DOCSLIB.ORG

Stars Gather in Taiwan for Chinese ‘Oscars’

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Stars Gather in Taiwan for Chinese ‘Oscars’ lifestyle SUNDAY, NOVEMBER 24, 2013 Hong Kong actor Jackie Chan Hong Kong actress Maggie Cheung arrives. Taiwan host Kevin Tsai arrives ahead of the Golden Horse Film. Stars gather in Taiwan for Chinese ‘Oscars’ Taiwan actress tars from China, Hong Kong, Singapore and Taiwan Grandmaster” and an exorcist in “Journey to the West: Conquering and Tony Leung Ka-fai (“Cold War”) as well as Taiwan’s Lee Kang- Alice Ke is seen gathered in Taipei yesterday for this year’s Golden the Demons”. Their rivals are Taiwanese actress Gwei Lun-mei sheng (“Stray Dogs”) and Wang Yu (“Soul”) for the best actor hon- on the red carpet. SHorse Film Awards with Wong Kar-wai’s martial arts (“Christmas Rose”) as well as Hong Kong’s Sammi Cheng (“Blind our. epic “The Grandmaster” leading the race with 11 nomina- Detective”) and Cherry Ngan (“The Way We Dance”). Singaporean Yeo Yann Yann is nominated for best supporting tions. Chinese actress Zhang Ziyi, Taiwanese screen “The Grandmaster,” inspired by the life of Yip Man, the mentor of actress for playing a Filipina maid in “Ilo Ilo” while 13-year-old Koh siren Shu Qi and Hong Kong actors and Cantopop legendary kung fu star Bruce Lee, is a frontrunner with nominations Jia Ler is up for best new performer for his role as a troubled “heavenly kings” Andy Lau and Aaron Kwok were in major categories including best feature film, best director, best Singaporean boy who the maid befriends. Several Taiwanese news- among the performers due to walk down the red car- actress and best actor for Hong Kong’s Tony Leung Chiu-wai. Wong, papers predicted that Wong Kar-wai could take home the best pet ahead of a gala ceremony, organisers said. Oscar- who won best director for the drama “Days of Being Wild” in 1991, director award and Tsai Ming-liang the best feature film. Zhang Ziyi winning director Ang Lee, who chairs this year’s jury, will face off against Hong Kong’s Johnnie To, China’s Jia Zhangke, is a critics’ favourite for best actress and Lee Kang-sheng for best will be joined by acclaimed Hong Kong filmmakers Taiwanese Chung Mong-hong (“Soul”), and Malaysian Tsai Ming- actor. Nearly 40 films are nominated in the 50th edition of the John Woo and Wong Kar-wai for the awards, dubbed the liang (“Stray Dogs”) for the best director title. Golden Horse Film Awards, which are styled on the US Academy “Oscars” of Chinese-language cinema. Also nominated for the best feature film gong are To’s action Awards but are decided by a jury along the lines of the Cannes film Singaporean director Anthony Chen and his cast will flick “Drug War,” Jia’s “A Touch of Sin”-a tale of corruption, greed and festival. — AFP attend the ceremony for his family drama “Ilo Ilo,” which exploitation in modern China-as well as Tsai’s “Stray Dogs” about a has six nods including best feature film and best new direc- homeless Taiwanese family living on the margins of society. Tony tor. Zhang and Shu are vying for the best actress crown for Leung Chiu-wai, who plays the eponymous “Grandmaster,” will their respective roles as a kungfu master in “The compete against fellow Hong Kongers Nick Cheung (“Unbeatable”) Taiwanese actor Ethan Ruan arrives. Chinese actress Zhang Ziyi Chinese pianist Lang Lang and Hong Kong actress Denise Ho are seen. X-Men character Guetta’s UN show comes out as gay for disaster relief new character in the “Uncanny X-Men” series came out video by DJ David Guetta screened onto sponsoring words like “dreams,” “strength” and as gay in a new installment of the comic books. the UN skyscraper in New York on Friday “dialogue.” Benjamin Deeds, a.k.a. Morph, a relatively new mutant A launched a campaign to raise cash for “Together we can use our voices to make a in the series, revealed his sexual orientation in “Uncanny X- A disaster victims of the Philippines typhoon and real difference for people in need around the Men #14,” which is slated for release this week. The installment Syria war. The blacked out UN headquarters world,” said Guetta at the screening with UN was penned by Brian Michael Bendis. “Continuing with provided the backdrop for the screening of the leader Ban Ki-moon. Ban said that Guetta is “an Marvel’s rich tradition of character development and story- “One Voice” single by Frenchman Guetta and example of true humanism and solidarity” but telling, this shape-shifting mutant can alter his appearance to singer Mikky Ekko. Guetta, renowned in night- that the music star also deserves a prize for mimic anyone he is in close proximity with,” Joe Taraborrelli, clubs the world over for songs such as “Just A optimism. “This is the man who thought he senior communications manager of Marvel Entertainment Little More Love” and “Sexy B***h”, said he was could teach me to dance,” Ban joked. — AFP told The Huffington Post. “The fact that Ben has come out as moved by the Syria conflict and the November homosexual is just a small facet of who he is and what he is 8 Philippines super typhoon to launch The going to bring to Cyclops’ select team of X-Men.” The charac- World Needs More campaign. ter’s first appearance came this year in “All-New X-Men #3.” The DJ and corporate giants will pay out Deeds is a shape-shifting college student at the University of cash to the UN humanitarian agency when the Texas at Austin. Deeds is not the first comic book character to hashtag #theworldneedsmore and other A video by French musi- come out as gay. He is not even the first X-Men member: words are Tweeted. Guetta is sponsoring the cian David Guetta is pro- Northstar, originally a member of Alpha Flight who joined the word “love” so that every time someone uses jected on to the United main squad later, came out in the 1990s. — Reuters the hashtags #theworldneedsmore #love, he Nations headquarters in donates $1. Major banks and enterprises are support of “The World Needs More” campaign in New York. — AFP .
Load more

Recommended publications
  • 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.
    [Show full text]
  • Chinese Film Industry Visit to Uk 2015
    CHINESE FILM INDUSTRY VISIT TO UK 2015 ALIBABA PICTURES WEI ZHANG Ms. Wei Zhang is President of Alibaba Pictures and Senior Vice President of Alibaba Group. She joined Alibaba Group in 2008 to lead the Group’s investment and acquisition activities. She has also worked in the Group’s strategy department and led Alibaba corporate social responsibility efforts. Currently she is in charge of Alibaba Pictures’ international business and investment and acquisition activities. From 2005 to 2008, Ms. Zhang was the Chief Operating Officer of News Corporation STAR China, responsible for managing China operations, revenue, new media, and business development. From 2002 to 2005, Ms. Zhang was Managing Director of CNBC China, a division of General Electric Company, overseeing CNBC’s operations in China. She worked at News Corporation China from 2000 to 2002 in the role of Director of Business Development. Prior to that, Ms. Zhang was a Strategic Consultant at Bain & Company, and a Finance Specialistat General Electric Company and GE Capital. Company Profile Alibaba Pictures Group’s mission is to create happiness. Alibaba Pictures’ core businesses have been categorized into four main segments: film and television production centred on IP (intellectual property); internet-based promotion and distribution combining internet technologies and traditional off-line distribution; the building and operation of e-commerce platforms for entertainment as an extension of the Alibaba Group ecosystem and international operations that consolidate global resources, technologies and talents in order to participate in the global entertainment industry. www.alibabagroup.com BONA FILM GROUP LIMITED JEFFREY CHAN Jeffrey is currently the COO and a board member of Bona Film Group (NASDAQ: BONA).
    [Show full text]
  • Download This PDF File
    Humanity 2012 Papers. ~~~~~~ “‘We are all the same, we are all unique’: The paradox of using individual celebrity as metaphor for national (transnational) identity.” Joyleen Christensen University of Newcastle Introduction: This paper will examine the apparently contradictory public persona of a major star in the Hong Kong entertainment industry - an individual who essentially redefined the parameters of an industry, which is, itself, a paradox. In the last decades of the 20th Century, the Hong Kong entertainment industry's attempts to translate American popular culture for a local audience led to an exciting fusion of cultures as the system that was once mocked by English- language media commentators for being equally derivative and ‘alien’, through translation and transmutation, acquired a unique and distinctively local flavour. My use of the now somewhat out-dated notion of East versus West sensibilities will be deliberate as it reflects the tone of contemporary academic and popular scholarly analysis, which perfectly seemed to capture the essence of public sentiment about the territory in the pre-Handover period. It was an explicit dichotomy, with commentators frequently exploiting the notion of a culture at war with its own conception of a national identity. However, the dwindling Western interest in Hong Kong’s fate after 1997 and the social, economic and political opportunities afforded by the reunification with Mainland China meant that the new millennia saw Hong Kong's so- called ‘Culture of Disappearance’ suddenly reconnecting with its true, original self. Humanity 2012 11 Alongside this shift I will track the career trajectory of Andy Lau – one of the industry's leading stars1 who successfully mimicked the territory's movement in focus from Western to local and then regional.
    [Show full text]
  • Warriors As the Feminised Other
    Warriors as the Feminised Other The study of male heroes in Chinese action cinema from 2000 to 2009 A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Chinese Studies at the University of Canterbury by Yunxiang Chen University of Canterbury 2011 i Abstract ―Flowery boys‖ (花样少年) – when this phrase is applied to attractive young men it is now often considered as a compliment. This research sets out to study the feminisation phenomena in the representation of warriors in Chinese language films from Hong Kong, Taiwan and Mainland China made in the first decade of the new millennium (2000-2009), as these three regions are now often packaged together as a pan-unity of the Chinese cultural realm. The foci of this study are on the investigations of the warriors as the feminised Other from two aspects: their bodies as spectacles and the manifestation of feminine characteristics in the male warriors. This study aims to detect what lies underneath the beautiful masquerade of the warriors as the Other through comprehensive analyses of the representations of feminised warriors and comparison with their female counterparts. It aims to test the hypothesis that gender identities are inventory categories transformed by and with changing historical context. Simultaneously, it is a project to study how Chinese traditional values and postmodern metrosexual culture interacted to formulate Chinese contemporary masculinity. It is also a project to search for a cultural nationalism presented in these films with the examination of gender politics hidden in these feminisation phenomena. With Laura Mulvey‘s theory of the gaze as a starting point, this research reconsiders the power relationship between the viewing subject and the spectacle to study the possibility of multiple gaze as well as the power of spectacle.
    [Show full text]
  • Donnie Yen's Kung Fu Persona in Hypermedia
    Studies in Media and Communication Vol. 4, No. 2; December 2016 ISSN 2325-8071 E-ISSN 2325-808X Published by Redfame Publishing URL: http://smc.redfame.com Remediating the Star Body: Donnie Yen’s Kung Fu Persona in Hypermedia Dorothy Wai-sim Lau1 113/F, Hong Kong Baptist University Shek Mun Campus, 8 On Muk Street, Shek Mun, Shatin, Hong Kong Correspondence: Dorothy Wai-sim Lau, 13/F, Hong Kong Baptist University Shek Mun Campus, 8 On Muk Street, Shek Mun, Shatin, Hong Kong. Received: September 18, 2016 Accepted: October 7, 2016 Online Published: October 24, 2016 doi:10.11114/smc.v4i2.1943 URL: http://dx.doi.org/10.11114/smc.v4i2.1943 Abstract Latest decades have witnessed the proliferation of digital media in Hong Kong action-based genre films, elevating the graphical display of screen action to new levels. While digital effects are tools to assist the action performance of non-kung fu actors, Dragon Tiger Gate (2006), a comic-turned movie, becomes a case-in-point that it applies digitality to Yen, a celebrated kung fu star who is famed by his genuine martial dexterity. In the framework of remediation, this essay will explore how the digital media intervene of the star construction of Donnie Yen. As Dragon Tiger Gate reveals, technological effects work to refashion and repurpose Yen’s persona by combining digital effects and the kung fu body. While the narrative of pain and injury reveals the attempt of visual immediacy, the hybridized bodily representation evokes awareness more to the act of representing kung fu than to the kung fu itself.
    [Show full text]
  • Distribution Agreement in Presenting This
    Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: _____________________________ ______________ Tianyi Yao Date Crime and History Intersect: Films of Murder in Contemporary Chinese Wenyi Cinema By Tianyi Yao Master of Arts Film and Media Studies _________________________________________ Matthew Bernstein Advisor _________________________________________ Tanine Allison Committee Member _________________________________________ Timothy Holland Committee Member _________________________________________ Michele Schreiber Committee Member Accepted: _________________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date Crime and History Intersect: Films of Murder in Contemporary Chinese Wenyi Cinema By Tianyi Yao B.A., Trinity College, 2015 Advisor: Matthew Bernstein, M.F.A., Ph.D. An abstract of
    [Show full text]
  • Written & Directed by and Starring Stephen Chow
    CJ7 Written & Directed by and Starring Stephen Chow East Coast Publicity West Coast Publicity Distributor IHOP Public Relations Block Korenbrot PR Sony Pictures Classics Jeff Hill Melody Korenbrot Carmelo Pirrone Jessica Uzzan Judy Chang Leila Guenancia 853 7th Ave, 3C 110 S. Fairfax Ave, #310 550 Madison Ave New York, NY 10019 Los Angeles, CA 90036 New York, NY 10022 212-265-4373 tel 323-634-7001 tel 212-833-8833 tel 212-247-2948 fax 323-634-7030 fax 212-833-8844 fax 1 Short Synopsis: From Stephen Chow, the director and star of Kung Fu Hustle, comes CJ7, a new comedy featuring Chow’s trademark slapstick antics. Ti (Stephen Chow) is a poor father who works all day, everyday at a construction site to make sure his son Dicky Chow (Xu Jian) can attend an elite private school. Despite his father’s good intentions to give his son the opportunities he never had, Dicky, with his dirty and tattered clothes and none of the “cool” toys stands out from his schoolmates like a sore thumb. Ti can’t afford to buy Dicky any expensive toys and goes to the best place he knows to get new stuff for Dicky – the junk yard! While out “shopping” for a new toy for his son, Ti finds a mysterious orb and brings it home for Dicky to play with. To his surprise and disbelief, the orb reveals itself to Dicky as a bizarre “pet” with extraordinary powers. Armed with his “CJ7” Dicky seizes this chance to overcome his poor background and shabby clothes and impress his fellow schoolmates for the first time in his life.
    [Show full text]
  • Bamcinématek Presents Stephen Chow: the King of Comedy, Oct 6—12
    BAMcinématek presents Stephen Chow: The King of Comedy, Oct 6—12 “The reigning king of Hong Kong comedy.”—J. Hoberman Co-presented with the Hong Kong Economic and Trade Office in New York. The Wall Street Journal is the title sponsor for BAM Rose Cinemas and BAMcinématek. Brooklyn, NY/Sep 8, 2014—From Monday, October 6 through Sunday, October 12, BAMcinématek presents Stephen Chow: The King of Comedy, an eight-film retrospective of the Hong Kong actor, writer, and director. Chow’s audaciously anarchic comedies combine surreal sight gags, non sequiturs, extensive pop culture quoting, and gravity-defying martial arts to sublimely silly effect. Endlessly inventive, the reigning king of Hong Kong mo lei tau (―nonsense comedy‖) yields unfiltered cinematic pleasure. Initially prominent as a children’s television star, Chow became synonymous with mo lei tau, a style of film comedy in which traditional melodramas and kung fu tales are peppered with rapid- fire, fourth-wall-breaking slapstick bits and corny puns. A bigger box-office draw in his homeland than Jackie Chan or Jet Li, Chow—who cites Spielberg and Kubrick, along with Jim Carrey, as influences—has used his clout in recent years to fashion himself as an auteur, scripting, editing, and directing a series of high-budget, homage-filled blockbusters. Typical of Chow’s earliest hits, Johnnie To’s Justice, My Foot! (1992—Oct 8) casts the actor as a fast-talking lawyer whose mouth gets him into trouble, and whose kung fu-fighting wife gets him out of it—one of many tough, smart heroines Chow uses as foils for his feckless alter egos.
    [Show full text]
  • 2017 Movie Line up Tulip Fever Alicia Vikander, Dane Dehaan
    2017 Movie Line Up Tulip Fever Alicia Vikander, Drama, 31 August Set in 17th century Amsterdam, Dane DeHaan, Romance 2017 TULIP FEVER follows a married Christoph Waltz, woman (Alicia Vikander) who Zach Galifianakis, begins a passionate affair with an Cara Delevingne, artist (Dane DeHaan) hired to paint Jack O’Connell, her portrait. The lovers gamble on Judi Dench, the booming market for tulip bulbs Holliday Grainger as a way to raise money to run away together. Director: Justin Chadwick The Mimic (Korea) Yum Jung-Ah, Horror, 31 August A story of the Jangsan Tiger, who Park Hyuk-Kwon Thriller 2017 mimics human voices to lure them close, and a family affected by the Director: Huh Jung creature. Midnight Runners (Korea) Park Seo-Joon, Action 7 September Story about two Korean National Kang Ha-Neul 2017 Police University students Ki-joon (Park Seo-joon) and Hee-yeol (Kang Director: Ha-neul) who witness a kidnapping Kim Joo-Hwan and track it down. The Nut Job 2: Nutty By Nature Jackie Chan, Animation, 7 September Following the events of the first Katherine Heigl, Will Adventure, 2017 film, Surly and his friends must stop Arnett, Bobby Comedy Oakton City's mayor from Carnavale, Maya destroying their home to make way Rudolph for a dysfunctional amusement park. Director: Cal Brunker Let Me Eat Your Pancreas (Japan) Shun Oguri, Keiko Drama 14 September Based on the novel ‘Kimi no Suizo Kitagawa, Yusuke 2017 wo Tabetai’ by Yoru Sumino, the Kamiji, Daichi story follows a high school teacher Morishita, Takumi who recounts the memories of his Kitamura, Minami time spent with a terminally ill Hamabe, Karen childhood friend.
    [Show full text]
  • 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.
    [Show full text]
  • The Neolithic Ofsouthern China-Origin, Development, and Dispersal
    The Neolithic ofSouthern China-Origin, Development, and Dispersal ZHANG CHI AND HSIAO-CHUN HUNG INTRODUCTION SANDWICHED BETWEEN THE YELLOW RIVER and Mainland Southeast Asia, southern China1 lies centrally within eastern Asia. This geographical area can be divided into three geomorphological terrains: the middle and lower Yangtze allu­ vial plain, the Lingnan (southern Nanling Mountains)-Fujian region,2 and the Yungui Plateau3 (Fig. 1). During the past 30 years, abundant archaeological dis­ coveries have stimulated a rethinking of the role ofsouthern China in the prehis­ tory of China and Southeast Asia. This article aims to outline briefly the Neolithic cultural developments in the middle and lower Yangtze alluvial plain, to discuss cultural influences over adjacent regions and, most importantly, to examine the issue of southward population dispersal during this time period. First, we give an overview of some significant prehistoric discoveries in south­ ern China. With the discovery of Hemudu in the mid-1970s as the divide, the history of archaeology in this region can be divided into two phases. The first phase (c. 1920s-1970s) involved extensive discovery, when archaeologists un­ earthed Pleistocene human remains at Yuanmou, Ziyang, Liujiang, Maba, and Changyang, and Palaeolithic industries in many caves. The major Neolithic cul­ tures, including Daxi, Qujialing, Shijiahe, Majiabang, Songze, Liangzhu, and Beiyinyangying in the middle and lower Yangtze, and several shell midden sites in Lingnan, were also discovered in this phase. During the systematic research phase (1970s to the present), ongoing major ex­ cavation at many sites contributed significantly to our understanding of prehis­ toric southern China. Additional early human remains at Wushan, Jianshi, Yun­ xian, Nanjing, and Hexian were recovered together with Palaeolithic assemblages from Yuanmou, the Baise basin, Jianshi Longgu cave, Hanzhong, the Li and Yuan valleys, Dadong and Jigongshan.
    [Show full text]
  • Music from the 1990S to the Present
    j：,/ � • .. ….......:._. ‘. • '1- ;V . jn/w Tnn • ft ¾( ! \ ..' � •'. I . I .广, I n . .....Vv'Z …'.J I O > 3 . • • I •• . ^ • jr ,' ‘:'. ； , ''Jr ... Hong Kong Film Music from the 1990s to the Present CHENG LingYan A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Philosophy in Ethnomusicology © The Chinese University of Hong Kong June 2004 The Chinese University of Hong Kong holds the copyright of this thesis. Any person(s) intending to use a part or whole of the materials in the thesis in a proposed publication must seek copyright release from the Dean of the Graduate School. ^ST university~7^// ^XLIBRARy SYSTEM^W Abstract i Hong Kong Film Music from the 1990s to the Present Submitted by LingYan CHENG for the degree of Master of Philosophy in Ethnomusicology at The Chinese University of Hong Kong in June 2004 Abstract This thesis focuses on Hong Kong film music from the 1990s to the 2000s. In recent years, there has been much research and theory on western film music, especially the Hollywood film industry, by musicologists and scholars in film studies, popular music studies, and other fields. However, there has been little research on Hong Kong Film music, the system of which is different from that of western film music, and therefore I will apply basic film music concepts, but using the real situation of Hong Kong film music to formulate my own argument. The methodology used in this thesis will include the application of basic concepts used by scholars of film music, such as the functions of music in film, combined with fieldwork and analysis of films.
    [Show full text]