The Fight Master, Spring/Summer 2007, Vol. 30 Issue 1
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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. -
Industry Guide Focus Asia & Ttb / April 29Th - May 3Rd Ideazione E Realizzazione Organization
INDUSTRY GUIDE FOCUS ASIA & TTB / APRIL 29TH - MAY 3RD IDEAZIONE E REALIZZAZIONE ORGANIZATION CON / WITH CON IL CONTRIBUTO DI / WITH THE SUPPORT OF IN COLLABORAZIONE CON / IN COLLABORATION WITH CON LA PARTECIPAZIONE DI / WITH THE PARTICIPATION OF CON IL PATROCINIO DI / UNDER THE PATRONAGE OF FOCUS ASIA CON IL SUPPORTO DI/WITH THE SUPPORT OF IN COLLABORAZIONE CON/WITH COLLABORATION WITH INTERNATIONAL PARTNERS PROJECT MARKET PARTNERS TIES THAT BIND CON IL SUPPORTO DI/WITH THE SUPPORT OF CAMPUS CON LA PARTECIPAZIONE DI/WITH THE PARTICIPATION OF MAIN SPONSORS OFFICIAL SPONSORS FESTIVAL PARTNERS TECHNICAL PARTNERS ® MAIN MEDIA PARTNERS MEDIA PARTNERS CON / WITH FOCUS ASIA April 30/May 2, 2019 – Udine After the big success of the last edition, the Far East Film Festival is thrilled to welcome to Udine more than 200 international industry professionals taking part in FOCUS ASIA 2019! This year again, the programme will include a large number of events meant to foster professional and artistic exchanges between Asia and Europe. The All Genres Project Market will present 15 exciting projects in development coming from 10 different countries. The final line up will feature a large variety of genres and a great diversity of profiles of directors and producers, proving one of the main goals of the platform: to explore both the present and future generation of filmmakers from both continents. For the first time the market will include a Chinese focus, exposing 6 titles coming from China, Hong Kong and Taiwan. Thanks to the partnership with Trieste Science+Fiction Festival and European Film Promotion, Focus Asia 2019 will host the section Get Ready for Cannes offering to 12 international sales agents the chance to introduce their most recent line up to more than 40 buyers from Asia, Europe and North America. -
The London School of Economics and Political Science a Neoliberalizing
The London School of Economics and Political Science A neoliberalizing Chinese cinema: political economy of the Chinese film industry in post-WTO China Xiaoxi Zhu A thesis submitted to the Department of Media and Communications of the London School of Economics for the degree of Doctor of Philosophy London, March 2019 1 Declaration I certify that the thesis I have presented for examination for the MPhil/PhD degree of the London School of Economics and Political Science is solely my own work other than where I have clearly indicated that it is the work of others (in which case the extent of any work carried out jointly by me and any other person is clearly identified in it). The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without my prior written consent. I warrant that this authorisation does not, to the best of my belief, infringe the rights of any third party. I declare that my thesis consists of 71012 words. 2 Abstract This thesis aims to investigate the industry restructuration of the Chinese film industry in the context of China integrating into the global neoliberal capitalist system since its WTO entry in 2002. By interrogating the power dynamics between the Party-state, domestic capital and transnational media capital, this thesis explores respective roles each of the three stakeholders have played in shaping the commercialization and marketization of the Chinese film industry. Methodically, this thesis primarily relies on elite interviews with industry professionals, together with critical discourse analysis of one key policy document, and secondary data collected from news outlets, trade publications, industry reports, etc. -
MDA International Film Fund Appoints Distribution Workshop As Its Sales Agent
News Release For Immediate Release MDA International Film Fund appoints Distribution Workshop as its sales agent Cannes, France. May 18, 2009 – Following the launch of its new International Film Fund (IFF) at the start of the Cannes Film Market, Singapore's Media Development Authority (MDA) today announced the appointment of Hong Kong's Distribution Workshop as the worldwide sales agent for the first batch of films produced under the IFF. "Since the announcement of our International Film Fund a few days ago, we have received a number of queries from potential partners around the world. We are delighted to partner Distribution Workshop, which brings on board the international sales expertise and network to introduce our upcoming IFF projects to audiences worldwide,“ said Dr Christopher Chia, MDA's Chief Executive Officer. “Distribution Workshop is extremely pleased to be working with MDA on their initiative in stepping up production in the international arena," said Nansun Shi, Chairman of Distribution Workshop. "We welcome this move which would incentivise more international involvement in making quality Asian films with mass appeal." Application for IFF is now open. The deadline of the first call of proposals is July 31, 2009. Applicants already associated with sales representation are welcome to apply, but must be open to negotiating territories with Distribution Workshop. Selected applicants will be required to pitch their projects to a committee comprising representatives from MDA and Distribution Workshop. Upon selection, the winning projects will have their own dedicated distribution executives involved from the onset of Page 1 of 2 pre-production. After completion, the films will be distributed to the worldwide marketplace by Distribution Workshop. -
The Irresistible Rise of Asian Cinema 1
The Irresistible Rise of Asian Cinema 1 By Gerald Pratley Spring 1994 Issue of KINEMA PRODUCTION ACTIVITY It was not so many years ago it seems when speaking of motion pictures from Asia meant Japanese films as represented by Akira Kurosawa and films from India made by Satyajit Ray. But suddenly time passesand now we are impressed and immersed in the flow of films from Hong Kong, Taiwan, China, South Korea, the Philippines, with Japan a less significant player, and India and Pakistan more prolific than ever inmaking entertainment for the mass audience. No one has given it a name or described it as ”New Wave,” it is simply Asian Cinema -- the most exciting development in filmmaking taking place in the world today. In China everything is falling apart yet it manages to hold together, nothing works yet it keeps on going, nothing is ever finished or properly maintained, and yes, here time does wait for every man. But asfar art and industry are concerned, it is an awakening giant! The Shanghai Film Studios are a small world of their own -- a reflection of what China is today. They are reputedly the best among the country’s 15studio lots, including Beijing and Changchun. The August 1st Studio in Beijing makes good use of the Army as extras -- as the Canadian Bethune discovered when it filmed there. The studios in Shanghai are about five miles from downtown in a pleasant suburban district. Ittakes45 minutes by taxi crawling through the dense crowds and traffic of all descriptions. Like all studios worldwide, it looks old, rough and ready, a quiet and dusty place among trees and flowers. -
Hong Kong Martial Arts Films
GENDER, IDENTITY AND INFLUENCE: HONG KONG MARTIAL ARTS FILMS Gilbert Gerard Castillo, B.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS December 2002 Approved: Donald E. Staples, Major Professor Harry Benshoff, Committee Member Harold Tanner, Committee Member Ben Levin, Graduate Coordinator of the Department of Radio, TV and Film Alan B. Albarran, Chair of the Department of Radio, TV and Film C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Castillo, Gilbert Gerard, Gender, Identity, and Influence: Hong Kong Martial Arts Films. Master of Arts (Radio, Television and Film), December 2002, 78 pp., references, 64 titles. This project is an examination of the Hong Kong film industry, focusing on the years leading up to the handover of Hong Kong to communist China. The influence of classical Chinese culture on gender representation in martial arts films is examined in order to formulate an understanding of how these films use gender issues to negotiate a sense of cultural identity in the face of unprecedented political change. In particular, the films of Hong Kong action stars Michelle Yeoh and Brigitte Lin are studied within a feminist and cultural studies framework for indications of identity formation through the highlighting of gender issues. ACKNOWLEDGEMENTS First of all, I would like to thank the members of my committee all of whom gave me valuable suggestions and insights. I would also like to extend a special thank you to Dr. Staples who never failed to give me encouragement and always made me feel like a valuable member of our academic community. -
The Fight Master, Spring/Summer 2005, Vol. 28 Issue 1
Marshall University Marshall Digital Scholar Fight Master Magazine The Society of American Fight Directors Summer 2005 The Fight Master, Spring/Summer 2005, Vol. 28 Issue 1 The Society of American Fight Directors Follow this and additional works at: https://mds.marshall.edu/fight Part of the Acting Commons, Other Theatre and Performance Studies Commons, Performance Studies Commons, and the Theatre History Commons TheThe FightFightwww.safd.org JournalJournal ofof thethe Master MasterSocietySociety ofof AmericanAmerican FightFight DirectorsDirectors TheThe SearchSearch forfor StyleStyle inin TROYTROY Defiant Acts: Fight 2004 The End of an Direction NSCW Era of Stage in Musical and Barn Combat in Theatre Workshop Chicago Reports Spring/Summer 2005 Vol XXVIII Number 1 STAGE COMBAT: EXTREME ACTING Coleman (Bill Christ) is biting Valene (Mark Rubald) in the 2002 Denver Center Theatre Company’s production of Martin McDonaugh’s Lonesome West. Directed by Anthony Powell. Fight Direction by Geoffrey Kent. Photograph courtesy of Denver Center Media. The Society of American Fight Directors 26th Annual National Stage Combat Workshops July 11-29, 2005 SAFD and University of Nevada-Las Vegas College of Fine Arts, Department of Theatre For more information: Linda McCollum at (702) 895-3662 or www.safd.org Actor/Combatant Workshop (ACW) Advanced Actor/Combatant Workshop (AACW) Train in the foundation skills of stage combat. World-class industry pro- Not for the "weak of skill," this intense workshop offers Advanced fessionals teach techniques in Rapier and Dagger, Unarmed and Actor/Fighters the opportunity to challenge and hone their existing skills at Broadsword. Additionally, participants will receive an introduction to a highly sophisticated level. -
Foreign Language Films
Languages Title Production Information Year Albanian Before the Rain 2008 Algerian The Battle of Algiers 2004 Arabic Paradise now [DVD] / Warner Independent Pictures ; c2006. produced with the support of Nederlands Fonds voor de Film, ... [et al.] ; produced by Augustus Film, ... [et al.] ; written by Hany Abu-Assad, Bero Beyer ; producers, Hengameh Panahi, Amir Harel, Gerhard Meixner, Roman Paul ; producer, Bero Beyer ; Arabic Meeting resistance [DVD] Nine Lives Documentary Productions c2007. / presents a film by Steve Connors & Molly Bingham; produced by Daniel J. Chalfen; reported and produced by Molly Bingham & Steve Connors; directed by Steve Connors & Molly Bingham. Arabic Of gods and men [DVD] / Director: Xavier Beauvois, Sony c2011. Picture Classics. Arabic {02BB}Ajam{012B} Inosan Productions Ltd. and Twenty c2010. {02BB}Ag'ami [DVD] / Twenty Vision Filmproduktion present; written, directed by Scandar Copti and Yaron Shani; producers, Mosh Danon and Thanassis Karathanos. Arabic Iraq in fragments [DVD] / Typecast Pictures presents a c2007. Daylight Factory production; director, James Longley; producers, John Sinno, James Longley. Bengali The Apu Trilogy 2008 Cheyenne Windwalker 2003 Chinese Yin shi nan nü [DVD] = Eat the Samuel Goldwyn Company c2002. drink man woman / presents a Central Motion Pictures Corporation production in association with Ang Lee Productions and Good Machine ; screenplay by Hui-Ling Wang & Ang Lee and James Schamus ; produced by Li-Kong Hsu ; directed by Ang Lee. Chinese Iron monkey [DVD] = Miramax Films ; Media Asia Group ; [2002]. Siunin wong fei-hung tsi Golden Harvest and Quentin titmalau / Tarantino present an LS Pictures Ltd. Film Work Shop production ; written by Tsui Hark ; producer, Tsui Hark ; director, Yuen Wo Ping. -
17. Internationales Forum 33 Des Jungen Films Berlin 1987 Flk%S
17. internationales forum 33 des jungen films berlin 1987 %S flk Filme aus Hongkong Aus einem Interview mit Yim Ho HOMECOMING Als ich meinen ersten Film drehte, The Extras, wußte ich, daß das eigentlich nicht meine Art Film war, aber man verführte JUST LIKE WEATHER mich, diesen Film zu drehen. Dann unterschrieb ich einen zwei• jährigen Vertrag mit Golden Harvest für die Produktion von SHANGHAI BLUES ±*±« The Happenings.Dia mußte auch ein kommerzieller Film sein, aber zur gleichen Zeit wollte ich ihn auch persönlicher gestal• PEKING OPERA BLUES DÄI ten. Darum blieb dieser Film irgendwo in der Mitte zwischen beiden Extremen. Dann bedrängte man mich, eine weitere Ko• SOUL mödie zu machen, Wedding bells, wedding belies, die ein tota• ler Reinfall wurde. Ich nahm das als ein Zeichen des Himmels! A BETTER TOMORROW Aber ich brauchte erst noch die traumatische Erfahrung zweier weiterer Jahre, in denen ich versuchte, mich mit dem Tod mei• LOVE UNTO WASTE ifeTIf nes Vaters abzufinden, um etwas genauer darüber nachzudenken, was für einen Film ich eigentlich machen wollte. Ausgehend von dieser Erfahrung kam ich auf Begriffe wie Leben, Tod und Zer• brechlichkeit menschlicher Beziehungen. Die meisten Hongkong- Filme sind sehr dramatisch, haben viele Kamerabewegungen, HOMECOMING (SI SHUI LIU NIAN) <0?KOÎî*É Großaufnahmen und Schwenks. Mein Film hat sehr wenig von all dem. Ich glaube, daß ich von meinen Erfahrungen bei der Die Heimkehr (Wie Wasser fließen die Jahre) Inszenierung eines Theaterstücks beeinflußt wurde - O'Neills 'Desire under the Elms'. Ich versuchte, einen Vergleich zum Theater und zum Theaterpublikum herzustellen. Mit anderen Land Hongkong 1984 Worten, die Kamera sollte sich wie ein Zuschauer verhalten, die ganze Szene betrachten, aber auch die Hauptpersonen oder be• Produktion Bluebird/Target stimmte Momente der Haltung näher ins Auge fassen. -
“Let's Drink to 1997”
“Let’s drink to 1997” The handover of Hong Kong, as seen in Hong Kong cinema 1986-1992 “Let’s drink to 1997” Överlämningen av Hong Kong, sedd inom Hong Kong-film 1986-1992 Simon Zandbergs Faculty of Arts and Social Sciences Film Studies 15 credits Supervisor: Johan Nilsson Examiner: Patrik Sjöberg 2015-01-12 1 Abstract Taking a look at ten films from the Hong Kong golden age 1986-1992 and how the common themes in these relate to the handover from United Kingdom to China in 1997, this essay investigates this with the use of a thematic analysis as well as with the theories of seeing “cinema as a mirror” and the way that the society and people of Hong Kong as a whole are reflected and identified in these films. From this it can be seen that the handover and themes closely related to it is recurring throughout the films of this period, but also how society and major political events are reflected in cinema. Keywords: Hong Kong cinema, John Woo, Tsui Hark, handover, heroic bloodshed 2 Contents 1. Introduction 4 1.1. Aim and research questions 4 1.2. Background 5 1.3. Previous research 7 1.4. Material and sources 10 2. Theory and method 13 3. Analysis 15 3.1. Brothers and fathers 15 3.2. Colonialism, western influence and Chinese traditional values 20 3.3. Violence, sacrifice and death 24 3.4. The presence of rain 28 4. Final discussion 31 4.1. What are the common themes? 31 4.2. How do they connect to the 1997 issue? 32 4.3. -
Peking Opera Blues
TSUI HARK’S Peking Opera Blues Tan See Kam Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2016 Hong Kong University Press ISBN 978-988-8208-86-9 (Paperback) ISBN 978-988-8208-85-2 (Hardback) All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, includ- ing 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 CTPS Ltd. in Hong Kong, China Contents List of Illustrations viii List of Tables xi Series Preface xii Acknowledgments xv Introduction: Setting the Scene 1 Act 1 Story and Structure 30 Act 2 Warlords, History, and the Democratic Dream 85 Act 3 Shanghai and Peking Blues: Fiction as Imagined History 103 Act 4 The Shadowplay of Attractions and Painted Faces 119 Act 5 Three-Women Fiction, Mandarin Ducks and Butterflies 148 Postscript 190 Credits 197 Glossary 200 Filmography 213 Bibliography 217 Illustrations Shot 1A (Table 2a): Ling Pak-Hoi senses danger behind him. Shot 1B (Table 2a): Pak-Hoi turns around (and sees his three attackers). Shot 1C (Table 2a): “Dali” glares at Pak-Hoi. Shot 1D (Table 2a): Soldier 1 makes a move at Pak-Hoi, holding a knife. Shot 2A (Table 2a): Pak-Hoi throws a punch at Soldier 1. -
Media 141055 En.Pdf
eSharp , Special Issue: Communicating Change: Representing Self and Community in a Technological World (2010) URL: http://www.gla.ac.uk/esharp ISSN: 1742-4542 Copyright in this work remains with the authors. _______________________________________________________ eSharp is an international online journal for postgraduate research in the arts, humanities, social sciences and education. Based at the University of Glasgow and run by graduate students, it aims to provide a critical but supportive entry to academic publishing for emerging academics, including postgraduates and recent postdoctoral students. [email protected] eSharp Special Issue: Communicating Change Contents Acknowledgements iii Contributors iv Editorial Introduction 1 Samuel Tongue Institution of Feelings: Theatricality, Moral Sentiments and Empire Building in Adam Smith 10 Wentao Jiang Hong Kong: Communicating 1997 and beyond through Film 30 Laura Ferguson Language Endangerment: Problems and Solutions 50 Julia Sallabank The Self-Representation of Regional and National Identities – Comparing the Translation Patterns between China and Hong Kong Tourism Websites 88 Chung-yan Kong A Bloodless Coup, Metaphorically: Representations of ‘Progress’ in Terry Pratchett’s Carpe Jugulum 122 Andrew Rayment Gene Kelly: The Performing Auteur – Manifestations of the Kelly Persona 136 Gillian Kelly Technologies of Change: Body Coded in Motion 157 Elena Marcevska ii eSharp Special Issue: Communicating Change Acknowledgments The editors wish to thank the many people without whom this publication would not have been possible; in providing advice and very practical help in planning and organising the 7th Annual Graduate School Conference, Prof. David Jasper and Dr. Fiona Darroch; the conference committee who worked tirelessly to ensure a successful event; the Graduate School of Arts and Humanities for providing essential financial and administrative assistance; Dr.