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Wendy Gan Hong Kong University Press the University of Hong Kong Pokfulam Road Hong Kong
Wendy Gan Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2005 Hong Kong University Press ISBN 978-962-209-743-8 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 Limited in Hong Kong, China Contents Series Preface vii Acknowledgments xi 1 Introduction 1 2 Contexts: Independent Filmmaking and Hong Kong 11 Cinema 3 Contexts: Social Realism in Hong Kong Cinema 25 4 The Representation of the Mainland Chinese Woman 43 in Durian Durian 5 Durian Adrift: The Contiguities of Identity in Durian 59 Durian ● vi CONTENTS 6 The Prostitute Trilogy So Far 81 7 Conclusion 91 Notes 97 Filmography 103 Bibliography 107 ●1 Introduction Durian Durian is not the film one immediately thinks of when the name of Hong Kong film director Fruit Chan is brought up. The stunning success, both locally and internationally, of his low-budget debut as an independent director, Made in Hong Kong, has ensured that Chan’s reputation will always be tied to that film. Yet Durian Durian has much to offer the lover of Hong Kong cinema and the admirer of Fruit Chan’s work. A post-1997 film set both in Hong Kong and mainland China, with mainland Chinese protagonists, the film is a fine example of a Hong Kong tradition of socially sensitive realist films focused on the low-caste outsider, and is the result of a maturing director’s attempt to articulate the new, often still contradictory, realities of ‘one country, two systems’ in action. -
The New Hong Kong Cinema and the "Déjà Disparu" Author(S): Ackbar Abbas Source: Discourse, Vol
The New Hong Kong Cinema and the "Déjà Disparu" Author(s): Ackbar Abbas Source: Discourse, Vol. 16, No. 3 (Spring 1994), pp. 65-77 Published by: Wayne State University Press Stable URL: http://www.jstor.org/stable/41389334 Accessed: 22-12-2015 11:50 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Wayne State University Press is collaborating with JSTOR to digitize, preserve and extend access to Discourse. http://www.jstor.org This content downloaded from 142.157.160.248 on Tue, 22 Dec 2015 11:50:37 UTC All use subject to JSTOR Terms and Conditions The New Hong Kong Cinema and the Déjà Disparu Ackbar Abbas I For about a decade now, it has become increasinglyapparent that a new Hong Kong cinema has been emerging.It is both a popular cinema and a cinema of auteurs,with directors like Ann Hui, Tsui Hark, Allen Fong, John Woo, Stanley Kwan, and Wong Rar-wei gaining not only local acclaim but a certain measure of interna- tional recognitionas well in the formof awards at international filmfestivals. The emergence of this new cinema can be roughly dated; twodates are significant,though in verydifferent ways. -
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. -
On the Rise and Decline of Wulitou 无厘头's Popularity in China
The Act of Seeing and the Narrative: On the Rise and Decline of Wulitou 无厘头’s Popularity in China Inaugural dissertation to complete the doctorate from the Faculty of Arts and Humanities of the University of Cologne in the subject Chinese Studies presented by Wen Zhang ACKNOWLEDGEMENTS My thanks go to my supervisors, Prof. Dr. Stefan Kramer, Prof. Dr. Weiping Huang, and Prof. Dr. Brigitte Weingart for their support and encouragement. Also to the Faculty of Arts and Humanities of the University of Cologne for providing me with the opportunity to undertake this research. Last but not least, I want to thank my friends Thorsten Krämer, James Pastouna and Hung-min Krämer for reviewing this dissertation and for their valuable comments. TABLE OF CONTENTS INTRODUCTION ...................................................................................................................................... 1 0.1 Wulitou as a Popular Style of Narrative in China ........................................................... 1 0.2 Story, Narrative and Schema ................................................................................................. 3 0.3 The Deconstruction of Schema in Wulitou Narratives ................................................... 5 0.4 The Act of Seeing and the Construction of Narrative .................................................... 7 0.5 The Rise of the Internet and Wulitou Narrative .............................................................. 8 0.6 Wulitou Narrative and Chinese Native Cultural Context .......................................... -
3D423bbe0559a0c47624d24383
BENDS straddles the Hong Kong- Shenzhen border and tells the story of ANNA, an affluent housewife and FAI, her chauffeur, and their unexpected friendship ABOUT as they each negotiate the pressures of Hong Kong life and the city’s increasingly complex relationship to mainland China. Fai is struggling to find a way to bring his THE pregnant wife and young daughter over the Hong Kong border from Shenzhen to give birth to their second child, even though he crosses the border easily every FILM day working as a chauffeur for Anna. Anna, in contrast, is struggling to keep up the facade of her ostentatious lifestyle into which she has married, after the sudden disappearance of her husband amid financial turmoil. Their two lives collide in a common space, the car. PRODUCTION NoteS SHOOT LOCATION: Hong Kong TIMELINE: Preproduction, July/August 2012 Principal Photography, September/October 2012 (23 days) Completion, Spring 2013 PREMIERE: Cannes Film Festival 2013, Un Certain Regard (Official Selection) LANGUAGE: Cantonese & Mandarin FORMAT: HD, Colour LENGTH: 92 minutes THE CaST ANNA - Lead Female Role Carina Lau 劉嘉玲 SelecTED FILMOGRAPHY: Detective Dee and the Mystery Phantom Flame Let the Bullets Fly 2046 Flowers of Shanghai Ashes of Time Days of Being Wild FAI - Lead Male Role Chen Kun 陳坤 SelecTED FILMOGRAPHY: Painted Skin I & II, Rest On Your Shoulder, Flying Swords of Dragon Gate 3D Let the Bullets Fly Balzac and the Little Chinese Seamstress Writer/Director Flora Lau 劉韻文 Cinematographer Christopher Doyle (H.K.S.C.) 杜可風 A Very Special Thanks To William Chang Suk Ping 張叔平 Flora was born and raised in Hong Kong. -
Movie Tv Sho Audio Radio
70 FILM REVIEWS MOVIES 71 NEW MOVIES ONBOARD 72 MOVIES TV SHOWS 74 TV SHOWS AUDIO Entertainment 76 AUDIO/RADIO RADIO © 2018 20TH CENTURY FOX. ALL RIGHTS RESERVED. BAD TIMES AT THE EL ROYALE FILM REVIEWS WANT HELP WITH WHAT TO WATCH THIS MONTH? FILMMAKER AND DIRECTOR KAM RASLAN MAKES THE CASE FOR THESE THREE MOVIES. THE INCREDIBLES Is The Incredibles the best animated movie ever? Yes. Yes, it is. It’s hilariously funny, exciting, moving and visually beautiful. A family of superheroes have to live in witness protection as normal people because superheroes have been deemed a menace to society. Naturally, Mr Incredible hates his boring life as an insurance salesman and his goingplacesmagazine.com children have to hide their superhero skills. But when an opportunity for a return to the old life comes knocking, Mr Incredible puts his entire family at risk, which sounds like a job LOGAN for Elastigirl. Is Logan the best superhero movie ever? EDGE OF TOMORROW Probably. A thunderous Hugh Jackman Because it was made all the way back in Is Edge of Tomorrow the best science fiction | 70 is Wolverine one last time as he plays a 2004, the animation for The Incredibles may movie ever? Maybe not, but it’s definitely | January 2019 January | reluctant father figure to the stunningly not seem quite as plush as, say, Zootopia, the best science fiction movie starring Tom intense young actress Dafne Keen. On a but director Brad Bird (who made his name Cruise, and when it comes to big-budget desperate journey from Mexico to the far with The Simpsons) created such a complete action Hollywood movies, nobody delivers north, the pair are perfectly matched as universe that you instantly forget. -
A Brief Analysis of the Narrative Characteristics of Karwai Wong Film with “Days of Being Wild” As an Example
Art and Design Review, 2020, 8, 170-175 https://www.scirp.org/journal/adr ISSN Online: 2332-2004 ISSN Print: 2332-1997 A Brief Analysis of the Narrative Characteristics of Karwai Wong Film with “Days of Being Wild” as an Example Bo Zhang, Weiqing Sun Department of Film and Television Arts, Shanghai Publishing and printing College, Shanghai, China How to cite this paper: Zhang, B., & Sun, Abstract W. Q. (2020). A Brief Analysis of the Narr- ative Characteristics of Karwai Wong Film As a leading figure of Hong Kong film, Karwai Wong has contributed nu- with “Days of Being Wild” as an Example. merous outstanding works to the Chinese film circle and even the world film Art and Design Review, 8, 170-175. circle. Behind his highly abstract image world, it reflects people’s bewilder- https://doi.org/10.4236/adr.2020.83013 ment of rootless drifting in modern cities. Through the analysis of the movie Received: July 8, 2020 “Days of Being Wild”, this paper reveals the narrative characteristics of Kar- Accepted: July 31, 2020 wai Wong film. Published: August 3, 2020 Keywords Copyright © 2020 by author(s) and Scientific Research Publishing Inc. Leading Figure, Rootless, Narrative Characteristics This work is licensed under the Creative Commons Attribution International License (CC BY 4.0). http://creativecommons.org/licenses/by/4.0/ 1. Introduction Open Access As a representative of melodrama movies directors in Hong Kong, Karwai Wong has his own unique style in selecting creative themes. From his first film “As Tears Go by” to “The Grandmaster”, he has always maintained a balance be- tween business and art, personal style and the requirement of audience in the 30 years of his movie career. -
Representation of Females As Victims in Hong Kong Crime Films (2003-2015)
REPRESENTATION OF FEMALES AS VICTIMS IN HONG KONG CRIME FILMS (2003-2015) Perspectives from One Nite in Mongkok, Protégé and The Stool Pigeon TINGTING HU (胡婷婷) MA. Media, Loughborough University, UK, 2011 BA. Arts, Shanghai Theatre Academy, China, 2010 This thesis is submitted for the degree of Master of Research Department of Media, Music, Communication and Cultural Studies Faculty of Arts Macquarie University, Sydney December 25, 2015 MRES Thesis 2015 Tingting HU (ID: 43765858) TABLE OF CONTENTS ABSTRACT ........................................................................................................................ iii CERTIFICATE OF AUTHORSHIP/ORIGINALITY .................................................. iv ACKNOWLEDGMENTS .................................................................................................. v CHAPTER 1 INTRODUCTION ....................................................................................... 1 CHAPTER 2 FEMINISM AND HONG KONG CRIME FILMS ................................. 7 Feminism and Film Studies .................................................................................................. 7 The Western Context ......................................................................................................... 7 The Chinese Context ....................................................................................................... 11 Crime Films and Violence Against Women ....................................................................... 15 Crime Films ................................................................................................................... -
Chungking Express.Pdf
Chungking Express BEFORE VIEWING – BEFORE READING SYNOPSIS TASK ■ With a partner, discuss and record your expectations of a film called Chungking Express which has been made in Hong Kong. After viewing the film you should compare notes with your partner to see how many of your expectations have been confirmed or contradicted. SYNOPSIS Cult Hong Kong filmmaker Wong Kar Wai’s Chungking Express is a stylish combination of romance, dead-pan comedy and film noir set in and around Hong Kong’s notorious Chunking Mansions, a complex of shabby hostels, bars and clubs teaming with illegal immigrants. The story centres on a small takeaway stall, the Midnight Express, which is frequented by two lovelorn Cops (223, Takeshi Kaneshiro and 633, Tony Leung Chiu Wai). They become involved with a mysterious drug dealer dressed in a blonde wig and sunglasses (Brigitte Lin), on the run from drug traffickers, and an impulsive young dreamer (Faye Wong) who works behind the counter of the Midnight Express. The central concerns of the film are identity and our reluctance to show, or to accept, who we truly are. The Brigitte Lin character wears a wig and sunglasses to hide her true self. Cop 223 refuses to accept the fact that his girlfriend has left him. The waitress (Faye Wong) secretly cleans the apartment for Cop 633 who avoids reading a goodbye note from his ex- girlfriend and is unable to realise that his apartment is getting cleaner and cleaner. BACKGROUND FOR WONG KAR WAI Wong Kar Wai belongs to the mid-1980s Second New Wave of Hong Kong filmmakers who continued to develop the innovative approaches initiated by the original Hong Kong New Wave, which included directors such as Tsui Hark, Ann Hui and Patrick Tam. -
Planet China
1 Talking Point 6 Week in 60 Seconds 7 Banking and Finance Week in China 8 Economy 9 Auto Industry 11 Internet and Tech 13 Energy and Resources 14 Society and Culture 2 October 2015 17 And Finally Issue 298 18 The Back Page www.weekinchina.com Red guest at the White House m o c . n i e t s p e a t i n e b . w w w Xi visits Obama in Washington, but was his US trip overshadowed by the Pope’s? Brought to you by Week in China Talking Point 2 October 2015 Pontiff pips president Xi Jinping plays second fiddle to Pope Francis on American tour China’s president grabs his moment in the spotlight with tech executives in California last week oth hold sway over more than Catholic: “We have the propaganda The Pope’s trip to the US was Ba billion people. And both got department and you have the evan - rare – it was only the tenth Papal the top job after closed-door elec - gelicals. We have the organisation visit. Even rarer was a speech in tions that remain well nigh impos - department and you have the Col - Congress, as well as another on the sible for outsiders to figure out. lege of Cardinals. What’s the differ - White House lawn (delivered in They are, of course, Xi Jinping and ence, then?” English, and ending with the crowd- Pope Francis. Adding to the sense of mystery pleasing line “God Bless America”). Some of the similarities in the or - surrounding the two organisations Inevitably this raises the ques - ganisations that the two men lead was a new one last week. -
China's Strategic Modernization: Implications for the United States
CHINA’S STRATEGIC MODERNIZATION: IMPLICATIONS FOR THE UNITED STATES Mark A. Stokes September 1999 ***** The views expressed in this report are those of the author and do not necessarily reflect the official policy or position of the Department of the Army, the Department of the Air Force, the Department of Defense, or the U.S. Government. This report is cleared for public release; distribution is unlimited. ***** Comments pertaining to this report are invited and should be forwarded to: Director, Strategic Studies Institute, U.S. Army War College, 122 Forbes Ave., Carlisle, PA 17013-5244. Copies of this report may be obtained from the Publications and Production Office by calling commercial (717) 245-4133, FAX (717) 245-3820, or via the Internet at [email protected] ***** Selected 1993, 1994, and all later Strategic Studies Institute (SSI) monographs are available on the SSI Homepage for electronic dissemination. SSI’s Homepage address is: http://carlisle-www.army. mil/usassi/welcome.htm ***** The Strategic Studies Institute publishes a monthly e-mail newsletter to update the national security community on the research of our analysts, recent and forthcoming publications, and upcoming conferences sponsored by the Institute. Each newsletter also provides a strategic commentary by one of our research analysts. If you are interested in receiving this newsletter, please let us know by e-mail at [email protected] or by calling (717) 245-3133. ISBN 1-58487-004-4 ii CONTENTS Foreword .......................................v 1. Introduction ...................................1 2. Foundations of Strategic Modernization ............5 3. China’s Quest for Information Dominance ......... 25 4. -
Die Filme John Woos Und Die Entwicklung Des Hongkong-Kinos
Die Filme John Woos und die Entwicklung des Hongkong-Kinos. Mit einer annotierten Mediographie. Diplomarbeit im Fach Medienwissenschaft Studiengang Öffentliche Bibliotheken der Fachhochschule Stuttgart – Hochschule für Bibliotheks- und Informationswesen Petra Peuker Erstprüfer: Dr. Manfred Nagl Zweitprüfer: Dr. Horst Heidtmann Angefertigt in der Zeit vom 09. Juli 1999 bis 11. Oktober 1999 Stuttgart, Oktober 1999 Schlagwörter und Abstract John Woo John Woo Hongkong Hong Kong Kino Cinema Kungfu Martial Arts Der Citywolf A Better Tomorrow Blast Killer The Killer Im Körper des Feindes Face/Off Die vorliegende Arbeit befaßt sich mit dem chinesischen Regisseur John Woo. Anhand seiner Werke sollen die wichtigsten Strömungen und Ent- wicklungen im Hongkong-Kino dargestellt werden, wie zum Beispiel die Martial-Arts-Filme in den Siebziger Jahren, die Regisseure der „Neuen Welle“ Anfang der Achtziger Jahre und besonders Woos eigene Leistung, die Neuorientierung des Gangsterfilms. Außerdem beinhaltet diese Arbeit eine annotierte Mediographie, mit aus- gewählten Medien zum Thema Hongkong-Kino und John Woo. This paper reports on the Chinese director John Woo. The most important developments in Hong Kong Cinema are shown by means of his movies, such as the martial arts movies in the seventies, the directors of the „New Wave“ at the beginning of the eighties and especially Woos own achieve- ment, the re-orientation of the gangstermovie. This paper also contains an annotated listing of media dealing with the Hong Kong Cinema and John Woo. 2 Inhaltsverzeichnis