, Health Sciences Programs at The George Washington University (GW) embarked on two faculty development initiatives to encourage adoption of online, blended, and technology-enhanced courses. This article describes the Review, Refresh, Revise (R3) program, which relies on the evidenced-based Quality Matters Higher Education rubric, and resources from the Supported Media for Administration and Teaching (SMART) Lab to develop and promote a pedagogical approach to course redesign. It also presents preliminary data evaluating the programs in terms of faculty satisfaction, student satisfaction, learning outcomes, and learner engagement. Data analysis indicates faculty satisfaction with the R3 program and SMART Lab resources, despite faculty concerns regarding the time commitment of R3. It also indicated that both initiatives improved course quality, learning outcomes, and learner engagement. Analysis indicates student satisfaction with course revisions in online and technology-enhanced courses, although student satisfaction in the first fully blended course varied, particularly with regard to whether students found the use of technology engaging or essential to learning. Further research is required to understand student responses to blended learning in health sciences.

Despite challenges on the employability of tourism graduates, cruise industry emerged as potential labor market for aspiring tourism graduates in the field. This study aimed to understand the perception of employers and tourism students on employability and explore possible career opportunities. The mixed method research design was utilized such as survey and interview to gather data. The respondents were the 285 graduating tourism students in selected higher education institutions in Metro Manila and five recruitment officers of the three manning agencies, such as United Philippine Lines, Philippine Transmarine Carrier, and Magsaysay Shipping. The Phase I of the study focused on conducting the survey to know respondents perception on employment while Phase II concentrate on interview with the recruitment officers from the various manning agency to explore cruise tourism career opportunities. Results showed that tourism students perceived highly competent on cruise tourism jobs such as front office, food and beverages, housekeeping and cruise staffing expect for ship star reservation system and bar mixology. Also, they perceived high on graduate attributes such as customer expectation, innovative spirit, communication skills, organizational skills, self-management skills, self-awareness, self-reliant, leadership and assertiveness. Interestingly, employers perceived employability with outstanding skills on the front office, food and beverages, housekeeping and cruise staffing section. Recruitment officers from manning agency rated high on identified graduate attributes highlighting the importance of exceeding customer expectations, aligned work experience, communication skills, demanding customers and volume of workload and multicultural workplace during the interview. This article has implication on curriculum development particularly in tourism program.

In his directorial debut, The Man with the Iron Fists (2012), RZA not only evokes the textual borrowing techniques he has utilised as a hip-hop producer, but also reflects the influence of filmmaker Quentin Tarantino, who has built a career upon acknowledging mainstream and cult film histories through mise-en-scene, editing, and deft characterisation. The Man with the Iron Fists was originally to coincide with Tarantino’s rebel slave narrative Django Unchained (2012), which Tarantino has discussed openly as commentary regarding race in contemporary America. In 2011, Variety reported that RZA had joined the cast of Tarantino’s anticipated Django Unchained, playing “Thaddeus, a violent slave working on a Mississippi plantation” (Sneider, “Rza Joins ‘Django Unchained’ Cast”). Django Unchained follows Tarantino’s pattern of generic and trope mixology, combining elements of the Western, blaxploitation, and buddy/road film. He famously stated: “[If] my work has anything it's that I'm taking this from this and that from that and mixing them together… I steal from everything. Great artists steal; they don't do homages” (“The Directors of Our Lifetime: In Their Own Words”). He sutures iconography from multiple films in numerous genres to form new texts that stand alone, albeit as amalgamations of references. In considering meanings attached particularly to exploitation films, this article addresses the significance of combining influences within The Man with the Iron Fists and Tarantino’s Django Unchained, and the ideological threads that emerge in fusing exploitation film aesthetics. Ultimately, these films provide a convergence not only of texts, but also of the collective identities associated with and built upon those texts, feats made possible through the filmmakers’ use of pastiche. Pastiche in Identity Formation as Subversive A reflection of the postmodern tendency towards appropriation and borrowing, pastiche is often considered less meaningful than its counterpart, parody. Fredric Jameson suggests that though pastiche and parody share commonalities (most notably the mimicry of style and mannerisms), they do so to different effects. Jameson asserts that parody mimics in an effort to mock the idiosyncrasies within a text, whereas pastiche is “neutral parody” of “dead styles” (114). In short, as Susan Hayward writes, “In its uninventiveness, pastiche is but a shadow of its former thing” (302). For Jameson, the most ubiquitous form of pastiche is the nostalgia film, which attempts to recapture the essence of the past. As examples, he points to the George Lucas films American Graffiti (1973), which is staged in the United States of the 1950s, and Star Wars (1977), which reflects the serials of the 1930s-1950s (114-115). Though scholars such as Jameson and Hayward are contemptuous of pastiche, a growing number see its potential for the subversion and critique that the aforementioned suggest it lacks. For instance, Sarah Smith reminds us that pastiche films engage in “complicitous critique”: the films maintain the trappings of original texts, yet do so in order to advance critique (209). For Smith and other scholars, such as Judith Butler and Richard Dyer, Jameson’s criticism of pastiche is dismissive, for while these scholars largely agree that pastiche is a form of mimicry in which the distance between original and copy is minimal, they recognise that a space still exists for it to be critical. Smith writes: “[W]hile there may be greater distance between the parody and its target text than there is between the pastiche and the text it imitates, a prescribed degree of distance is not a prerequisite for critical engagement with the ur-text” (210). In this regard, fidelity to the original texts is not only required but to be revered, for these likenesses to the original “act as a guarantee of the critique of those origins and provide an opportunity for the filmmaker to position [himself or herself] in relation to them” (Smith 211). Essentially, pastiche is a useful technique in which to construct hybrid identities. Keri E. Iyall Smith suggests that hybrid identities emerge from “a reflexive relationship between local and global” (3). According to popular music scholar Brett Lashua, hybrid identities “make and re-make culture through appropriating the cultural ‘raw materials’ of life in order to construct meaning in their own specific cultural localities. In a sense, they are ‘sampling’ from broader popular culture and reworking what they can take into their own specific local cultures” (“The Arts of the Remix: Ethnography and Rap”). As will be evidenced here, Tarantino utilises pastiche as an unabashed genre poacher; similarly, as a self-avowed Tarantino student and hip-hop producer known for his sampling acumen, RZA invokes pastiche to reflect mastery of his craft and a hybridised identity his multifaceted persona. Plagiarism, Poaching, and Pastiche: Tarantino Blurs Boundaries As a filmmaker, Tarantino is known for indulging in excess: violence, language, and aesthetics. Edward Gallafent characterised the director’s work as having a preoccupation with settings and journeys, violence (both emotional and physical), complicated chronological structures, and dissatisfying conclusions (3-4). Additionally, pieces of Tarantino’s cinematic fandom are inserted into his own films. Academic and popular critics continually note Tarantino’s rise as an obsessive video store clerk turned respected and eccentric auteur. Tarantino’s authorship lies mostly in his ability to borrow (or in his words, steal) narrative arcs, characterisations, and camera work from other filmmakers, and use them in ways that feel innovative and different from those past works. It is not that he borrows generally from movements, films, and filmmakers, but that he conscientiously lifts segments from works to incorporate into his text. In Postmodern Hollywood: What’s New in Film and Why It Makes Us Feel So Strange, Keith M. Booker contends that Tarantino’s work often straddles lines between simplistic reference for reference’s sake and meditations upon the roles of cinema (90). Booker dismisses claims for the latter, citing Tarantino’s unwillingness to contextualise the references in Pulp Fiction, such that the film is best described not an act of citation so much as a break with the historical. Tarantino’s lack of reverence provides him freedom to intermingle texts and tropes to fit his goals as a filmmaker, rather than working within the confines of generic narratives. Each film feels both apart and distinct from genre categories. Jackie Brown, for example, has many of the traits attached to blaxploitation, from its focus on drug culture, the casting of Pam Grier who gained status playing female leads in blaxploitation films, and extreme violence. Tarantino’s use of humour throughout, particular in his treatment of character types, plot twists, and self-aware musical cues distances the film from easy characterisation. It is, but isn’t. What is gained is a remediated conception of cinematic reality. The fictions created in films of the past are noted in Tarantino’s play with tropes. His mixes produce an extreme form of mediated reality – one that is full of excess, highly exaggerated, and completely composed of stolen frameworks. Tarantino continues his generic play in Django Unchained. While much of it does borrow heavily from 1960s and 1970s Western filmmakers like Leone, Corbucci, and Peckinpah (the significance of desolate landscapes, long takes, extreme violence), it also incorporates strands of buddy cop (partners with different backgrounds working together to correct wrongs), early blaxploitation (Broomhilda’s last name is von Shaft suggesting that she is an ancestor of blaxploitation icon John Shaft, the characterisation of Django as black antihero enacting revenge on white racists in power), and kung fu (revenge narrative, in addition to the extensive training moments between Dr. Schultz and Django). The familiar elements highlight the transgressions of genre adherence. The comfort of the western genre and its tropes eases the audience, only for Tarantino to incorporate those elements from outside the genre to spark interest, to shock, to remind audiences of the mediated reality onscreen. Tarantino has been criticised for his lack of depth and understanding regarding women and people of colour, despite his attempts to provide various leading and supporting roles for both. Django Unchained was particularly criticised for Tarantino’s use of the term nigger - over 100 instances in the film. Tarantino defended his decision by claiming historical accuracy, poetic license, and his desire to confront audiences with various levels of racism. Many, including Spike Lee, disagreed, arguing Tarantino had no claim to making a film about slavery. Lee stated through Twitter: “American Slavery Was Not A Sergio Leone Spaghetti Western. It Was A Holocaust. My Ancestors Are Slaves. Stolen From Africa. I Will Honor Them” (“Spike Lee on Django Unchained: Filmmaker Calls Movie ‘Disrespectful’”). Not only does Lee evoke the tragedy of the American slave trade and the significance of race within contemporary filmmaking, but he uses genre to underscore what he perceives is Tarantino’s lack of reverence to the issue of slavery and its aftermath in American culture. Django Unchained is both physically and emotionally brutal. The world created by Tarantino is culturally messy, as Italian composers rub elbows with black hip-hop artists, actors from films’ referenced in Django Unchained interact with new types of heroes. The amounts of references, people, and spectacles in his films have created a brand that is both hyperaware, but often critiqued as ambivalent. This is due in part to the perception of Tarantino as a filmmaker with no filter. His brand as a filmmaker is action ordered, excessive, and injected with his own fandom. He is an ultimate poacher of texts and it is this aesthetic, which has also made him a fan favourite amongst young cinephiles. Not only does he embrace the amount of play film offers, but he takes the familiar and makes it strange. The worlds he creates are hazier, darker, and unstable. Creating such a world in Django Unchained provides a lot of potential for reading race in film and American culture. He and his defenders have discussed this film as an “honest” portrayal of the effects of slavery and racial tension in the United States. This is also the world which acts as context for RZA’s The Man with the Iron Fists. Though a reference abandoned in Django Unchained, the connection between both films and both filmmakers pleasure in pastiche provide further insight to connections between film and race. Doing the Knowledge: RZA Pays Homage As a filmmaker, RZA utilises Tarantino’s filmmaking brand techniques to build his own homage and add to the body of kung-fu films. Doing so furnishes him the opportunity to rehash and reform narratives and tropes in ways that change familiar narrative structures and plot devices. In creating a film which relies on cinematic allusions to kung fu, RZA—as a fan, practitioner, and author—reconfigures kung fu from being an exploitative genre and reshapes its potential for representational empowerment. While Tarantino considers himself an unabashed thief of genre tropes, RZA envisions himself more as a student who pays homage to masters—among whom he includes Tarantino. Indeed, in an interview with MTV, RZA refers to Tarantino as his Sifu (a Chinese term for master or teacher) and credits him not only for teaching RZA about filmmaking, but also for providing him with his blessing to make his first feature length film (Downey, “RZA Recalls Learning from ‘The Master’ Quentin Tarantino”). RZA implies that mastery of one’s craft comes from incorporating influences while creating original work, not theft. For instance, he states that the Pink Blossom brothel—the locus for most of the action in the film—was inspired by the House of Blue Leaves restaurant, which functions in a similar capacity in Tarantino’s Kill Bill: Vol. 1 (“RZA Talks Sampling of Kung Fu Films for Movie & The Difference Between Biting vs. Influence”). Hip-hop is an art form in which its practitioners “partake of a discursive universe where skill at appropriating the fragments of a rapidly-changing world with verbal grace and dexterity is constituted as knowledge” (Potter 21). This knowledge draws upon not only the contemporary moment but also the larger body of recorded music and sound, both of which it “re-reads and Signifies upon through a complex set of strategies, including samplin’, cuttin’ (pastiche), and freestylin’ (improvisation)” (Potter 22). As an artist who came of age in hip-hop’s formative years and whose formal recording career began at the latter half of hip-hop’s Golden Age (often considered 1986-1993), RZA is a particularly adept cutter and sampler – indeed, as a sampler, RZA is often considered a master. While RZA’s samples run the gamut of the musical spectrum, he is especially known for sampling obscure, often indeterminable jazz and soul tracks. Imani Perry suggests that this measure of fidelity to the past is borne out of hip-hop’s ideological respect for ancestors and its inherent sense of nostalgia (54). Hallmarks of RZA’s sampling repertoire include dialog and sound effects from equally obscure kung fu films. RZA attributes his sampling of kung fu to an affinity for these films established in his youth after viewing noteworthy examples such as The 36th Chamber of Shaolin (1978) and Five Deadly Venoms (1978). These films have become a key aspect of his identity and everyday life (Gross, “RZA’s Edge: The RZA’s Guide to Kung Fu Films”). He speaks of his decision to make kung fu dialog an integral part of Wu-Tang Clan’s first album Enter the Wu-Tang (36 Chambers): “My fantasy was to make a one-hour movie that people were just going to listen to. They would hear my movie and see it in their minds. I’d read comic books like that, with sonic effects and kung fu voices in my head. That makes it more exciting so I try to create music in the same way” (Gross, ““RZA’s Edge: The RZA’s Guide to Kung Fu Films”). Much like Enter the Wu-Tang (36 Chambers) and his other musical endeavours, The Man with the Iron Fists serves as further evidence of RZA’s hybrid identity., which sociologist Keri E. Iyall Smith suggests emerges from “a reflexive relationship between local and global” (3). According to popular music scholar Brett Lashua, hybrid identities “make and re-make culture through appropriating the cultural ‘raw materials’ of life in order to construct meaning in their own specific cultural localities. In a sense, they are ‘sampling’ from broader popular culture and reworking what they can take into their own specific local cultures” (“The Arts of the Remix: Ethnography and Rap”). The most overt instance of RZA’s hybridity is in regards to names, many of which are derived from the Gordon Liu film Shaolin and Wu-Tang (1983), in which the competing martial arts schools come together to fight a common foe. The film is the basis not only for the name of RZA’s group (Wu-Tang Clan) but also for the names of individual members (for instance, Master Killer—after the series to which the film belongs) and the group’s home base of Staten Island, New York, which they frequently refer to as “Shaolin.” The Man with the Iron Fists is another extension of this hybrid identity. Kung fu has long had meaning for African Americans particularly because these films frequently “focus narratively on either the triumph of the ‘little guy’ or ‘underdog’ or the nobility of the struggle to recognise humanity and virtue in all people, or some combination of both” (Ongiri 35). As evidence, Amy Obugo Ongiri points to films such as The 36th Chamber of Shaolin, a film about a peasant who learns martial arts at the Shaolin temple in order to avenge his family’s murder by the Manchu rulers (Ongiri 35). RZA reifies this notion in a GQ interview, where he speaks about The 36th Chamber of Shaolin specifically, noting its theme of rebellion against government oppression having relevance to his life as an African American (Pappademus, “This Movie Is Rated Wu”). RZA appropriates the humble origins of the peasant San Te (Gordon Liu), the protagonist of The 36th Chamber of Shaolin, in Thaddeus (whom RZA plays in the film), whose journey to saviour of Jungle Village begins with his being a slave in America. Indeed, one might argue that RZA’s construction of and role as Thaddeus is the ultimate realisation of the hybrid identity he has developed since becoming a popular recording artist. Just as Tarantino’s acting in his own films often reflects his identity as genre splicer and convention breaker (particularly since they are often self-referential), RZA’s portrayal of Thaddeus—as an African American, as a martial artist, and as a “conscious” human being—reflects the narrative RZA has constructed about his own life. Conclusion The same amount of play Tarantino has with conventions, particularly in characterisations and notions of heroism, is present in RZA’s Man with the Iron Fists. Both filmmakers poach from their favourite films and genres in order to create interpretations that feel both familiar and new. RZA follows Tarantino’s aesthetic of borrowing scenes directly from other films. Both filmmakers poach from films for their own devices, but in those mash-ups open up avenues for genre critique and identity formation. Tarantino is right to say that they are not solely homages, as homages honour the films in which they borrow. Tarantino and RZA do more through their poaching to stretch the boundaries of genres and films’ abilities to communicate with audiences. References “The Directors of Our Lifetime: In Their Own Words.” Empire Online. N.d. 8 May 2013 ‹http://www.empireonline.com/magazine/250/directors-of-our-lifetime/5.asp›. Booker, Keith M. Postmodern Hollywood: What’s New in Film and Why It Makes Us Feel So Strange. Westport, CT: Praeger, 2007. Downey, Ryan J. “RZA Recalls Learning from ‘The Master’ Quentin Tarantino.” MTV. 30 August 2012. 14 July 2013 ‹http://www.mtv.com/news/articles/1692872/rza-man-with-the-iron-fists-quentin-tarantino.jhtml›. Gallefent, Edward. Quentin Tarantino. London: Longman. 2005. Gross, Jason. “RZA’s Edge: The RZA’s Guide to Kung Fu Films.” Film Comment. N.d. 5 June 2013 ‹http://www.filmcomment.com/article/rzas-edge-the-rzas-guide-to-kung-fu-films›. Iyall Smith, Keri E. “Hybrid Identities: Theoretical Examinations.” Hybrid Identities: Theoretical and Empirical Examinations. Ed. Keri E. Iyall Smith and Patricia Leavy. Leiden: Brill, 2008. 3-12. Jameson, Fredric. “Postmodernism and Consumer Society.” Postmodern Culture. Ed. Hal Foster. London: Pluto, 1985. 111-125. Lashua, Brett. “The Arts of the Remix: Ethnography and Rap.” Anthropology Matters 8.2 (2006). 6 June 2013 ‹http://www.anthropologymatters.com›. “The Man with the Iron Fists – Who in the Cast Can F-U Up?” IronFistsMovie 21 Sep. 2012. YouTube. 8 May 2013 ‹http://youtu.be/bhJOQZFJfqA›. Pappademus, Alex. “This Movie Is Rated Wu.” GQ Nov. 2012. 6 June 2013 ‹http://www.gq.com/entertainment/movies-and-tv/201211/the-rza-man-with-the-iron-fists-wu-tang-clan›. Perry, Imani. Prophets of the Hood: Politics and Poetics in Hip Hop. Durham, NC: Duke UP, 2004. Potter, Russell. Spectacular Vernaculars: Hip-Hop and the Politics of Postmodernism. Albany, NY: SUNY P, 1995. “RZA Talks Sampling of Kung Fu Films for Movie & The Difference between Biting vs. Influence.” The Well Versed. 2 Nov. 2012. 5 June 2013 ‹http://thewellversed.com/2012/11/02/video-rza-talks-sampling-of-kung-fu-films-for-movie-the-difference-between-biting-vs-influence/›. Smith, Sarah. “Lip and Love: Subversive Repetition in the Pastiche Films of Tracey Moffat.” Screen 49.2 (Summer 2008): 209-215. Snedier, Jeff. “Rza Joins 'Django Unchained' Cast.” Variety 2 Nov. 2011. 14 June 2013 ‹http://variety.com/2011/film/news/rza-joins-django-unchained-cast-1118045503/›. “Spike Lee on Django Unchained: Filmmaker Calls Movie ‘Disrespectful.’” Huffington Post 24 Dec. 2012. 14 June 2013 ‹http://www.huffingtonpost.com/2012/12/23/spike-lee-django-unchained-movie-disrespectful_n_2356729.html›. Wu-Tang Clan. Enter the Wu-Tang (36 Chambers). Loud, 1993. Filmography The 36th Chamber of Shaolin. Dir. Chia-Liang Lui. Perf. Chia Hui Lui, Lieh Lo, Chia Yung Lui. Shaw Brothers, 1978. Django Unchained. Dir. Quentin Tarantino. Perf. Jamie Foxx, Leonardo DiCaprio, Christoph Waltz. Miramax, 2012. Five Deadly Venoms. Dir. Cheh Chang. Perf. Sheng Chiang, Philip Kwok, Feng Lu. Shaw Brothers, 1978. Jackie Brown. Dir. Quentin Tarantino. Perf. Pam Grier, Samuel L. Jackson, Robert Forster. Miramax, 1997. Kill Bill: Vol. 1. Dir. Quentin Tarantino. Perf. Uma Thurman, David Carradine, Darryl Hannah. Miramax, 2003. The Man with the Iron Fists. Dir. RZA. Perf. RZA, Russell Crowe, Lucy Liu. Arcade Pictures, 2012. Pulp Fiction. Dir. Quentin Tarantino. Perf. John Travolta, Uma Thurman, Samuel L. Jackson. Miramax, 1994. Shaolin and Wu-Tang. Dir. Chiu Hui Liu. Perf. Chiu Hui Liu, Adam Cheng, Li Ching.