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UNIVERSITY of CALIFORNIA, SAN DIEGO Queerness and Chinese Modernity: the Politics of Reading Between East and East a Dissertati
UNIVERSITY OF CALIFORNIA, SAN DIEGO Queerness and Chinese Modernity: The Politics of Reading Between East and East A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Literature by Alvin Ka Hin Wong Committee in Charge: Professor Yingjin Zhang, Co-Chair Professor Lisa Lowe, Co-Chair Professor Patrick Anderson Professor Rosemary Marangoly George Professor Larissa N. Heinrich 2012 Copyright Alvin Ka Hin Wong, 2012 All rights reserved. The dissertation of Alvin Ka Hin Wong is approved, and it is acceptable in quality and form for publication on microfilm and electronically: ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ Co-Chair ________________________________________________________________________ Co-Chair University of California, San Diego 2012 iii TABLE OF CONTENTS Signature Page …………………………………………………….……………….….…iii Table of Contents ………………………………………………………………..…….…iv List of Illustrations ……………………………………………………………….…........v Acknowledgments …………………………………………………………………….....vi Vita …………………………………………………….…………………………….…...x Abstract of the Dissertation ………………………………………………….……….….xi INTRODUCTION.……………………………………………………………….……....1 CHAPTER ONE. Queering Chineseness and Kinship: Strategies of Rewriting by Chen Ran, Chen Xue and Huang Biyun………………………….………...33 -
Great Cloud of Witnesses.Indd
A Great Cloud of Witnesses i ii A Great Cloud of Witnesses A Calendar of Commemorations iii Copyright © 2016 by The Domestic and Foreign Missionary Society of The Protestant Episcopal Church in the United States of America Portions of this book may be reproduced by a congregation for its own use. Commercial or large-scale reproduction for sale of any portion of this book or of the book as a whole, without the written permission of Church Publishing Incorporated, is prohibited. Cover design and typesetting by Linda Brooks ISBN-13: 978-0-89869-962-3 (binder) ISBN-13: 978-0-89869-966-1 (pbk.) ISBN-13: 978-0-89869-963-0 (ebook) Church Publishing, Incorporated. 19 East 34th Street New York, New York 10016 www.churchpublishing.org iv Contents Introduction vii On Commemorations and the Book of Common Prayer viii On the Making of Saints x How to Use These Materials xiii Commemorations Calendar of Commemorations Commemorations Appendix a1 Commons of Saints and Propers for Various Occasions a5 Commons of Saints a7 Various Occasions from the Book of Common Prayer a37 New Propers for Various Occasions a63 Guidelines for Continuing Alteration of the Calendar a71 Criteria for Additions to A Great Cloud of Witnesses a73 Procedures for Local Calendars and Memorials a75 Procedures for Churchwide Recognition a76 Procedures to Remove Commemorations a77 v vi Introduction This volume, A Great Cloud of Witnesses, is a further step in the development of liturgical commemorations within the life of The Episcopal Church. These developments fall under three categories. First, this volume presents a wide array of possible commemorations for individuals and congregations to observe. -
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. -
7015 B Program P.Indd
From the Queen to the Chief Executive: May 4–6 Hong Kong Films 2007 10 Years After the Handover 香港電影縱橫﹕ 展與談 1 I am absolutely thrilled to welcome you to our fi rst Hong Kong fi lm Schedule at a glance festival, From the Queen to the Chief Executive: Hong Kong Films Ten Years After the Handover. This important event fi rst and foremost celebrates the friday, may 4 2:30 pm–4:15 pm achievements of Hong Kong fi lm and its impact on a new and ever- Banana Bruises; Royal Ontario Museum changing global culture. From the Queen to the Chief Executive also provides Dumplings Theatre, 100 Queen’s Park a forum to contemplate developments on Hong Kong since its historic 4:15 pm–5:15 pm 6:15 pm–7:15 pm return to China in 1997. Film is a lens through which to understand the Horror Panel VIP Reception dynamics of a changing society and the world around it. Film provides 5:15 pm–6:30 pm Royal Ontario Museum – an important platform, a medium, for telling peoples’ stories. In this Dinner Break Glass Room on the respect, fi lm is both critical and celebratory, it challenges and re- 4th Floor 6:30 pm–8:35 pm affi rms. Its impact is political, social, economic, cultural and often Venues 7:00 pm Eastbound; Welcome leaves legacies of historical import. Doors Open Lost in Time to the First 7:30 pm–7:40 pm 8:35 pm–9:00 pm The Asian Institute is an inter-disciplinary home to scholars working iiX iiX iiX iiX Break Waddg Waddg Welcoming Remarks University on Asia, comprising leading scholars in the humanities and social VkZcjZgY YZdch]^gZea 7:40 pm–9:30 pm 9:00 pm–11:00 pm sciences. -
Award-Winning Hong Kong Film Gallants to Premiere at Hong Kong
FOR IMMEDIATE RELEASE Award-winning Hong Kong film Gallants to premiere at Hong Kong Film Festival 2011 in Singapore One-week festival to feature a total of 10 titles including four new and four iconic 1990s Hong Kong films of action and romance comedy genres Singapore, 30 June 2011 – Movie-goers can look forward to a retro spin at the upcoming Hong Kong Film Festival 2011 (HKFF 2011) to be held from 14 to 20 July 2011 at Cathay Cineleisure Orchard. A winner of multiple awards at the Hong Kong Film Awards 2011, Gallants, will premiere at HKFF 2011. The action comedy film will take the audience down the memory lane of classic kung fu movies. Other new Hong Kong films to premiere at the festival include action drama Rebellion, youthful romance Breakup Club and Give Love. They are joined by retrospective titles - Swordsman II, Once Upon A Time in China II, A Chinese Odyssey: Pandora’s Box and All’s Well, Ends Well. Adding variety to the lineup is Quattro Hong Kong I and II, comprising a total of eight short films by renowned Hong Kong and Asian filmmakers commissioned by Brand Hong Kong and produced by the Hong Kong International Film Festival Society. The retrospective titles were selected in a voting exercise that took place via Facebook and SMS in May. Public were asked to select from a list of iconic 1990s Hong Kong films that they would like to catch on the big screen again. The list was nominated by three invited panelists, namely Randy Ang, local filmmaker; Wayne Lim, film reviewer for UW magazine; and Kenneth Kong, film reviewer for Radio 100.3. -
Va.Orgjackie's MOVIES
Va.orgJACKIE'S MOVIES Jackie starred in his first movie at the age of eight and has been making movies ever since. Here's a list of Jackie's films: These are the films Jackie made as a child: ·Big and Little Wong Tin-Bar (1962) · The Lover Eternal (1963) · The Story of Qui Xiang Lin (1964) · Come Drink with Me (1966) · A Touch of Zen (1968) These are films where Jackie was a stuntman only: Fist of Fury (1971) Enter the Dragon (1973) The Himalayan (1975) Fantasy Mission Force (1982) Here is the complete list of all the rest of Jackie's movies: ·The Little Tiger of Canton (1971, also: Master with Cracked Fingers) · CAST : Jackie Chan (aka Chen Yuen Lung), Juan Hsao Ten, Shih Tien, Han Kyo Tsi · DIRECTOR : Chin Hsin · STUNT COORDINATOR : Chan Yuen Long, Se Fu Tsai · PRODUCER : Li Long Koon · The Heroine (1971, also: Kung Fu Girl) · CAST : Jackie Chan (aka Chen Yuen Lung), Cheng Pei-pei, James Tien, Jo Shishido · DIRECTOR : Lo Wei · STUNT COORDINATOR : Jackie Chan · Not Scared to Die (1973, also: Eagle's Shadow Fist) · CAST : Wang Qing, Lin Xiu, Jackie Chan (aka Chen Yuen Lung) · DIRECTOR : Zhu Wu · PRODUCER : Hoi Ling · WRITER : Su Lan · STUNT COORDINATOR : Jackie Chan · All in the Family (1975) · CAST : Linda Chu, Dean Shek, Samo Hung, Jackie Chan · DIRECTOR : Chan Mu · PRODUCER : Raymond Chow · WRITER : Ken Suma · Hand of Death (1976, also: Countdown in Kung Fu) · CAST : Dorian Tan, James Tien, Jackie Chan · DIRECTOR : John Woo · WRITER : John Woo · STUNT COORDINATOR : Samo Hung · New Fist of Fury (1976) · CAST : Jackie Chan, Nora Miao, Lo Wei, Han Ying Chieh, Chen King, Chan Sing · DIRECTOR : Lo Wei · STUNT COORDINATOR : Han Ying Chieh · Shaolin Wooden Men (1976) · CAST : Jackie Chan, Kam Kan, Simon Yuen, Lung Chung-erh · DIRECTOR : Lo Wei · WRITER : Chen Chi-hwa · STUNT COORDINATOR : Li Ming-wen, Jackie Chan · Killer Meteors (1977, also: Jackie Chan vs. -
Semana De Cine De Hong Kong a Side, B Side, Seaside
Semana de Cine de Hong Kong Martes 26 de septiembre, 21.00 h (87 min.) A Side, B Side, Seaside (2005) A Side, B Side, Seaside narra dos historias sobre el paso a la edad adulta de dos adolescentes de diecisiete años. La película, dividida en dos partes, narra las historias de Chen Tian y de Ah Mui. Chen Tian es una estudiante de Hong Kong, quien está a punto de dejar la ciudad para ir a estudiar a Beijing. Antes de partir, decide realizar un viaje inolvidable a un pueblo de pescadores con sus mejores amigas. Allí descubre el amor por primera vez. En el mismo lugar, Ah Mui, una joven que ha sufrido las consecuencias de vivir en una gran ciudad, regresa a su pueblo natal para revisar su pasado. Ah Mui se reencuentra con dos amigos de su infancia. El tiempo no ha cambiado la amistad y juntos muestran que la inocencia aún no se ha perdido. Director: Wing-Chiu Chan Intérpretes: Wai-Leung Chan, Yan-Ting Fu, Ling Kong, Ho-man Lee, Ching-yi Mak Miércoles, 27 de septiembre, 19:00 h (102 min.) Crazy N’ the City (2004) La tensión crece cuando Chris (Eason Chan), un agente de policía sin carácter, que ve su actividad como un trabajo y no como una carrera, es enviado a realizar una labor con Man Liu (Joey Yung), una enérgica y decidida mujer policía. Cuando aparece un asesino en serie en Hong Kong, Man Liu jura atraparlo. Chris está impresionado por su valentía y decide protegerla en secreto. Director: James Yuen Intérpretes: Eason Chan, Francis Ng, Joey Yung Miércoles, 27 de septiembre, 21:00 h (109 min.) Everlasting Regret (2005) Basada en Chenghen Ge, la novela de Wang Anyi premiada por la crítica y la obra más influyente de los noventa, Everlasting Regret narra la historia de Qiyao, una bella mujer de Shanghai, desde su época más glamorosa hasta la etapa de su vida más simple y cotidiana, mientras ella lucha por preservar la dignidad de su pasado, sobreviviendo a las constantes traiciones de sus parejas. -
Notes on Contributors
NOTES On COnTRIBUTORS Hongwei Bao is Assistant Professor of Media Studies at the University of Nottingham, UK. He has a PhD in Gender and Cultural Studies from the University of Sydney, Australia. His research focuses on gender, sexuality, and media culture in contemporary China. He has published articles in Cultural Studies, Culture Unbound, Interventions, Health, Culture and Society, and Queer Paradigms. Chris Berry is Professor of Film Studies at King’s College London. In the 1980s, he worked for China Film Import and Export Corporation in Beijing, and his academic research is grounded in work on Chinese cinema and other Chinese screen-based media, as well as neighbouring countries. He is the co-author with Mary Farquhar of Cinema and the National: China on Screen; author of Postsocialist Cinema in Post-Mao China; and co-editor of Public Space, Media Space and The New Chinese Documentary Film Movement: For the Public Record. Jenny Chio is Assistant Professor of Anthropology and affiliated fac- ulty member in Film and Media Studies and East Asian Studies at Emory University. Her research projects explore contemporary rural subjectivities and ethnic identities, and she has published on tourism development and migration, rural videography and amateur media, and the politics of cul- tural heritage in Southwest China. She is also an ethnographic filmmaker and, from 2016 to 2018, co-editor of the journal Visual Anthropology Review. © The Author(s) 2017 343 C. Berry, L. Robinson (eds.), Chinese Film Festivals, DOI 10.1057/978-1-137-55016-3 344 NOTes On ConTRibuTORs Dina Iordanova is Professor of Global Cinema and Creative Cultures at the University of St. -
Negotiating Transnational Collaborations with the Chinese Film Industry
University of Wollongong Research Online University of Wollongong Thesis Collection 2017+ University of Wollongong Thesis Collections 2019 Negotiating Transnational Collaborations with the Chinese Film Industry Kai Ruo Soh University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses1 University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Soh, Kai Ruo, Negotiating Transnational Collaborations with the Chinese Film Industry, Doctor of Philosophy thesis, School of the Arts, English and Media, University of Wollongong, 2019. -
Chang Chen - Biography
T H E L A S T S U P P E R Written & Directed by LU CHUAN INTERNATIONAL SALES INTERNATIONAL PR Ingrid Hamilton - GAT 36 Blue Jays Way Carole BARATON - [email protected] Suite 929 Gary FARKAS - [email protected] Toronto, ON, CANADA, M5V 3T3 Vincent MARAVAL - [email protected] cell: (+1) 416-731-3034 Gaël NOUAILLE - [email protected] [email protected] Silvia SIMONUTTI - [email protected] SHORT SYNOPSIS From internationally acclaimed director Lu Chuan, THE LAST SUPPER tells an epic story of war, of ruthless ambition, of mighty dreams fulfilled... and of betrayals - betrayals of friendship, betrayals of noble ideals, betrayals of oneself. LONG SYNOPSIS From internationally-acclaimed director Lu Chuan, an epic story of war, of dreams fulfilled and of betrayals - betrayals of friendship, of ideals, and of oneself. Yu is a young noble: handsome, brave, admired. Commander of the era’s most powerful army, he leads the revolt against the cruel Qin dynasty. Yu recognizes great potential in Liu, a peasant, and gives him command of 5,000 soldiers. Liu breaks an agreement with Yu by entering and ransacking the Qin capital alone. The Qin dynasty falls and Yu rules. Wary of treachery, his advisers plot to kill Liu at a great banquet, but the emperor spares his life. From the time of this ‘last supper’, Liu will wage war against Yu. Xin, Yu’s bodyguard, joins him. Defeated, Yu commits suicide on the battlefield rather than submit to capture. Yu is dead, but now Xin is a threat. Liu imprisons then releases him, but broods about having spared Xin’s life as Yu spared his.. -
Lgbt Culture in Hong Kong
LGBT CULTURE IN HONG KONG Revised 2 June 2020 by AUSTIN CHAN AND NIGEL COLLETT PREFACE This is a compilation of information about the LGBT+ cultural scene in Hong Kong as at 2 June 2020. It is incomplete; suggestions for additions or amendments are welcome. It includes sections on literature, theatre, film, music and media. Some names appear in several categories. Each section is arranged in a loose chronological order, rather than alphabetically, to give some idea of the development of LGBT+ culture in Hong Kong. NOTE – not all those mentioned herein are LGBT+ themselves. Their inclusion here only indicates that their work is of LGBT+ interest. TABLE OF CONTENTS LITERATURE .......................................................... 1 Austin Coates ....................................................................................... 1 Aileen Bridgewater ..............................................................................2 Ken Bridgewater ..................................................................................2 Peter Moss ...........................................................................................3 Martin Booth ...................................................................................... 4 Geoffrey Charles Emerson .................................................................. 5 Timothy Mo ......................................................................................... 5 Samshasha .......................................................................................... 6 Michael -
Cinematic Hong Kong of Wong Kar-Wai
CINEMATIC HONG KONG OF WONG KAR-WAI by HAIHONG LI ABSTRACT In order to promote an understanding of the centrality of space and the intimate relationship between space and identity in Wong Kar-wai’s films, this dissertation examines the director’s construction of cinematic space and the characters’ sense of who they are in relation to Hong Kong in his six films Days of Being Wild, In the Mood for Love, 2046, As Tears Go by, Chungking Express, and Fallen Angels. The investigation of Wong’s use of cinematic space involves the analysis of his selection of location and strategic employment of the mise-en-scène, camera angles, lenses, lighting, and music, which constitute his fictional world. It is my assertion that Wong’s construction of Hong Kong in these films responds to the formation and transformation of identity and showcases the impact of colonialism, modernization, decolonization, globalization, and postmodern culture upon the lives of Hong Kong inhabitants. INDEX WORDS: Wong Kar-wai, Hong Kong, Cinematic space, Identity CINEMATIC HONG KONG OF WONG KAR-WAI by HAIHONG LI B.A., Fu Zhou University, China, 2000 M.A., Truman State University, 2004 A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ATHENS, GEORGIA 2012 © 2012 Haihong Li All Rights Reserved CINEMATIC HONG KONG OF WONG KAR-WAI by HAIHONG LI Major Professor: Hyangsoon Yi Committee: Richard Neupert Ronald Bogue Masaki Mori Karim Traore Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2012 ACKNOWLEDGEMENTS I wish to extend my sincere gratitude to my supervisor, Hyangsoon Yi, who helped me develop research skills and understanding of the subject during the completion of the project.