Method and Apparatus for Transferring a Person

A method and vehicle preferably a wheelchair (10) for transporting and transferring an invalid person is described. The wheelchair has first and second frames (12 and 48) with drive wheels (18) between which is provided a chair (82) or support (83). The first frame has top and bottom sliding mechanisms (34 and 36) which are mounted by I-beam extensions (38 and 40) to the bars (24 and 26) of the first frame. The second frame has top and bottom rails (54 and 56) which are slidably connected to the sliding mechanisms of the first frame. The rails have slots (78) through which extend the center portions (38C and 40C) of the extensions which allow the first frame to move along the length of the rails. The bottom rails have front wheels (60), intermediate wheels (68) and stabilizing wheels (70). The chair is connected to the second frame by belts (84) and ratchets (86) and has a lifting system (90). In use, the wheelchair is moved adjacent the open doorway (104) of the automotive vehicle (100) and the second frame with the chair and person are slid over the seat (102). As the second frame moves, the second frame tilts such that the intermediate wheels touch the ground surface (72). The seat is lowered using the ratchets and removed from the wheelchair

AEMS News and Reviews: Winter 2014 (Issue: #51)

In this issue of News and Reviews, we offer two reviews of films about Korea and two about China. The Korean films, both reviewed by Hosu Kim, address a topic that has gained growing attention over the past few decades: the foreign (especially U.S.) adoption of Korean children. At first glance, this subject may seem primarily of interest to Asian American studies, but as Professor Kim shows, these films also explore the impact of adoption on Korean women, families, and society, offering valuable insights for students learning about Korea. The two films on China, by contrast, are markedly different from one another. "To the Light," reviewed by Shelley Chan, chronicles the lives of Chinese coal miners and their efforts to build better futures for their children—a narrative that may resonate with the historical experience of U.S. Appalachian miners. The other film, "Down: Indie Rock in the PRC," reviewed by Maddie Wilcox, turns the documentary lens on young urban Chinese expressing themselves through music in a culture that does not readily embrace this form of free expression.Center for East Asian and Pacific Studie

AEMS News and Reviews: Spring / Summer 2013 (Issue: #48)

The reviews in this issue draw our attention to two films on Southeast Asia and two films dealing with the largest Asian countries, India and China. Robert McKinley brings us two reviews: one on a film addressing current political conditions in Cambodia, and another examining mental health issues and family dynamics in Indonesia. The third review, by Kelly Alley, discusses a film about the growing pains of the Indian city of Mumbai (Bombay), particularly as reflected in its transportation system amid rising automobile use and government efforts to meet these demands. The film Warriors of Qiugang, reviewed by Judith Shapiro, explores the environmental problems caused by China's rapid industrialization, their impact on a town in Anhui Province, and the villagers' response. I want to thank the reviewers who contributed to this issue for the time they spent sharing their insights on these films.Center for East Asian and Pacific Studie

AEMS News and Reviews: Fall 2012 (Issue: #46)

The Fall 2012 issue of AEMS News and Reviews presents three thought-provoking films that examine cultural identity, political power, and generational change across Asia and the Pacific. "Dancing with the Goddess: Ras-Garba Traditions of Gujarat" (India) explores the vibrant devotional dance and music traditions of Navaratri, celebrating feminine creative power across Gujarati communities. "The Insular Empire: America in the Mariana Islands" (Mariana Islands/USA) interrogates America's colonial legacy in the Pacific, revealing the often-overlooked status and struggles of the Chamorro people under U.S. governance. "Follow Your Heart: China's New Youth Movement" (China) captures the rise of a modern, individualistic youth culture inspired by global hip hop, signaling a dramatic cultural shift from China's collectivist past. Together, these films illustrate how history, identity, and artistic expression shape evolving narratives of belonging and transformation.Center for East Asian and Pacific Studie

AEMS News and Reviews: Summer / Fall 2013 (Issue: #49/50)

In this Summer–Fall double issue of AEMS News and Reviews, we offer five reviews of six films featuring subjects from across Asia. Two films focus on Tibet, an area that continues to attract strong interest, while other reviews cover topics such as the circumstances of a particular group of outcaste performers in India, a Japanese family divided by World War II, environmental problems in China, the changing fortunes of an American in China during the early years of the People's Republic, and the highly competitive hobby of dove raising in Indonesia. I would also like to draw your attention to the open call for the Film Expo at the Association for Asian Studies Conference. Film Expo information is included in this issue; the submission deadline is November 30, 2013. As always, I extend my thanks to the reviewers for their contributions and welcome suggestions for films to review and volunteers willing to contribute reviews.Center for East Asian and Pacific Studie

AEMS News and Reviews: Spring 2014 (Issue: #52)

This issue offers a commemoration of the disaster that struck northeast Japan a little more than three years ago. On 11 March 2011, an earthquake occurred along the ocean floor approximately 72 kilometers off the east coast of the Japanese archipelago. The six-minute earthquake measured 9.0 in magnitude and caused a massive tsunami to surge into the nearby coastline, with waves reaching as high as a twelve-story building (40 meters). At the Fukushima Daiichi nuclear power plant, a fifteen-meter-high tsunami poured over the plant's protective seawall, inundating emergency power generators and shutting down its cooling system. Within hours, a nuclear catastrophe began to unfold, with radioactive water leaking and explosive releases of radioactive materials into the atmosphere. Altogether, the threefold earthquake-tsunami-nuclear disaster damaged or destroyed over 200,000 buildings, required the evacuation of 160,000 residents, and took the lives of 15,883 people (with an additional 2,654 still unaccounted for). Officially called "The Great Eastern Japan Earthquake," the triple disaster is frequently referred to in Japan as "3.11," referencing both the date and evoking comparisons to 9/11—a similarly time-warping catastrophe a decade earlier. This issue presents reviews of seven different films that have been made about various aspects of the disaster. I wish to thank our reviewers for their contributions to this issue. I also want to let our readers know that this will be my last issue as review editor, and I thank the Asian Educational Media Service and the Center for East Asian and Pacific Studies at the University of Illinois for allowing me to serve in this capacity over the past two years.Center for East Asian and Pacific Studie

AEMS News and Reviews: Winter 2013 (Issue: #47)

The 2013 winter issue of the AEMS Newsletter includes four reviews that should be of interest to a variety of audiences. "Families of the Philippines," reviewed by Roger Bresnahan, will likely be most relevant to educators working with younger learners. Per Kværne offers a review of "Bon: Mustang to Menri," a film that draws attention to the relatively little-known Bon religion of Tibet, which has long existed in the shadow of the better-known Tibetan Buddhism of the Geluk school. "Woman Rebel," reviewed by Tim Lubin, should be of particular interest to those teaching about women's issues and women in Asia. Last but certainly not least, Ryoko Sakurada highlights the value of the film work of an ethnologist in 1980s China. Given the rapid changes China has undergone in the past three decades, this film may serve as a valuable record of local life and culture that is increasingly difficult to find today.Center for East Asian and Pacific Studie