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Narrative Space in the Cinema of King Hu 127
interstate laws directed against the telegraph, the telephone, and the railway, see Questions of Chinese Aesthetics: Film Form and Ferguson and McHenry, American Federal Government, 364, and Harrison, "'Weak- ened Spring,'" 70. Narrative Space in the Cinema of King Hu 127. Mosse, Nationalism and Sexuality. by Hector Rodnguez 128. Goldberg, Racist Culture. Much of the concern over the Johnson fight films was directed at the effects they would have on race relations (e.g., the possibility of black people becoming filled with "race pride" at the sight ofjohnson's victories). This imperialistic notion of reform effectively positioned black audiences as need- In memory of King Hu (1931-1997) ing moral direction. 129. Orrin Cocks, "Motion Pictures," Studies in Social Christianity (March 1916): 34. The concept of Chinese aesthetics, when carefully defined and circumscribed, illu- minates the relationship between narrative space and cultural tradition in the films of King Hu. Chinese aesthetics is largely based on three ethical concerns that muy be termed nonattachment, antirationalism, and perspectivism. This essay addresses the representation of "Chineseness" in the films of King Hu, a director based in Hong Kong and Taiwan whose cinema draws on themes and norms derived from Chinese painting, theater, and literature. Critical discussions of his work have often addressed the question of the ability of the cinema, a for- eign medium rooted in a mechanical age, to express the salient traits of Chinas longstanding artistic traditions. At stake is the relationship between film form and the national culture, embodied in the concept of a Chinese aesthetic. Film scholars tend to define the main features of Chinese aesthetics selec- lively, emphasizing a few stylistic norms out of a broad repertoire of available his- tones and traditions, and the main criterion for this selection is the sharp difference between those norms and the presumed realism of European art before modern- ism. -
The Studies of HKIFF: an Overview of a Burgeoning Field of Its Establishment in the Current Years
The studies of Hong Kong International Film Festival (HKIFF) : Title an overview of a burgeoning field of its establishment in the current years Author(s) Law, Pik-yu Law, P. E.. (2015). The studies of Hong Kong International Film Festival (HKIFF) : an overview of a burgeoning field of its Citation establishment in the current years. (Thesis). University of Hong Kong, Pokfulam, Hong Kong SAR. Issued Date 2015 URL http://hdl.handle.net/10722/223429 The author retains all proprietary rights, (such as patent rights) and the right to use in future works.; This work is licensed under Rights a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. The Studies of HKIFF: An Overview of a Burgeoning Field of its establishment in the current years The University of Hong Kong Department of Sociology Assignment / Essay Cover Sheet1 Programme Title: Master of Social Sciences in Media, Culture and Creative Cities – MSocSc(MCCC) Title of Course: SOCI8030 Capstone Project Course Code: SOCI8030 Title of Assignment / Essay: The Studies of Hong Kong International Film Festival (HKIFF): An overview of a Burgeoning Field of its establishment in the current years Student Name: LAW, Pik Yu Eugenia Student Number: 2013932305 Year of Study: Year 2 Date of Resubmission2: Plagiarism Plagiarism is the presentation of work which has been copied in whole or in part from another person’s work, or from any other source such as the Internet, published books or periodicals without due acknowledgement given in the text. Where there are reasonable grounds for believing that cheating has occurred, the action that may be taken when plagiarism is detected is for the staff member not to mark the item of work and to report or refer the matter to the Department. -
Gender Trouble in Hongkong Cinema Tammy Cheung and Michael Gilson
Document generated on 09/26/2021 7:10 a.m. Cinémas Revue d'études cinématographiques Journal of Film Studies Gender Trouble in Hongkong Cinema Tammy Cheung and Michael Gilson Le nouveau cinéma chinois Article abstract Volume 3, Number 2-3, Spring 1993 The authors conduct a brief survey of some recent examples of the Hongkong cinema, focusing on questions surrounding the portrayals of female and male URI: https://id.erudit.org/iderudit/1001198ar characters in them. Today's Hongkong films, society and culture are just now DOI: https://doi.org/10.7202/1001198ar taking tentative steps towards an awareness of gay and lesbian themes, and in some measure, of feminism. How are different types of female characters See table of contents presented in contemporary Hongkong cinema? How does the traditional Chinese view of "male" differ from the West's? The recent trend that has "gender-bending" characters appearing in a number of Hongkong feature films is also examined. The authors maintain that stereotypical representations of Publisher(s) women, men, and homosexual characters persist in the Hongkong film Cinémas industry, that honest portrayals of gay and lesbian characters are mostly absent from the movie screens of the Crown Colony. ISSN 1181-6945 (print) 1705-6500 (digital) Explore this journal Cite this article Cheung, T. & Gilson, M. (1993). Gender Trouble in Hongkong Cinema. Cinémas, 3(2-3), 181–201. https://doi.org/10.7202/1001198ar Tous droits réservés © Cinémas, 1993 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. -
Newsletter 34
Hong Kong Film Archive Quarterly 34 Newsletter 11.2005 Chor Yuen: A Lifetime in the Film Studio Three Glimpses of Takarada Akira Mirage Yellow Willow in the Frost 17 Editorial@ChatRoom English edition of Monographs of HK Film Veterans (3): Chor Yuen is to be released in April 2006. www.filmarchive.gov.hk Hong Kong Film Archive Head Angela Tong Section Heads Venue Mgt Rebecca Lam Takarada Akira danced his way in October. In November, Anna May Wong and Jean Cocteau make their entrance. IT Systems Lawrence Hui And comes January, films ranging from Cheung Wood-yau to Stephen Chow will be revisited in a retrospective on Acquisition Mable Ho Chor Yuen. Conservation Edward Tse Reviewing Chor Yuen’s films in recent months, certain scenes struck me as being uncannily familiar. I realised I Resource Centre Chau Yu-ching must have seen the film as a child though I couldn’t have known then that the director was Chor Yuen. But Research Wong Ain-ling coming to think of it, he did leave his mark on silver screen and TV alike for half a century. Tracing his work brings Editorial Kwok Ching-ling Programming Sam Ho to light how Cantonese and Mandarin cinema evolved into Hong Kong cinema. Today, in the light of the Chinese Winnie Fu film market and the need for Hong Kong cinema to reorient itself, his story about flowers sprouting from the borrowed seeds of Cantonese opera takes on special meaning. Newsletter I saw Anna May Wong for the first time during the test screening. The young artist was heart-rendering. -
The Visible and Invisible Worlds of Tsai Ming-Liang's Goodbye, Dragon Inn
Screening Today: The Visible and Invisible Worlds of Tsai Ming-liang's Goodbye, Dragon Inn Elizabeth Wijaya Discourse, Volume 43, Number 1, Winter 2021, pp. 65-97 (Article) Published by Wayne State University Press For additional information about this article https://muse.jhu.edu/article/790601 [ Access provided at 26 May 2021 21:04 GMT from University of Toronto Library ] Screening Today: The Visible and Invisible Worlds of Tsai Ming- liang’s Goodbye, Dragon Inn Elizabeth Wijaya Waste is the interface of life and death. It incarnates all that has been rendered invisible, peripheral, or expendable to history writ large, that is, history as the tale of great men, empire, and nation. —Saidiya Hartman, Lose Your Mother (2006) A film operates through what it withdraws from the visible. —Alain Badiou, Handbook of Inaesthetics (2004) 1. Goodbye, Dragon Inn in the Time After Where does cinema begin and end? There is a series of images in Goodbye, Dragon Inn (2003), directed by Tsai Ming-liang, that contain the central thesis of this essay (figure 1). In the first image of a canted wide shot, Chen Discourse, 43.1, Winter 2021, pp. 65–97. Copyright © 2021 Wayne State University Press, Detroit, Michigan 48201-1309. ISSN 1522-5321. 66 Elizabeth Wijaya Figure 1. The Ticket Lady’s face intercepting the projected light in Good- bye, Dragon Inn (Homegreen Films, 2003). Shiang-Chyi’s character of the Ticket Lady is at the lower edge of the frame, and with one hand on the door of a cinema hall within Fuhe Grand Theater, she looks up at the film projection of a martial arts heroine in King Hu’s Dragon Inn (1967). -
Annual Report 2002-2003 (Incorporated in the Cayman Islands with Limited Liability)
2002-2003 Annual Report (Incorporated in the Cayman Islands with limited liability) 年報 2002-2003 年報 Annual Report 2002-2003 Panorama International Holdings Limited PanoramaAnnual Report 2002-2003 CHARACTERISTICS OF THE GROWTH ENTERPRISE MARKET (“GEM”) OF THE STOCK EXCHANGE OF HONG KONG LIMITED (THE “STOCK EXCHANGE”). GEM has been established as a market designed to accommodate companies to which a high investment risk may be attached. In particular, companies may list on GEM with neither a track record of profitability nor any obligation to forecast future profitability. Furthermore, there may be risks arising out of the emerging nature of companies listed on GEM and the business sectors or countries in which the companies operate. Prospective investors should be aware of the potential risks of investing in such companies and should make the decision to invest only after due and careful consideration. The greater risk profile and other characteristics of GEM mean that it is a market more suited to professional and other sophisticated investors. Given the emerging nature of companies listed on GEM, there is a risk that securities traded on GEM may be more susceptible to high market volatility than securities traded on the Main Board of the Stock Exchange and no assurance is given that there will be a liquid market in the securities traded on GEM. The principal means of information dissemination on GEM is publication on the Internet website operated by the Stock Exchange. Listed companies are not generally required to issue paid announcements in gazetted newspapers. Accordingly, prospective investors should note that they need to have access to the GEM website in order to obtain up-to-date information on GEM- listed issuers. -
EAF3506 | University of Exeter
09/24/21 EAF3506 | University of Exeter EAF3506 View Online Taiwan New Cinema and Beyond: Authorship, Transnationality, Historiography 1. Yeh, Emilie Yueh-yu, Davis, Darrell William: Taiwan film directors: a treasure island. Columbia University Press, Chichester (2005). 2. Berry, Chris, Lu, Feii: Island on the edge: Taiwan new cinema and after. Hong Kong University Press, Hong Kong (2005). 3. Berry, Michael: Speaking in images: interviews with contemporary Chinese filmmakers. Columbia University Press, Chichester (2005). 4. Davis, Darrell William, Chen, Ruxiu: Cinema Taiwan: politics, popularity and state of the arts. Routledge, London (2007). 5. Hong, Gou-Juin: Taiwan cinema: a contested nation on screen. Palgrave Macmillan, New York (2011). 6. Lu, Tonglin: Confronting modernity in the cinemas of Taiwan and Mainland China. Cambridge University Press, Cambridge (2002). 1/21 09/24/21 EAF3506 | University of Exeter 7. Yip, June Chun: Envisioning Taiwan: fiction, cinema, and the nation in the cultural imaginary. Duke University Press, Durham (2004). 8. • MCLC (Modern Chinese Literature and Culture) Resource Centre . 9. •Taiwan Government Information Office‘s (GIO) ’Taiwan Cinema” . 10. Eng, R.: Taiwan: An Annotated Directory of Internet Resources. 11. Taiwan Ministry of Culture. 12. Ching, Leo T. S.: Becoming ‘Japanese’: colonial Taiwan and the politics of identity formation. University of California Press, Berkeley, Calif (2001). 13. Liao, Binghui, Wang, Dewei: Taiwan under Japanese colonial rule, 1895-1945: history, culture, memory. Columbia University Press, New York (2006). 14. Roy, Denny: Taiwan: a political history. Cornell University Press, Ithaca, N.Y. (2003). 2/21 09/24/21 EAF3506 | University of Exeter 15. Rubinstein, Murray A.: Taiwan: a new history. -
Appendices, Notes
APPENDIX 1: Sample Confessions CH'U SSU ygo was a sect teacher from a village southeast of Peking. He was arrested in the fall of 1813. The rebels had considered and then rejected a plan for Ch'u Ssu to lead his men in an attack upon the imperial entourage as it returned from Jehol, and Ch'u was interrogated repeatedly about this plan. His various confessions about this and other matters, taken together with those of some of his associates, illustrate the kinds of information contained in con fessions, the reliability of such testimony, and the judicial process that produced them. A. First Interrogation of Ch'ii Ssu Memorial from the Grand Council and the Board of Punishments (KKCK 207.1, CC 18/9/24): On 9/23 we received a report from the censors for the south city [of Peking] saying that they had seized the criminal Ch'ii Ssu and [others]. They have been interrogated. The text of Ch'ii Ssu's confession is attached. Confession of Ch'ii Ssu (KKCK 208.1, 18/9/24) From T'ung district. Age thirty-six. Mother Miss Meng. Older brother Ch'ii Wen-hsiang. Wife Miss Ts'ai. My son Ch'ang-yu-r is ten. I was born the son of Ch'u Te-hsin but then I was adopted by Ch'u Wu. When I was nineteen, Liu Ti-wu brought me and Ch'ii Wen hsiang to take Ku Liang (who has since died) as our teacher. I entered the sect and recited the eight characters "Eternal Progenitor in Our Original Home in the World of True Emptiness." On the 14th day of the 8th month [of 1813] Lin Ch'ing told Liu Ti-wu to put me in charge of one to two hundred men and lead them to Yen-chiao [outside Peking] to rise up there. -
Annual Returns to the Communications Authority Annual
Annual Returns to the Communications Authority Annual report on programming commitments of Year 2020 INDEX Independent local productions Annex 1 Independent local productions (All Channels) {5 pages) Total hours: 994.8 I Total hours of independent local productions: 994.8 Local productions Annex 2 Jade Channel {16 pages) Total hours: 4003.8 Annex 3 J2 Channel {3 pages) Total hours: 534.8 Annex4 TVB Finance & Information Channel (7 pages) Total hours: 2882.3 Annex 5 TVB News Channel {1 page) Total hours: 8784 Annex 6 Pearl Channel {2 pages) Total hours: 3890.2 ITotal hours of local productions: 20095.1 Independent I ,ocal Production (All Channels) Annex 1 Channel Title Airdate Duration Total Total in mins Episodes Hour Jade Joseph Koo Concert 20 12 2020/02/01 120 1 2.0 ;~~tl1tk§ffi ~~ gl$}~0§\ ~ Jimmy Lo 2016 Concert 2020/02/08 105 1 1.8 0 ~"',.OJ*§ffi~~fr!JfF=/\ii0 1lii" 1 [][]//,::mos s -&zra Lisa Wang, Adam Cheng, Kitaro 2011 Concert 2020/02/15 120 1 2.0 ~GJ>f)c · )J:BJJ¥: · ~~e~fJT~cJt)~o§~ Teresa Cheung Live 2020/02/22 120 1 2.0 ~)tH~~~___e;~~t~5~o§ ~ Lui Fong Live in Concert 2007 2020/02/29 120 1 2.0 g :JJ~:r~r:ey~x5~o§§ ~ 2020 Sam Hui Online Concert 2020/04112 60 1 1.0 2020§'f)tf{~[DJ#~~Online Concert ChiLam in Concert 2020/04/25 120 1 2.0 j~'=& ~P*'f\<;{*:9fs fyf;: / \ '.3:::. sA Rosanne Lui Live Orchestra Concert 2020/05/02 120 1 2.0 §i;3j(:§&~ijJi!Ji7(f§ 8 fffi}Xrg§t;~~U§ ~ Aaron Kwok Cheer Up & Dance Online Charity Concert 2020 2020/05/09 60 1 1.0 ¥~~tw§}~otJJ/lli3R:o~~___e~ og)~o§§ ~ Donald Cheung In Concert 2020/05/09 105 -
Episode 289 – Talking Sammo Hung | Whistlekickmartialartsradio.Com
Episode 289 – Talking Sammo Hung | whistlekickMartialArtsRadio.com Jeremy Lesniak: Hey there, thanks for tuning in. Welcome, this is whistlekick martial arts radio and today were going to talk all about the man that I believe is the most underrated martial arts actor of today, possibly of all time, Sammo Hung. If you're new to the show you may not know my voice I'm Jeremy Lesniak, I'm the founder of whistlekick we make apparel and sparring gear and training aids and we produce things like this show. I wanna thank you for stopping by, if you want to check out the show notes for this or any of the other episodes we've done, you can find those over at whistlekickmartialartsradio.com. You find our products at whistlekick.com or on Amazon or maybe if you're one of the lucky ones, at your martial arts school because we do offer wholesale accounts. Thank you to everyone who has supported us through purchases and even if you aren’t wearing a whistlekick shirt or something like that right now, thank you for taking the time out of your day to listen to this episode. As I said, here on today's episode, were talking about one of the most respected martial arts actor still working today, a man who has been active in the film industry for almost 60 years. None other the Sammo Hung. Also known as Hung Kam Bow i'll admit my pronunciation is not always the best I'm doing what I can. Hung originates from Hong Kong where he is known not only as an actor but also as an action choreographer, producer, and director. -
ALSO LIKE LIFE: the FILMS of HOU HSIAO-HSIEN New Addition: Hou Hsiao-Hsien in Conversation at BFI Southbank – Monday 14 September
ALSO LIKE LIFE: THE FILMS OF HOU HSIAO-HSIEN New addition: Hou Hsiao-Hsien In Conversation at BFI Southbank – Monday 14 September Thursday 13 August 2015, London The BFI is delighted to announce that one of the leading figures of the Taiwanese New Wave Hou Hsiao-Hsien, whose latest film The Assassin won Best Director at this year’s Cannes Film Festival, will make a very rare visit to the UK to take part in an In Conversation event at BFI Southbank. The event, which takes place on Monday 14 September, is part of Also Life Life: The Films of Hou Hsiao- Hsien, a major retrospective celebrating Hou’s work, which takes place from 2 Sept – 6 Oct 2015 at BFI Southbank. Hou-Hsiao-Hsien has helped put Taiwanese cinema on the international map with work that explores the island’s rapidly changing present as well as its turbulent, often bloody past, and is one of the best examples in world cinema of a director who found his own distinctive style and voice while working on the job. The season will kick off with Cute Girl (1980), Cheerful Wind (1981) and The Green Green Grass of Home (1982), all starring Hong Kong pop star Kenny Bee; these early films offer a mixture of comedy and romance and begin to show Hou’s interest in Taiwan’s regional differences, a key theme of his later films. Hou’s other early films such as The Sandwich Man (1983) and The Boys from Fengkuei (1983) dramatised engaging life stories – including his own in The Time to Live and the Time to Die (1985). -
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.