Download Katalog / Catalogue (PDF)

Total Page:16

File Type:pdf, Size:1020Kb

Download Katalog / Catalogue (PDF) 58 PTU Regie: Johnnie To Land: Hong Kong 2003. Produktion: Milkyway Image (HK) Ltd. Regie, Synopsis Produzent: Johnnie To. Co-Regie, Schnitt: Law Wing-cheong. Buch: Two columns of the elite P.T.U. (Police Tactical Unit), led Yau Nai-hoi, Au Kin-yee. Kamera: Cheng Siu-keung (HKSC). Ausstat- by officers Mike and Kat, set out to patrol the derelict tung: Jerome Fung. Musik: Chung Chi-wing. Ton: Li Sin-kwok. Ton- harbour area soon after the fatal shooting of a policeman Ingenieure: Martin Chappell, May Mok, Charlie Lo. Visual Effects during a holdup. Supervisor: Stephen Ma. Production Executive: Catherine Chan. Pro- At a late-night eatery, Ponytail, son of notorious gangster jekt-Manager: Elaine Chu. Produktionsleiter: Ringo Lam. boss Bald Head, and his punk cohorts face off with the Darsteller: Simon Yam, Maggie Shiu, Lam Suet, Ruby Wong, Lo Hoi jaded police sergeant Lo. The punks engage Lo in a chase Pang, Ko Hung, Raymond Wong. through the streets, where he falls and loses his service Format: 35mm, Cinemascope, Farbe. Länge: 85 Minuten, 24 B/Sek. revolver. Meanwhile, a young fellow diner stabs Ponytail in Sprache: Chinesisch (Kantonesisch). the back. With the knife coming through of his chest, he Uraufführung: 8. Februar 2003, Internationales Forum, Berlin. tries in vain to drive himself to the hospital. Weltvertrieb: Mei Ah Entertainment Group Ltd., Mei Ah Center, #28, The P.T.U. company is dispatched to check on Lo, who is Chun Choi Street, Tseung Kwan O Industrial Center, Kowloon, Hong bruised and bandaged. He reports that Ponytail’s punks Kong. Tel.: (852) 2751-3388, Fax: (852) 2799-3643. have his gun. As Kat places a call to headquarters with the e-mail: [email protected] www.meiah.com report, Mike, concerned that Lo might lose his upcoming promotion, volunteers to put himself on the line and help Inhalt him find the gun. Kat grudgingly hangs up and agrees to Zwei Einheiten der Polizei-Elite-Truppe PTU (Police Tactical Unit), die give them until dawn. Lo and Mike take off separately to von den Offizieren Mike und Kat angeführt werden, sollen eine ver- find the punks. wahrloste Hafengegend unter die Lupe nehmen, nachdem kurz zuvor Mike’s column brutally shakes down local gangsters and ein Polizist bei einem bewaffneten Raubüberfall erschossen wurde. crooks for leads. They raid the punks’ lair in an abandoned An einem Nachtimbiss kommt es zu einer Konfrontation zwischen building, only to find their pesky girlfriends. Ponytail, dem Sohn des berüchtigten Gangsters Bald Head, seinen Lo buys a toy gun and paints it black, hoping no one will Ganoven-Freunden und dem in die Jahre gekommenen Sergeant Lo. notice. Die Ganoven verwickeln Lo in eine Jagd durch die Straßen, bei der Lo Inspector Leigh of the Criminal Investigation Department fällt und seine Dienstwaffe verliert. In der Zwischenzeit wird Ponytail takes on the case of Ponytail’s death. Hovering near the von einem jungen Mann am Nachtimbiss in den Rücken gestochen. Mit scene of the investigation, Lo arouses her suspicion. Covertly dem Messer im Körper versucht er vergebens, allein ins Krankenhaus perusing the evidence, Lo mistakenly exchanges his mobile zu fahren. phone for the dead man’s; and begins to make and receive Die PTU-Einheit wird abgestellt, um nach Lo zu sehen, der übel zuge- calls as Ponytail. When the phone held in evidence rings, it richtet ist. Er gibt an, dass die Truppe von Ponytail seine Waffe hat. is for Lo. Als Kat gerade dabei ist, den Vorfall der Polizeizentrale zu melden, Bald Head’s archrival, Eye Ball, fearing he will be targeted beschließt Mike aus Sorge darüber, dass Los Aussichten auf eine for Ponytail’s death, presses Lo for police protection. Bald bevorstehende Beförderung zunichte würden, die Verantwortung zu Head, in turn, convinces Lo to lure Eye Ball out of hiding übernehmen und Lo zu helfen, seine Waffe wiederzubekommen. Un- so he can personally avenge his son’s death. He is holding willig legt Kat auf und räumt ihnen eine Frist bis zum folgenden the know-nothing punks in torture cages and promises to Morgen ein. Lo und Mike machen sich getrennt auf die Suche nach restore Lo’s gun in return for the favor. den Ganoven. Lo sets up a meeting with Eye Ball in Canton Road at 4:00 Brutal schüttelt Mikes Einheit einheimische Gangster und Gauner ab. a.m. 1 In einem verlassenen Gebäude wollen sie eine Gaunerhöhle aushe- 2:00 a.m.: Lo and Mike meet at a diner. Lo begs Mike not ben, treffen dort jedoch nur die Freundinnen der Kriminellen an. to patrol through Canton Road at 4:00 because something Lo kauft eine Spielzeugpistole und malt sie schwarz an, in der Hoff- big will be going down there then. Kat arrives but steers nung, dass niemand den Unterschied bemerkt. Inzwischen übernimmt clear of the conversation. Leigh shows up suddenly to press Inspektorin Leigh von der Kriminalpolizei die Ermittlungen im Fall von Lo for information on his involvement in Ponytail’s death. Ponytails Ermordung. Lo, der sich in der Nähe des Tatorts aufhält, Lo escapes out the back door. Neither Mike nor Kat cooper- erregt ihren Verdacht. Als er heimlich die Beweisgegenstände und ate with Leigh, who warns that she will hold the P.T.U. Akten studiert, vertauscht er aus Versehen sein Handy mit dem des responsible for whatever happens to Lo. Toten und fängt an, unter dem Namen Ponytail Anrufe zu machen und 3:57a.m.: Waiting at the dock on Canton Road, Lo gets antsy zu empfangen. Als Ponytails vermeintliches Telefon klingelt, ist das about betraying Eye Ball. Meanwhile, Leigh tails Bald Head Gespräch für Lo. en route to the rendez-vous with Lo; Kat’s team stalks an Bald Heads schlimmster Rivale Eye Ball setzt Lo unter Druck, ihn elusive car thief in the immediate area; and four shady unter Polizeischutz zu stellen, da er Angst hat, mit Ponytails Mord in characters with gym bags show up at the dock, signaling Verbindung gebracht zu werden. Bald Head wiederum überzeugt Lo to an inbound boat. Mike changes his mind at the last davon, Eye Ball aus seinem Versteck zu locken, damit er den Mord an minute. His column rushes to Canton Road to back up Lo. seinem Sohn persönlich rächen kann. Bald Head hat alle Ganoven- Freunde von Ponytail in Folterzellen eingesperrt und verspricht Lo, Director’s statement ihm im Gegenzug seine Waffe wiederzubeschaffen. P.T.U. illustrates a world of desperation, aggression and Lo vereinbart ein Treffen mit Eye Ball in der Canton Road um vier Uhr revenge, and of justice turned upside down by fate and pure morgens. Um zwei Uhr treffen sich Lo und Mike in einem Restaurant. luck. The film tracks a group of seemingly unrelated char- Lo bittet Mike, die Canton Road gegen vier Uhr nicht zu bestreifen, acters, each marching along his or her own separate path, weil es zu einem großen Zwischenfall kommen wird. Kat kommt zur as they converge unwittingly on the same terrain of uncer- gleichen Zeit ins Restaurant, hält sich jedoch aus der Unterhaltung tainty. This is a world without clear distinctions. No one heraus. Auf einmal ist auch Leigh zur Stelle und will von Lo wisen, knows how he or she is connected, or how his or her actions inwieweit er in den Mord an Ponytail verwickelt ist. Lo flieht durch die might affect another’s life. They are all sure of only one Hintertür. Weder Mike noch Kat helfen Leigh, die ihnen droht, dass sie thing: they need a way out. As Kat affirms in the first scene, die PTU verantwortlich dafür machen will, falls Lo etwas passieren “Whatever happens, nothing beats returning home safely.” sollte. The power entrusted in police can bring about both good Um drei Minuten vor vier in der Canton Road am Hafen bekommt Lo and evil. The police force operates with its own unimpeach- Skrupel, Eye Ball ans Messer zu liefern. In der Zwischenzeit hat Leigh able codes and disciplinary measures. It honors the law, die Verfolgung von Bald Head aufgenommen, der auf dem Weg zum and is not afraid to resort to extreme measures to uphold Treffen mit Lo ist. Ganz in der Nähe ist Kats Truppe einem flüchtigen it. When confronted with an outside threat, its units are Autodieb auf der Spur. Vier zwielichtige Gestalten mit Sporttaschen trained to close ranks and deal with the enemy as an efficient tauchen am Dock auf und geben einem ankommenden Boot Signale. whole. In letzter Sekunde ändert Mike seine Meinung und eilt mit seiner Johnnie To Einheit in die Canton Road, um Lo zur Seite zu stehen. About the film Der Regisseur über seinen Film P.T.U. is, for director To, a personal project, shot on and Der Film beschreibt eine Welt der Verzweiflung, der Aggression, der off from late 2000 until mid-2002, in between his commer- Rache und der Gerechtigkeit, die durch das Schicksal und pures Glück cial projects. Working with his long-time collaborators, auf den Kopf gestellt wird. PTU verfolgt eine Gruppe von Menschen, including writer Yau Nai-hoi (The Mission) and director of die auf den ersten Blick nichts miteinander zu tun haben, deren Wege photography Cheng Siu-keung (The Mission, Fulltime Killer), sich jedoch ungewollt auf dem gleichen unsicheren Gebiet kreuzen. To developed an intertwining and suspenseful narrative that Es ist eine Welt, die sich nicht in Schwarz und Weiß einteilen lässt. unfolds in minimalist surroundings. By reducing action and Niemand weiß, mit wem der andere zusammenhängt, oder wie das dialog to a minimum, To relies on camera framing and high- Vorgehen der anderen die Zukunft beeinflussen wird.
Recommended publications
  • Zhuan Falun Li Hongzhi
    Zhuan Falun Li Hongzhi (Pre-publication Version) 2018 English Version Online edition, version 1.1 Last updated: August 27, 2018 1 On Dafa* (Lunyu) Dafa is the wisdom of the Creator. It is the bedrock of creation, what the heavens, earth, and universe are built upon. It encompasses all things, from the utmost minuscule to the vastest of the vast, while manifesting differently at each of the cosmic body’s planes of existence. Out of the depths of the cosmic body, the tiniest of particles first appear, with layers upon layers of countless particles following, ranging in size from small to great, reaching all the way to the outer planes that humankind knows— those of atoms, molecules, planets, and galaxies—and beyond, to what is still larger. Particles of varying sizes make up lives of varying sizes as well as the worlds of varying sizes that permeate the cosmic body. Lives at any of the various planes of particles perceive the particles of the next larger plane to be planets in their skies, and this is true at each and every plane. To the lives at each plane of the universe, it seems to go on infinite- ly. It was Dafa that created time and space, the multitude of lives and spe- cies, and all of creation; all that exists owes to it, with nothing outside of it. All of these are the tangible expressions, at different planes, of Dafa’s qualities: zhen, shan, and ren.* However advanced people’s means of exploring space and probing life may be, the knowledge gained is limited to certain parts of this one dimen- sion, where human beings reside, at a low plane of the universe.
    [Show full text]
  • Buddhist Revivalist Movements Comparing Zen Buddhism and the Thai Forest Movement Buddhist Revivalist Movements Alan Robert Lopez Buddhist Revivalist Movements
    Alan Robert Lopez Buddhist Revivalist Movements Comparing Zen Buddhism and the Thai Forest Movement Buddhist Revivalist Movements Alan Robert Lopez Buddhist Revivalist Movements Comparing Zen Buddhism and the Thai Forest Movement Alan Robert Lopez Chiang Mai , Thailand ISBN 978-1-137-54349-3 ISBN 978-1-137-54086-7 (eBook) DOI 10.1057/978-1-137-54086-7 Library of Congress Control Number: 2016956808 © The Editor(s) (if applicable) and The Author(s) 2016 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifi cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfi lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifi c statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. Cover image © Nickolay Khoroshkov / Alamy Stock Photo Printed on acid-free paper This Palgrave Macmillan imprint is published by Springer Nature The registered company is Nature America Inc.
    [Show full text]
  • I Am Just Member in the Comedy (Johnnie) to Kei-Fung Again and Again Had No Idea of Where to Go, Where to Hrun Papa Run; a Hapless to Give Me a Part in the Movie
    13 p eople This man of many identities could great success as an actor, he says it has not NICOLE PU be just any middle-aged man on the always been easy adapting to the drastic street. He wears a black sports jacket, changes in his life. N jeans and black sneakers, the spare tyre “I am a small potato! I couldn’t around his midriff clearly visible under believe what had happened right in front his over-sized white T-shirt. Dragging of me,” he says of his first walk down on a cigarette at the bus station where the red carpet. “The whole thing was he arranged to meet Varsity, Lam jokes like a dream.” that we can ask whatever we want and The first time Lam attended warns us foul language may slip out of the annual Hong Kong Film Award his mouth during the interview. The ceremony, he put on a tuxedo, and 45-year-old actor takes us through his arrived at a venue in Tsim Sha Tsui at journey from working as a porter at the 5 p.m. sharp. There was hardly anyone Yau Ma Tei Wholesale Fruit Market around. Worried that he had gone to the to his nomination for Best Supporting wrong place, Lam phoned his company Actor in the Hong Kong Film Awards. to make sure he had not mixed up After Lam had been working as a the venue and time. But his colleague porter for two years, a chance meeting told him no one would be on time and with the martial arts film master Lam celebrities usually arrived at 5:30 p.m.
    [Show full text]
  • Hong Kong 20 Ans / 20 Films Rétrospective 20 Septembre - 11 Octobre
    HONG KONG 20 ANS / 20 FILMS RÉTROSPECTIVE 20 SEPTEMBRE - 11 OCTOBRE À L’OCCASION DU 20e ANNIVERSAIRE DE LA RÉTROCESSION DE HONG KONG À LA CHINE CO-PRÉSENTÉ AVEC CREATE HONG KONG 36Infernal affairs CREATIVE VISIONS : HONG KONG CINEMA, 1997 – 2017 20 ANS DE CINÉMA À HONG KONG Avec la Cinémathèque, nous avons conçu une programmation destinée à célé- brer deux décennies de cinéma hongkongais. La période a connu un rétablis- sement économique et la consécration de plusieurs cinéastes dont la carrière est née durant les années 1990, sans compter la naissance d’une nouvelle génération d’auteurs. PERSISTANCE DE LA NOUVELLE VAGUE Notre sélection rend hommage à la créativité persistante des cinéastes de Hong Kong et au mariage improbable de deux tendances complémentaires : l’ambitieuse Nouvelle Vague artistique et le film d’action des années 1980. Bien qu’elle soit exclue de notre sélection, il est utile d’insister sur le fait que la production chinoise 20 ANS / FILMS KONG, HONG de cinéastes et de vedettes originaires de Hong Kong, tels que Jackie Chan, Donnie Yen, Stephen Chow et Tsui Hark, continue à caracoler en tête du box-office chinois. Les deux films Journey to the West avec Stephen Chow (le deuxième réalisé par Tsui Hark) et La Sirène (avec Stephen Chow également) ont connu un immense succès en République Populaire. Ils n’auraient pas été possibles sans l’œuvre antérieure de leurs auteurs, sans la souplesse formelle qui caractérise le cinéma de Hong Kong. L’histoire et l’avenir de l’industrie hongkongaise se lit clairement dans la carrière d’un pionnier de la Nouvelle Vague, Tsui Hark, qui a rodé son savoir-faire en matière d’effets spéciaux d’arts martiaux dans ses premières productions télévisuelles et cinématographiques à Hong Kong durant les années 70 et 80.
    [Show full text]
  • 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.
    [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]
  • 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]
  • 125 Years of Women in Medicine
    STRENGTH of MIND 125 Years of Women in Medicine Medical History Museum, University of Melbourne Kathleen Roberts Marjorie Thompson Margaret Ruth Sandland Muriel Denise Sturtevant Mary Jocelyn Gorman Fiona Kathleen Judd Ruth Geraldine Vine Arlene Chan Lilian Mary Johnstone Veda Margaret Chang Marli Ann Watt Jennifer Maree Wheelahan Min-Xia Wang Mary Louise Loughnan Alexandra Sophie Clinch Kate Suzannah Stone Bronwyn Melissa Dunbar King Nicole Claire Robins-Browne Davorka Anna Hemetek MaiAnh Hoang Nguyen Elissa Stafford Trisha Michelle Prentice Elizabeth Anne McCarthy Fay Audrey Elizabeth Williams Stephanie Lorraine Tasker Joyce Ellen Taylor Wendy Anne Hayes Veronika Marie Kirchner Jillian Louise Webster Catherine Seut Yhoke Choong Eva Kipen Sew Kee Chang Merryn Lee Wild Guineva Joan Protheroe Wilson Tamara Gitanjali Weerasinghe Shiau Tween Low Pieta Louise Collins Lin-Lin Su Bee Ngo Lau Katherine Adele Scott Man Yuk Ho Minh Ha Nguyen Alexandra Stanislavsky Sally Lynette Quill Ellisa Ann McFarlane Helen Wodak Julia Taub 1971 Mary Louise Holland Daina Jolanta Kirkland Judith Mary Williams Monica Esther Cooper Sara Kremer Min Li Chong Debra Anne Wilson Anita Estelle Wluka Julie Nayleen Whitehead Helen Maroulis Megan Ann Cooney Jane Rosita Tam Cynthia Siu Wai Lau Christine Sierakowski Ingrid Ruth Horner Gaurie Palnitkar Kate Amanda Stanton Nomathemba Raphaka Sarah Louise McGuinness Mary Elizabeth Xipell Elizabeth Ann Tomlinson Adrienne Ila Elizabeth Anderson Anne Margeret Howard Esther Maria Langenegger Jean Lee Woo Debra Anne Crouch Shanti
    [Show full text]
  • “China Factor” in Contemporary Hong Kong Genre Cinema
    Concentric: Literary and Cultural Studies 46.1 March 2020: 11-37 DOI: 10.6240/concentric.lit.202003_46(1).0002 Re-Negotiations of the “China Factor” in Contemporary Hong Kong Genre Cinema Ting-Ying Lin Department of Information and Communication Tamkang University, Taiwan Abstract Given the long-existing and multifaceted negotiations of the “China factor” in Hong Kong film history, this article centers on the political function of genre films by exploring how contemporary Hong Kong filmmakers utilize filmmaking as a flexible strategy to re-negotiate and reflect on the China factor concerning current post-handover political dynamics. By focusing on several recent Hong Kong genre films as case studies, it examines how the China factor is negotiated in Vulgaria (低俗喜劇 Disu xiju, 2012) and The Midnight After (那夜凌晨,我坐上了旺角開往大埔的紅 VAN Naye lingchen, wo zuoshang le Wangjiao kaiwang Dapu de hong van, 2014), considering the politics of languages alongside the imaginary of the disappearance of Hong Kong’s local cultures in the post-handover era. It also highlights two post-Umbrella- Revolution films, Trivisa ( 樹大招風 Shuda zhaofeng, 2016) and The Mobfathers (選老頂 Xuan lao ding, 2016), to explore how the China factor is negotiated in light of the collective anxieties of Hongkongers regarding the handover and controversies in the current electoral system of Hong Kong. By doing so, this article argues that the re-negotiations of the China factor in contemporary Hong Kong genre cinema have become more and more politically reflexive given the increasingly severe political interference of the Beijing sovereignty that has violated the autonomy of Hong Kong, while forming a discourse of resistance of Hongkongers against possible neo- colonialism from the Chinese authorities in the postcolonial city.
    [Show full text]
  • Zen Painting & Calligraphy
    SAN FRANCISCO PUBLIC LIBRARY 1223 02649 4907 amiEDUE [ SEPT 2 1997, 1I- —g—' 1» "> f ^ ' Bk Printed in USA . /30 CT - 8 1991 'painting £*- Calligraphy An exhibition of works of art lent by temples, private collectors, and public and private museums in Japan, organized in collaboration with the Agency for Cultural Affairs of the Japanese Government. Jan Fontein & Money L. Hickman of fine Arti, Boston Distributed by New York Graphic Society, Greenwich, Connecticut Copyright © 1970 by Museum of Fine Arts, Boston, Massachusetts All rights reserved ISBN 0-87846-001-2 Library of Congress Catalogue Card No. 76-127853 Typeset in Linofilm Palatino by Wrightson Typographers, Boston Printed by The Meriden Gravure Co., Meriden, Conn. Designed by Carl F. Zahn Dates of the Exhibition: November 5-December 20,1970 709-5,F737z Fontein, Jan Zen painting et v calligraphy Cover illustration: 20. "Red-Robed" Bodhidharma, artist, unknown, ca. 1271 Title page illustration: 48. Kanzan and Jittoku, traditionally attributed to Shubun (active second quarter of 15th century) (detail) S.F. PUBLIC LIBRARY 3 1223 02649 4907 I Contents Foreword vii Preface ix Acknowledgments xi Chronology xii Introduction xiii The Beginnings of Ch'an Buddhism, xiii Chinese and Indian Thought in Ch'an Buddhism, xiv The Northern and Southern Schools, xvi The Earliest Form of Ch'an Art, xvi The Consolidation and Expansion of the Ch'an Sect, xvii Kuan-hsiu (832-912): The Birth of Ch'an Art, xix Ch'an Literature and Koan, xxi Ch'an Art during the Northern Sung Period (960-1126), XXII Ch'an
    [Show full text]
  • ELECTION '84 by Barbara Brundage Tatlves Now Held by Republican Fred Dudley Or Cape Andy Llppl Has Wanted to Be a Politician Since He Coral
    Vol. 24, No. 10 Tuesday, March 6,1984- Three sections, 25 cent! ROGO 38 earn ailocations; 25 must wait until July By Barbara Bniodage The scores arc in and the results of the Marcf llate or Growth competition have been mailed to contestants. The 38 winners range In score from 11,6 to HI points. Twenty-live other new applicants lor slnghjf family homes wtfi have to wait for the July perlofl torthelr allocation*. - - •• • Next Monday at 9 a.m. the Planning Commltvslo will review the Planning Department's scoring c the G3 new single-family home applications n formally grant Uie 38 allocations available" March. ,AithouBh.fi4:aUoc*««i» wem.Wv»U«btor«i;|i *- roiir (rom the. November period that were i minated because building permits were not plckci •up by the Keb. 29 deadline), three were deleted II recapture more of the surplus units used last July;. I The 23 single-family applications carried ov^1 from November had first priority for the allocations remaining. According to the new ROGO rules these hold will automatically receive allocations. This left 38l( ; -Jencffer Davis; left, with her "Mr. T. Bear." countless bean who attended the Tvddy Bear be divided among the 63 new applicants tor slnglB and Blegan FytaUuul, rtjtt, with her naHtMt TwistToyJAhoj! lnPWwlnlUcPl»c«S«tunl»y. bears, were among the man?: chlMrea ma Pmi«myM«rtJoliinon. continued page 2/j Concerned adults seek cure for teens with Island fever' By Scott MarteU oeetns to be a dearth of activities — or hall with hopes of Improving the Diane and I didn't particularly wanfl Sanibe) has a multitude of bingo at least a lack of communication about • situation.- , • our daughters going into Port Myersfl games and bridge competitions whatever youth-oriented activities Organizer David La Crobc Bays be so we ruled dates must be on thr™ , crowded golf courses and busy tennis there are.
    [Show full text]