2016 香港藝術發展獎紀念特刊kong Arts Development Awards Souvenir Book 2016
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Warlords in the International Order: a Neorealist Approach
Warlords in the International Order: A Neorealist Approach Anthony John Vinci The London School of Economics and Political Science This thesis is submitted towards the attainment of the degree of PhD in International Relations. 1 UMI Number: U615517 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U615517 Published by ProQuest LLC 2014. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 TABLE OF CONTENTS • Abstract, 4 • Preface ,5 • List of Acronyms 6 Part I: Introduction and Definitions 1.) Introduction .9 • Warlords • Approaches to Analysis • Theoretical Approach • Argument Outline • Testing the Validity of the Approach: Case Studies • Note on Methodology 2.) Definition and Conceptualization of Warlord.................................49 • Context • Contemporary Definitions • Conceptualizing Warlords and Warlord Organizations • Comparisons with other Actors Part II; Theory 3.) Warlords and Neorealism...................................................... 109 • Groups • Motivations • Anarchy 4.) Warlord International Relations.....................................................167 • Overview of Neorealism • Internal Power Cultivation • Alliances • Security Dilemma • War 2 Part III: Case Studies 5.) Case Study: Somali Warlords..........................................................217 • History and Context • Somali Armed Groups • Warlords and the UN Intervention • Ethiopia, the SNF, and A1 Ittihad 6.) Case Study: The Lord’s Resistance Army.................................... -
Johnnie to Kei-Fung's
JOHNNIE TO KEI-FUNG’S PTU Michael Ingham Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2009 Michael Ingham ISBN 978-962-209-919-7 All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Pre-Press Ltd. in Hong Kong, China Contents Series Preface vii Acknowledgements xi 1 Introducing the Film; Introducing Johnnie — 1 ‘One of Our Own’ 2 ‘Into the Perilous Night’ — Police and Gangsters 35 in the Hong Kong Mean Streets 3 ‘Expect the Unexpected’ — PTU’s Narrative and Aesthetics 65 4 The Coda: What’s the Story? — Morning Glory! 107 Notes 127 Appendix 131 Credits 143 Bibliography 147 ●1 Introducing the Film; Introducing Johnnie — ‘One of Our Own’ ‘It is not enough to think about Hong Kong cinema simply in terms of a tight commercial space occasionally opened up by individual talent, on the model of auteurs in Hollywood. The situation is both more interesting and more complicated.’ — Ackbar Abbas, Hong Kong Culture and the Politics of Disappearance ‘Yet many of Hong Kong’s most accomplished fi lms were made in the years after the 1993 downturn. Directors had become more sophisticated, and perhaps fi nancial desperation freed them to experiment … The golden age is over; like most local cinemas, Hong Kong’s will probably consist of a small annual output and a handful of fi lms of artistic interest. -
Bibliography
BIBLIOGRAPHY An Jingfu (1994) The Pain of a Half Taoist: Taoist Principles, Chinese Landscape Painting, and King of the Children . In Linda C. Ehrlich and David Desser (eds.). Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan . Austin: University of Texas Press, 117–25. Anderson, Marston (1990) The Limits of Realism: Chinese Fiction in the Revolutionary Period . Berkeley: University of California Press. Anon (1937) “Yueyu pian zhengming yundong” [“Jyutpin zingming wandung” or Cantonese fi lm rectifi cation movement]. Lingxing [ Ling Sing ] 7, no. 15 (June 27, 1937): no page. Appelo, Tim (2014) ‘Wong Kar Wai Says His 108-Minute “The Grandmaster” Is Not “A Watered-Down Version”’, The Hollywood Reporter (6 January), http:// www.hollywoodreporter.com/news/wong-kar-wai-says-his-668633 . Aristotle (1996) Poetics , trans. Malcolm Heath (London: Penguin Books). Arroyo, José (2000) Introduction by José Arroyo (ed.) Action/Spectacle: A Sight and Sound Reader (London: BFI Publishing), vii-xv. Astruc, Alexandre (2009) ‘The Birth of a New Avant-Garde: La Caméra-Stylo ’ in Peter Graham with Ginette Vincendeau (eds.) The French New Wave: Critical Landmarks (London: BFI and Palgrave Macmillan), 31–7. Bao, Weihong (2015) Fiery Cinema: The Emergence of an Affective Medium in China, 1915–1945 (Minneapolis: University of Minnesota Press). Barthes, Roland (1968a) Elements of Semiology (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1968b) Writing Degree Zero (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1972) Mythologies (trans. Annette Lavers), New York: Hill and Wang. © The Editor(s) (if applicable) and The Author(s) 2016 203 G. -
Shanghai-Based Industrialization in the Early 20 Century
Working Papers of the Global Economic History Network (GEHN) No. 18/06 Shanghai-Based Industrialization in The Early 20th Century: A Quantitative And Institutional Analysis Debin Ma © Debin Ma Department of Economic History London School of Economics February 2006 This paper was presented at the seventh GEHN Conference, Istanbul, Turkey (11-12th September, 2005), funded by a Leverhulme Trust Grant: “A Millennium of Material Progress”. For more information about the participants and activities of GEHN, go to http://www.lse.ac.uk/collections/economicHistory/GEHN/Default.htm Department of Economic History London School of Economics Houghton Street London, WC2A 2AE Tel: +44 (0) 20 7955 7860 Fax: +44 (0) 20 7955 7730 Shanghai-Based Industrialization in the Early 20th Century: a Quantitative and Institutional Analysis Debin Ma Abstract: A significant but uneven spurt of industrialization started in China during the first three decades of the 20th century at a time of political instability and national disintegration. This article argues that economic growth during this period was closely associated with the rise and expansion of major treaty ports designated under the Western imperialist framework. I focus on the political institutions of a city-state adopted in early 20th century Shanghai – the rule of law, secure property rights and provision of public goods – as a crucial determinant to such growth. Using a historical GDP framework, this paper shows that the Shanghai-based industrialization exerted a significant quantitative impact on her immediate hinterland, the Lower Yangzi region. Per capita income in the two Lower Yangzi provinces was 64% higher than China’s national average, and it had experienced a magnitude of growth and structural change between 1914/18 and 1931/36 comparable to contemporaneous Japan and her East Asian colonies. -
Martial Arts Cinema and Hong Kong Modernity
Martial Arts Cinema and Hong Kong Modernity Aesthetics, Representation, Circulation Man-Fung Yip Hong Kong University Press Th e University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2017 Hong Kong University Press ISBN 978-988-8390-71-7 (Hardback) All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any infor- mation storage or retrieval system, without prior permission in writing from the publisher. An earlier version of Chapter 2 “In the Realm of the Senses” was published as “In the Realm of the Senses: Sensory Realism, Speed, and Hong Kong Martial Arts Cinema,” Cinema Journal 53 (4): 76–97. Copyright © 2014 by the University of Texas Press. All rights reserved. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Paramount Printing Co., Ltd. in Hong Kong, China Contents Acknowledgments viii Notes on Transliteration x Introduction: Martial Arts Cinema and Hong Kong Modernity 1 1. Body Semiotics 24 2. In the Realm of the Senses 56 3. Myth and Masculinity 85 4. Th e Diffi culty of Diff erence 115 5. Marginal Cinema, Minor Transnationalism 145 Epilogue 186 Filmography 197 Bibliography 203 Index 215 Introduction Martial Arts Cinema and Hong Kong Modernity Made at a time when confi dence was dwindling in Hong Kong due to a battered economy and in the aft ermath of the SARS epidemic outbreak,1 Kung Fu Hustle (Gongfu, 2004), the highly acclaimed action comedy by Stephen Chow, can be seen as an attempt to revitalize the positive energy and tenacious resolve—what is commonly referred to as the “Hong Kong spirit” (Xianggang jingshen)—that has allegedly pro- pelled the city’s amazing socioeconomic growth. -
INFERNAL AFFAIRS (2002, 101 Min.) Online Versions of the Goldenrod Handouts Have Color Images & Hot Links
November 13 2018 (XXXVII:12) Wai-Keung Lau and Alan Mak: INFERNAL AFFAIRS (2002, 101 min.) Online versions of The Goldenrod Handouts have color images & hot links: http://csac.buffalo.edu/goldenrodhandouts.html DIRECTED BY Wai-Keung Lau (as Andrew Lau) and Alan Mak WRITING Alan Mak and Felix Chong PRODUCED BY Wai-Keung Lau producer (as Andrew Lau), line producers: Ellen Chang and Lorraine Ho, and Elos Gallo (consulting producer) MUSIC Kwong Wing Chan (as Chan Kwong Wing) and Ronald Ng (composer) CINEMATOGRAPHY Yiu-Fai Lai (director of photography, as Lai Yiu Fai), Wai-Keung Lau (director of photography, as Andrew Lau) FILM EDITING Curran Pang (as Pang Ching Hei) and Danny Pang Art Direction Sung Pong Choo and Ching-Ching Wong WAI-KEUNG LAU (b. April 4, 1960 in Hong Kong), in a Costume Design Pik Kwan Lee 2018 interview with The Hollywood Reporter, said “I see every film as a challenge. But the main thing is I don't want CAST to repeat myself. Some people like to make films in the Andy Lau...Inspector Lau Kin Ming same mood. But because Hong Kong filmmakers are so Tony Chiu-Wai Leung...Chen Wing Yan (as Tony Leung) lucky in that we can be quite prolific, we can make a Anthony Chau-Sang Wong...SP Wong Chi Shing (as diverse range of films.” Lau began his career in the 1980s Anthony Wong) and 1990s, serving as a cinematographer to filmmakers Eric Tsang...Hon Sam such as Ringo Lam, Wong Jing and Wong Kar-wai. His Kelly Chen...Dr. -
Election (18) 黑社會 MON 21 MAR, 18:10 Dir Johnnie To/2005 HK/100
Election (18) 黑社會 MON 21 MAR, 18:10 Dir Johnnie To/2005 HK/100 mins/Cantonese, Mandarin, English with Chinese and English subtitles/ Simon Yam, Leung Ka-fai, Louis Koo, Nick Cheung Johnnie To entered the Hong Kong film industry in the late 1980s after a short career in television and quickly rose to fame as a director of great flexibility. To works out of his own production studio, Milkyway Image, which he established in 1996 with his long time collaborator Wai Ka-fai. While the rest of the industry slowed down amid the social and economic anxiety surrounding the handover to China in 1997, To continued creating films at an alarming pace: directing and producing 33 between 1997 and Election's release in 2005. He became known internationally during this time for his contemplative and morally ambiguous crime films that have earned frequent comparisons to French cinema and the work of director Jean-Pierre Melville but within Hong Kong To is equally well known for his diverse commercial productions from unbeatable rom-coms like Needing You... (2000) to the unique Buddhist-murder-mystery, Running on Karma (2003). To's footing in Hong Kong's popular cinema is evident in Election through its star-studded cast. The calm and collected Lok, vying for his place as chairman of the triad, is played by Simon Yam. Yam began his film career in the late 1980s as a regular player in Hong Kong's “Category III” exploitation movies and, thanks in part to his roles in Johnnie To films, was one of many to find crossover success in the mainstream film industry during the 1990s. -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Film Studies Hong Kong Cinema Since 1997: The Response of Filmmakers Following the Political Handover from Britain to the People’s Republic of China by Sherry Xiaorui Xu Thesis for the degree of Doctor of Philosophy December 2012 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Film Studies Doctor of Philosophy HONG KONG CINEMA SINCE 1997: THE RESPONSE OF FILMMAKERS FOLLOWING THE POLITICAL HANDOVER FROM BRITAIN TO THE PEOPLE’S REPUBLIC OF CHINA by Sherry Xiaorui Xu This thesis was instigated through a consideration of the views held by many film scholars who predicted that the political handover that took place on the July 1 1997, whereby Hong Kong was returned to the sovereignty of the People’s Republic of China (PRC) from British colonial rule, would result in the “end” of Hong Kong cinema. -
A Tale of Two Warlords Republican China During the 1920S by Matthew R
Asia: Biographies and Personal Stories, Part I A Tale of Two Warlords Republican China During the 1920s By Matthew R. Portwood and John P. Dunn When the wind blows, the grass bends with the wind. —Yuan Shikai Soldiers of Feng Yuxiang practice with their heavy machine guns ca. 1930. Source: US Army Heritage and Educational Center. sually translated into English as “warlords,” junfa were the bane of Chinese, who suffered from their misrule, were Republican China. Some were highly trained officers, others self- all too familiar with the warlords. Sun Yat-sen, made strategists or graduates of the “school of forestry,” a Chinese Ueuphemism for banditry. In the words of a contemporary, they “did more acclaimed “Father of the Republic,” denounced harm for China in sixteen years than all the foreign gunboats could have done in a hundred years.”1 Warlords struggled for power between the death them as “a single den of badgers.” of would-be Emperor Yuan Shikai in 1916 and the end of the republic in 1949. Holdouts dominated remote frontier provinces until 1950; some of their lieutenants fought a decade later to control drug trafficking in the this in his New Yorker satire on the 1936 Xian Mutiny, in which warlord Golden Triangle. Zheng Xueliang kidnapped Guomindong leader Chiang Kai-shek: Warlords began their rise to power during the 1911 Revolution that “Young” Chang (“Old” Chang’s son, but not “Scalawag” Chang or “Red” ended millennia of imperial rule. Leaders like dentist-turned-revolution- Chang) offered to return the Generalissimo to Soong, who didn’t give a ary Sun Yat-sen argued Western-style Republicanism was the new stan- hang, but was only negotiating for his sister (who is married to Chiang). -
2006011979.Pdf (147.0Kb)
Archived at the Flinders Academic Commons: http://dspace.flinders.edu.au/dspace/ This is the publisher’s copyrighted version of this article. The original can be found at: http://www.realtimearts.net/article/issue85/9026 © 2008 Open City Inc., publisher of RealTime Published version of the paper reproduced here in accordance with the copyright policy of the publisher. Personal use of this material is permitted. However, permission to reprint/republish this material for advertising or promotional purposes or for creating new collective works for resale or redistribution to servers or lists, or to reuse any copyrighted component of this work in other works must be obtained from the publisher of RealTime. This document is a copy of the original html. article which can be found at http://www.realtimearts.net/article/issue85/9026 realtime 85 June-July 2008 last man standing mike walsh on new films by hong kong’s johnnie to Mike Walsh THE HONG KONG FILM INDUSTRY, LIKE THE CITY ITSELF, CHANGES CONVULSIVELY. GONE ARE THE DAYS OF A VIBRANT COMMERCIAL INDUSTRY BASED ON EXUBERANT GENRE FILMS. IF THE LOCAL PANORAMA SECTION AT THE RECENT HONG KONG INTERNATIONAL FILM FESTIVAL IS ANYTHING TO GO BY, THE POSSIBILITIES HAVE POLARISED INTO BIG BUDGET HACK-AND-SLASH HISTORICAL EPICS CO-PRODUCED ON THE MAINLAND OR SMALL CITY-SPECIFIC YOUTH FILMS MADE CHEAPLY BY FILM SCHOOL GRADUATES. It seems that the last man standing in the commercial cinema is Johnnie To Kei-fung. He had three films screening in and around this year’s festival and, at the time of writing, several attempts are underway to bring these films (and the man himself) to Australian cinemas. -
Title Call # Category Lang./Notes
Title Call # Category Lang./Notes Da Ali G show (Seazon 1) 39216 - 39217 Da Ali G show (Seazon 2, 2 separate discs) 42979 Da hong deng long gao gao gua = Raise the red lantern 35831, 41274 Man/ Chinese subtitles Da nei mi tan ling ling = Forbidden City cop 46757 Drama Cant/Man Da Vinci Code 43419 g̲ Da zhi lao = Running on Karma 39984 Action Chi Daag = Dā ẖa 34081 Romance Hin Daddy long legs (Fred Astaire,Leslie Caron) 43820 Daddy-long-legs (Mary Pickford) 31268 Dagon, H. P. Lovecraft's 47960 Dai-bosatsu tôge = Sword of doom 39888 Action Jpn Daimajin 34762 Fantasy Jpn Daisy Kenyon 47924 Dallas 44562 Damage 29478 Dames 42287 Dames du Bois de Boulogne = Ladies of the Bois de Boulogne 35770 Romance Fre Damn Yankees 38729 Damned 37166 Damned don't cry! 41595 Dance of the dead 44463 Dance or exercise on the perimeter of a square 47159 Dance, girl, dance 46187 Dancehall queen 38389, 43801 Dancer in the dark 32087 Dancer upstairs 36442 Dances with wolves 30646 Dancing at the Blue Iguana 40775 Dancing lady 43058 Dangerous acts 48146 Drama Heb Dangerous liaisons 32248 Dangerous living : Coming out in the developing world 41017 Dangerous moves 36307 Dangerous when wet (Esther Williams collection) 46335 Danh nhân đất việt. 46173 Shorts Vie Daredevil 36363 Daremo shiranai = Nobody knows 41053 Drama Jpn Darfur diaries 43464 Darfur's skeleton 47296 Darjeeling Limited 46279 Dark circle 46188 Dark city 31447 Dark days 33556 Dark hours 42973 Dark passage (Bogart, Becall) 36603 Dark shadows special edition 30664 Dark side 45812 Dark Star 35445 Dark victory 31763 Dark water 40752 Horror Jpn Darling 36742 Darling Lili 41346 Darr 33797 Thriller Hin Darwin's dangerous idea 44554 Darwin's nightmare 43375 Dastak = Dastaka 34250 Drama Hin Dateline Afghanistan 45930 Daud = Fun on the run 33808 Musical Hin Daughter of Keltoum 43793 Daughter of Tong 40644 Daughters of Afghanistan 39772 Daughters of the dust 31213 Dave Chappelle's Block party 42739 David and Bathsheba 42238 David and Lisa 45393 David Attenborough wildlife specials 47723 David Copperfield (BBC) 44438 David Copperfield (W.C. -
The Northern Expedition Ii
The Northern Expedition ii THE NORTHERN EXPEDITION CHINA’S NATIONAL REVOLUTION OF 1926–1928 DONALD A. JORDAN The University Press of Hawaii Honolulu Open Access edition funded by the National Endowment for the Humanities / Andrew W. Mellon Foundation Humanities Open Book Program. Licensed under the terms of Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 In- ternational (CC BY-NC-ND 4.0), which permits readers to freely download and share the work in print or electronic format for non-commercial purposes, so long as credit is given to the author. Derivative works and commercial uses require per- mission from the publisher. For details, see https://creativecommons.org/licenses/by-nc-nd/4.0/. The Cre- ative Commons license described above does not apply to any material that is separately copyrighted. Open Access ISBNs: 9780824880866 (PDF) 9780824880873 (EPUB) This version created: 17 May, 2019 Please visit www.hawaiiopen.org for more Open Access works from University of Hawai‘i Press. Copyright © 1976 by The University Press of Hawaii All rights reserved. Contents Maps viii Preface ix Acknowledgments xiv Abbreviations xv PART 1. The Revolutionary Base 1 1. Building the Model 3 2. Human Resources 14 3. The KMT Military: Party Army, Confederation, or Hegemony? 25 4. Centralization of Canton’s Power 32 5. Breaches in the Revolutionary Base 40 6. Mending the United Front in Kwangtung 48 7. The Simmering Revolutionary Movement at Canton 58 8. The Promotion of the Northern Expedition 64 PART 2. The Military Conquest of Warlord China 75 9. The Launch into Hunan 77 10. The Expedition Moves Eastward: The Kiangsi Campaign 96 11.