HUANG Kailin-MA-CHS-Looking at Hong Kong-2007
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OFFICIAL RECORD of PROCEEDINGS Wednesday, 29
LEGISLATIVE COUNCIL ─ 29 April 2015 9455 OFFICIAL RECORD OF PROCEEDINGS Wednesday, 29 April 2015 The Council met at Eleven o'clock MEMBERS PRESENT: THE PRESIDENT THE HONOURABLE JASPER TSANG YOK-SING, G.B.S., J.P. THE HONOURABLE ALBERT HO CHUN-YAN THE HONOURABLE LEE CHEUK-YAN THE HONOURABLE JAMES TO KUN-SUN THE HONOURABLE CHAN KAM-LAM, S.B.S., J.P. THE HONOURABLE LEUNG YIU-CHUNG DR THE HONOURABLE LAU WONG-FAT, G.B.M., G.B.S., J.P. THE HONOURABLE EMILY LAU WAI-HING, J.P. THE HONOURABLE TAM YIU-CHUNG, G.B.S., J.P. THE HONOURABLE ABRAHAM SHEK LAI-HIM, G.B.S., J.P. THE HONOURABLE TOMMY CHEUNG YU-YAN, S.B.S., J.P. THE HONOURABLE FREDERICK FUNG KIN-KEE, S.B.S., J.P. THE HONOURABLE VINCENT FANG KANG, S.B.S., J.P. 9456 LEGISLATIVE COUNCIL ─ 29 April 2015 THE HONOURABLE WONG KWOK-HING, B.B.S., M.H. PROF THE HONOURABLE JOSEPH LEE KOK-LONG, S.B.S., J.P., Ph.D., R.N. THE HONOURABLE JEFFREY LAM KIN-FUNG, G.B.S., J.P. THE HONOURABLE ANDREW LEUNG KWAN-YUEN, G.B.S., J.P. THE HONOURABLE WONG TING-KWONG, S.B.S., J.P. THE HONOURABLE CYD HO SAU-LAN, J.P. THE HONOURABLE STARRY LEE WAI-KING, J.P. DR THE HONOURABLE LAM TAI-FAI, S.B.S., J.P. THE HONOURABLE CHAN HAK-KAN, J.P. THE HONOURABLE CHAN KIN-POR, B.B.S., J.P. DR THE HONOURABLE PRISCILLA LEUNG MEI-FUN, S.B.S., J.P. -
A Brief Analysis of China's Contemporary Swordsmen Film
ISSN 1923-0176 [Print] Studies in Sociology of Science ISSN 1923-0184 [Online] Vol. 5, No. 4, 2014, pp. 140-143 www.cscanada.net DOI: 10.3968/5991 www.cscanada.org A Brief Analysis of China’s Contemporary Swordsmen Film ZHU Taoran[a],* ; LIU Fan[b] [a]Postgraduate, College of Arts, Southwest University, Chongqing, effects and packaging have made today’s swordsmen China. films directed by the well-known directors enjoy more [b]Associate Professor, College of Arts, Southwest University, Chongqing, China. personalized and unique styles. The concept and type of *Corresponding author. “Swordsmen” begin to be deconstructed and restructured, and the swordsmen films directed in the modern times Received 24 August 2014; accepted 10 November 2014 give us a wide variety of possibilities and ways out. No Published online 26 November 2014 matter what way does the directors use to interpret the swordsmen film in their hearts, it injects passion and Abstract vitality to China’s swordsmen film. “Chivalry, Military force, and Emotion” are not the only symbols of the traditional swordsmen film, and heroes are not omnipotent and perfect persons any more. The current 1. TSUI HARK’S IMAGINARY Chinese swordsmen film could best showcase this point, and is undergoing criticism and deconstruction. We can SWORDSMEN FILM see that a large number of Chinese directors such as Tsui Tsui Hark is a director who advocates whimsy thoughts Hark, Peter Chan, Xu Haofeng , and Wong Kar-Wai began and ridiculous ideas. He is always engaged in studying to re-examine the aesthetics and culture of swordsmen new film technology, indulging in creating new images and film after the wave of “historic costume blockbuster” in new forms of film, and continuing to provide audiences the mainland China. -
Bullet in the Head
JOHN WOO’S Bullet in the Head Tony Williams Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © Tony Williams 2009 ISBN 978-962-209-968-5 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 Condor Production Ltd., Hong Kong, China Contents Series Preface ix Acknowledgements xiii 1 The Apocalyptic Moment of Bullet in the Head 1 2 Bullet in the Head 23 3 Aftermath 99 Appendix 109 Notes 113 Credits 127 Filmography 129 1 The Apocalyptic Moment of Bullet in the Head Like many Hong Kong films of the 1980s and 90s, John Woo’s Bullet in the Head contains grim forebodings then held by the former colony concerning its return to Mainland China in 1997. Despite the break from Maoism following the fall of the Gang of Four and Deng Xiaoping’s movement towards capitalist modernization, the brutal events of Tiananmen Square caused great concern for a territory facing many changes in the near future. Even before these disturbing events Hong Kong’s imminent return to a motherland with a different dialect and social customs evoked insecurity on the part of a population still remembering the violent events of the Cultural Revolution as well as the Maoist- inspired riots that affected the colony in 1967. -
Screening of Martial Club (Lau Kar-Leung, 1981) AKA Instructors of Death (US Title) Vocabulary Terms
Screening of Martial Club (Lau Kar-leung, 1981) AKA Instructors of Death (US title) Vocabulary terms: Han = China’s main ethnic majority population Ming Dynasty= the last Han-led dynasty (1368–1644), which followed the collapse of the Mongol-led Yuan dynasty. Manchu = ethnically distinct population from northeastern Chinese provinces known as “Manchuria” Qing/Ching/Ch’ing Dynasty: the Manchu-led dynasty (1636/1644 - 1912), which conquered the Ming capital, Beijing, in 1644 and was in turn overthrown in 1912, when the Republic of China (1912-1949) was founded – making the Qing the last Chinese dynasty. Sifu [Cantonese]: skilled teacher or master Men (Mand.) / Mun (Canto.) = Kung fu schools/clans/clubs – as in: Jing Wu Men/Ching Mo Mun, both the main school and the Chinese film title for Bruce Lee’s Fist of Fury/The Chinese Connection [1971]). Martial Club features 3 of these. And Wang Lung Wei’s northerner might be from Jing Wu Men in Shanghai! [Huo Yuan Jia/Chen Zhen] Kuen/Kune: “Fist” or “style” (Jeet Kune Do, Joi Kuen, Hung Kuen) Gar: also means clan - as in Hung Gar or Hung Kuen Gar. This “Gar” might also be the same word as the “Kar” in Lau Kar-Leung, Lau Kar-fai, etc? Hung Gar/Hung Kuen/Hung Gar Kuen: style of Southern kung fu passed on from survivors of the burning of the southern Shaolin Temple in Fujian province through underground fraternal groups of anti-Qing rebels [Tongs] hiding out in Chinese opera troupes on Red Boats in Guangdong province, and on through a chain of teachers/sifus in Fujian, Guangdong, and (importantly, for cinema) Hong Kong… Hung Gar was founded by Luk Ah Choi/Lu A’Cai [who was San Te and Hung Hsi-Kuan’s student, and later Wong Fei Hung’s teacher!]. -
CELEBRITY INTERVIEWS a A1 Aaron Kwok Alessandro Nivola
CELEBRITY INTERVIEWS A A1 Aaron Kwok Alessandro Nivola Alexander Wang Lee Hom Alicia Silverstone Alphaville Andrew Lloyd Webber Andrew Seow Andy Lau Anita Mui Anita Sarawak Ann Kok Anthony Lun Arthur Mendonca B Bananarama Benedict Goh Billy Davis Jr. Boris Becker Boy George Brett Ratner Bruce Beresford Bryan Wong C Candice Yu Casper Van Dien Cass Phang Celine Dion Chow Yun Fat Chris Rock Chris Tucker Christopher Lee Christy Chung Cindy Crawford Cirque du Soleil Coco Lee Conner Reeves Crystals Culture Club Cynthia Koh D Danny Glover David Brown David Julian Hirsh David Morales Denzel Washington Diana Ser Don Cheadle Dick Lee Dwayne Minard E Edward Burns Elijah Wood Elisa Chan Emil Chau Eric Tsang F Fann Wong Faye Wong Flora Chan G George Chaker George Clooney Giovanni Ribisi Glen Goei Gloria Estefan Gordan Chan Gregory Hoblit Gurmit Singh H Halle Berry Hank Azaria Hugh Jackman Hossan Leong I Irene Ang Ix Shen J Jacelyn Tay Jacintha Jackie Chan Jacky Cheung James Ingram James Lye Jamie Lee Jean Reno Jean-Claude van Damme Jeff Chang Jeff Douglas Jeffrey Katzenberg Jennifer Paige Jeremy Davies Jet Li Joan Chen Joe Johnston Joe Pesci Joel Schumacher Joel Silver John Travolta John Woo Johnny Depp Joyce Lee Julian Cheung Julianne Moore K KC Collins Karen Mok Keagan Kang Kenny G Kevin Costner Kim Robinson Kit Chan Koh Chieng Mun Kym Ng L Leelee Sobieski Leon Lai Lim Kay Tong Lisa Ang Lucy Liu M Mariah Carey Mark Richmond Marilyn McCoo Mary Pitilo Matthew Broderick Mel Gibson Mel Smith Michael Chang Mimi Leder Moses Lim N Nadya Hutagalung Nicholas -
MIYAKI Yukio (GONG Muduo) 宮木幸雄(龔慕鐸)(B
MIYAKI Yukio (GONG Muduo) 宮木幸雄(龔慕鐸)(b. 1934) Cinematographer Born in Kanagawa Prefecture, Miyaki joined Ari Production in 1952 and once worked as assistant to cinematographer Inoue Kan. He won an award with TV programme Kochira Wa Shakaibu in Japan in 1963. There are many different accounts on how he eventually came to work in Hong Kong. One version has it that he came in 1967 with Japanese director Furukawa Takumi to shoot The Black Falcon (1967) and Kiss and Kill (1967) for Shaw Brothers (Hong Kong) Ltd. Another version says that the connection goes back to 1968 when he helped Chang Cheh film the outdoor scenes of Golden Swallow (1968) and The Flying Dagger (1969) in Japan. Yet another version says that he signed a contract with Shaws as early as 1965. By the mid-1970s, under the Chinese pseudonym Gong Muduo, Miyaki worked as a cinematographer exclusively for Chang Cheh’s films. He took part in over 30 films, including The Singing Thief (1969), Return of the One-armed Swordsman (1969), The Invincible Fist (1969), Dead End (1969), Have Sword, Will Travel (1969), Vengeance! (1970), The Heroic Ones (1970), The New One-Armed Swordsman (1971), The Anonymous Heroes (1971), Duel of Fists (1971), The Deadly Duo (1971), Boxer from Shantung (1972), The Water Margin (1972), Trilogy of Swordsmanship (1972), The Blood Brothers (1973), Heroes Two (1974), Shaolin Martial Arts (1974), Five Shaolin Masters (1974), Disciples of Shaolin (1975), The Fantastic Magic Baby (1975), Marco Polo (1975), 7-Man Army (1976), The Shaolin Avengers (1976), The Brave Archer (1977), The Five Venoms (1978) and Life Gamble (1979). -
US Counter Notification of China Subsidy Programs Submitted to The
WORLD TRADE G/SCM/Q2/CHN/42 11 October 2011 ORGANIZATION (11-4946) Committee on Subsidies Original: English and Countervailing Measures SUBSIDIES Request from the UNITED STATES to CHINA Pursuant to Article 25.10 of the Agreement The following communication, dated 6 October 2011, is being circulated at the request of the Delegation of the United States. _______________ The United States notes that China has only submitted one notification of subsidies under Article XVI:1 of the General Agreement on Tariffs and Trade 1994 (the GATT 1994) and Article 25.2 of the Agreement on Subsidies and Countervailing Measures (the Agreement) in its ten years of WTO membership. China submitted that notification (G/SCM/N/123/CHN) in 2006, covering the time period from 2001 to 2004. At that time, the United States and several other Members expressed serious concerns about the incompleteness of China's notification. Since 2006, the United States and several other Members have repeatedly requested that China submit its notifications for the periods subsequent to 2004. The United States has obtained information concerning numerous Chinese central government and sub-central government measures, listed below, covering the time period from 2004 to the present that were not included in China's single notification. The United States considers that these measures should be subject to notification to the Committee on Subsidies and Countervailing Measures (the Committee) under Article XVI:1 of the GATT 1994 and Article 25.2 of the Agreement because they appear to provide specific subsidies within the meaning of Articles 1.1 and 2 of the Agreement. -
Recommended Reading
RECOMMENDED READING The following books are highly recommended as supplements to this manual. They have been selected on the basis of content, and the ability to convey some of the color and drama of the Chinese martial arts heritage. THE ART OF WAR by Sun Tzu, translated by Thomas Cleary. A classical manual of Chinese military strategy, expounding principles that are often as applicable to individual martial artists as they are to armies. You may also enjoy Thomas Cleary's "Mastering The Art Of War," a companion volume featuring the works of Zhuge Liang, a brilliant strategist of the Three Kingdoms Period (see above). CHINA. 9th Edition. Lonely Planet Publications. Comprehensive guide. ISBN 1740596870 CHINA, A CULTURAL HISTORY by Arthur Cotterell. A highly readable history of China, in a single volume. THE CHINA STUDY by T. Colin Campbell,PhD. The most comprehensive study of nutrition ever conducted. ISBN 1-932100-38-5 CHINESE BOXING: MASTERS AND METHODS by Robert W. Smith. A collection of colorful anecdotes about Chinese martial artists in Taiwan. Kodansha International Ltd., Publisher. ISBN 0-87011-212-0 CHINESE MARTIAL ARTS TRAINING MANUALS (A Historical Survey) by Brian Kennedy and Elizabeth Guo CHRONICLES OF TAO, THE SECRET LIFE OF A TAOIST MASTER by Deng Ming-Dao. Harper San Francisco, Publisher ISBN 0-06-250219-0 (Note: This is an abridged version of a three- volume set: THE WANDERING TAOIST (Book I), SEVEN BAMBOO TABLETS OF THE CLOUDY SATCHEL (Book II), and GATEWAY TO A VAST WORLD (Book III)) CLASSICAL PA KUA CHANG FIGHTING SYSTEMS AND WEAPONS by Jerry Alan Johnson and Joseph Crandall. -
Download Heroic Grace: the Chinese Martial Arts Film Catalog (PDF)
UCLA Film and Television Archive Hong Kong Economic and Trade Office in San Francisco HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Front and inside cover: Lau Kar-fai (Gordon Liu Jiahui) in THE 36TH CHAMBER OF SHAOLIN (SHAOLIN SANSHILIU FANG ) present HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Heroic Grace: The Chinese Martial Arts Film catalog (2003) is a publication of the UCLA Film and Television Archive, Los Angeles, USA. Editors: David Chute (Essay Section) Cheng-Sim Lim (Film Notes & Other Sections) Designer: Anne Coates Printed in Los Angeles by Foundation Press ii CONTENTS From the Presenter Tim Kittleson iv From the Presenting Sponsor Annie Tang v From the Chairman John Woo vi Acknowledgments vii Leaping into the Jiang Hu Cheng-Sim Lim 1 A Note on the Romanization of Chinese 3 ESSAYS Introduction David Chute 5 How to Watch a Martial Arts Movie David Bordwell 9 From Page to Screen: A Brief History of Wuxia Fiction Sam Ho 13 The Book, the Goddess and the Hero: Sexual Bérénice Reynaud 18 Aesthetics in the Chinese Martial Arts Film Crouching Tiger, Hidden Dragon—Passing Fad Stephen Teo 23 or Global Phenomenon? Selected Bibliography 27 FILM NOTES 31-49 PROGRAM INFORMATION Screening Schedule 51 Print & Tape Sources 52 UCLA Staff 53 iii FROM THE PRESENTER Heroic Grace: The Chinese Martial Arts Film ranks among the most ambitious programs mounted by the UCLA Film and Television Archive, taking five years to organize by our dedicated and intrepid Public Programming staff. -
Filmpodium Biel/Bienne
FILMPODIUM BIEL/BIENNE Do/Je 19/08 12h15 IN THE MOOD FOR LOVE Sa 21/08 20h30 Wong Kar-Wai, HK/F/TH 2000, 98’, Ov/d,f CINÉ-MIDI So/Di 22/08 10h30 Fr/Ve 27/08 20h30 So/Di 29/08 18h00 Do/Je 19/08 18h00 AS TEARS GO BY Mo/Lu 23/08 20h30 Wong Kar-Wai, Hongkong 1988, 102’, Ov/d Fr/Ve 27/08 18h00 Do/Je 19/08 20h30 DAYS OF BEING WILD Di/Ma 24/08 20h30 Wong Kar-Wai, Hongkong 1990, 100’, Ov/d Sa 28/08 18h00 Mo/Lu 30/08 20h30 Fr/Ve 20/08 18h00 ICH BIN DEIN MENSCH So/Di 22/08 18h00 Maria Schrader, D 2021, 104’, D/f CINÉ-MIDI Do/Je 26/08 20h30 So/Di 29/08 20h30 Do/Je 02/09 12h15 Fr/Ve 20/08 20h30 CHUNGKING EXPRESS Mo/Lu 23/08 18h00 Wong Kar-Wai, Hongkong 1994, 98’, Ov/d Sa 28/08 20h30 Di/Ma 31/08 20h30 Sa 21/08 18h00 PREPARATIONS TO BE TOGETHER So/Di 22/08 20h30 FOR AN UNKNOWN PERIOD OF TIME Di/Ma 24/08 18h00 Lili Horvát, H 2020, 95’, Ov/d,f Do/Je 26/08 12h15 CINÉ-MIDI Mo/Lu 30/08 18 h00 Fr/Ve 03/09 20h30 Do/Je 26/08 18h00 DEUX So/Di 29/08 10h30 Filippo Meneghetti, F/L/B 2019, 95’, F/d CINÉ-MIDI Sa 04/09 18h00 Mo/Lu 06/09 18h00 Do/Je 09/09 12h15 Fr/Ve 10/09 20h30 Di/Ma 31/08 18h00 FALLEN ANGELS IN THE MOOD FOR LOVE Do/Je 02/09 20h30 Wong Kar-Wai, HK 1995, 99’, Ov/d Mo/Lu 06/09 20 h 30 Willkommen im filmischen Universum von Wong Kar-Wai – dem Hongkong-Regisseur, dessen Name für pure Kinomagie steht. -
65The 36Th Chamber
65 The 36th Chamber of Shaolin Shao lin sa liu fang Regie: Liu Chia-liang Land: Hong Kong 1978. Produktion: Shaw Brothers. Regie: Liu Chia- Note: THE 36TH CHAMBER OF SHAOLIN is being presented liang. Buch: I Kuang. Kamera: Huang Yueh-tai. Martial Arts Unter- as part of the series ‘Tribute to Shaw Brothers.’ Further weisung: Liu Chia-liang, Tang Wei-cheng. Ausstattung: Johnson Tsao, information can be found under # 61. The film is also Li Yen-hai. Make-up: Wu Hsu-ching. Schnitt: Chiang Hsing-long. Pro- known by the title ‘Master Killer.’ duktionsleitung: Huang Chia-hsi. Produzenten: Run Run Shaw, Mona The Cantonese title of the film is ‘Siu lam qui luk fong.’ Fong. Darsteller: Gordon Liu Chia-hui (Liu Yu-te), Wang Yu (Chung Mi-lu), Lo Synopsis Lieh (Tien Ta), Liu Chia-wing (Ying Tien-chung), Hsu Shao-chiang (Lu Anti-Ching patriots, under the guidance of Ho Kuang-han, Ah-tsai), Yu Yang (Hung Hsi-kuan), Frankie Wie (Ho Kuang-han), Hua have secretly set up their base in Canton under the guise of Lun (Chang Hsiang-yung), Chen Szu-chia (Chen Yen-ping), Yuan Hsiao- being school masters. Liu Yu-te (Gordon Liu Chia-hui), one tieng (Meister der ‘Kammer der Fäuste’), Chiang Han (älterer Mönch), of Ho’s pupils, has been inspired by his teacher’s patriotism, Chiang Nan (Meister der ‘Kammer der Augen’), Chan Shen (Meister and he is determined to join the anti-Ching ranks. Liu works der ‘Kammer der Handgelenke’). as an espionage courier for his fellow countrymen until the Format: 35mm, Cinemascope, Farbe. -
Rouge (1988) Una Storia D'amore (E Di Fantasmi) Divisa Tra I Fasti Del Passato E La Quotidianità Del Presente
Rouge (1988) Una storia d'amore (e di fantasmi) divisa tra i fasti del passato e la quotidianità del presente. Un film di Stanley Kwan con Anita Mui, Leslie Cheung, Alex Man, Emily Chu, Kara Hui, Chia Yung Liu, Sin Hung Tam, Yin Tse, Irene Wan, Yue Wong. Genere Drammatico durata 93 minuti. Produzione Hong Kong 1988. Emanuele Sacchi - www.mymovies.it Hong Kong, 1987. La tranquilla quotidianità dell'editor Yuan (Alex Man) e della fidanzata Chu (Emily Chu) viene turbata dall'apparizione dello spettro di Fleur (Anita Mui), una cortigiana suicidatasi cinquant'anni prima insieme al suo amante Chen Chen-pang (Leslie Cheung). Essendo rimasta da sola all'Inferno, Fleur torna tra i vivi per scoprire quale sia stata la sorte dell'amato. Il fatto che 'Rouge' si intitoli come il primo film in lingua cantonese (anno 1925) chiarisce quali siano le ambizioni insite in quello che rimane, con ogni probabilità, il film-chiave per comprendere la poetica di Stanley Kwan. Caso emblematico di connubio tra esigenze autoriali, plauso della critica e successo commerciale - a produrre è un inatteso Jackie Chan - Rouge è stato per anni indicato come pietra di paragone per comprendere il cinema di Hong Kong (oltre ad aver acquisito una sinistra fama dopo la morte temporalmente ravvicinata di Cheung e della Mui nel 2003). Senza ricorrere a effetti speciali, infatti, senza stupire né ricorrere a scorciatoie di qualsivoglia natura, Kwan riesce a infondere una fortissima passionalità a una storia di fantasmi sui generis, o meglio a una storia di vivi (ma a tutti gli effetti morti nella speranza) e morti (il cui cuore non pulsa più, ma la cui passione è viva e inestinguibile).