Mong-Hong Chung 鍾孟宏 Director/ Réalisateur Mong-Hong Chung
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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 -
UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Beyond New Waves: Gender and Sexuality in Sinophone Women's Cinema from the 1980s to the 2000s Permalink https://escholarship.org/uc/item/4h13x81f Author Kang, Kai Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Beyond New Waves: Gender and Sexuality in Sinophone Women‘s Cinema from the 1980s to the 2000s A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Comparative Literature by Kai Kang March 2015 Dissertation Committee: Dr. Marguerite Waller, Chairperson Dr. Lan Duong Dr. Tamara Ho Copyright by Kai Kang 2015 The Dissertation of Kai Kang is approved: Committee Chairperson University of California, Riverside Acknowledgements My deepest gratitude is to my chair, Dr. Marguerite Waller who gave me freedom to explore my interested areas. Her advice and feedback helped me overcome many difficulties during the writing process. I am grateful to Dr. Lan Duong, who not only offered me much valuable feedback to my dissertation but also shared her job hunting experience with me. I would like to thank Dr Tamara Ho for her useful comments on my work. Finally, I would like to thank Dr. Mustafa Bal, the editor-in-chief of The Human, for having permitted me to use certain passages of my previously published article ―Inside/Outside the Nation-State: Screening Women and History in Song of the Exile and Woman, Demon, Human,‖ in my dissertation. iv ABSTRACT OF THE DISSERTATION Beyond New Waves: Gender and Sexuality in Sinophone Women‘s Cinema from the 1980s to the 2000s by Kai Kang Doctor of Philosophy, Graduate Program in Comparative Literature University of California, Riverside, March 2015 Dr. -
Laurent Courtiaud & Julien Carbon
a film by laurent courtiaud & julien carbon 1 Red_nights_93X66.indd 1 7/05/10 10:36:21 A FILM BY LAURENT COURTIAUD & JULIEN CARBON HonG KonG, CHIna, FranCe, 2009 FrenCH, CantoneSe, MandarIn 98 MInuteS World SaleS 34, rue du Louvre | 75001 PARIS | Tel : +33 1 53 10 33 99 [email protected] | www.filmsdistribution.com InternatIonal PreSS Jessica Edwards Film First Co. | Tel : +1 91 76 20 85 29 | [email protected] SYNOPSIS A CantoneSE OPERA TELLS THE TRAGEDY of THE Jade EXecutioner, WHO HAD created A PoiSon THat KILLED by GIVING THE ultimate PLEASURE. THIS LEGEND HAPPENS AGAIN noWadayS WHEN A FrencH Woman EScaPES to HonG KonG AFTER HAVING KILLED HER loVER to taKE AN ANTIQUE HoldinG, THE infamouS Potion. SHE becomeS THE HAND of fate THat PITS A TAIWANESE GANGSTER AGAINST AN EPicurean Woman murderer WHO SEES HERSELF AS A NEW incarnation of THE Jade EXecutioner. 4 3 DIRECTORS’ NOTE OF INTENT “ Les Nuits Rouges du Bourreau de But one just needs to wander at night along Jade ”. “Red Nights Of The Jade Exe- the mid-levels lanes on Hong Kong island, a cutioner”. The French title reminds maze of stairs and narrow streets connecting of double bills cinemas that scree- ancient theatres, temples and high tech buil- ned Italian “Gialli” and Chinese “Wu dings with silent mansions hidden among the trees up along the peak, to know this is a per- Xia Pian”. The end of the 60s, when fect playground for a maniac killer in trench genre and exploitation cinema gave coat hunting attractive but terrified victims “à us transgressive and deviant pictures, la Mario Bava”. -
The Iafor Journal of Media, Communication & Film
the iafor journal of media, communication & film Volume 3 – Issue 1 – Spring 2016 Editor: James Rowlins ISSN: 2187-0667 The IAFOR Journal of Media, Communication & Film Volume 3 – Issue – I IAFOR Publications Executive Editor: Joseph Haldane The International Academic Forum IAFOR Journal of Media, Communication & Film Editor: James Rowlins, Singapore University of Technology and Design, Singapore Associate Editor: Celia Lam, University of Notre Dame Australia, Australia Assistant Editor: Anna Krivoruchko, Singapore University of Technology and Design, Singapore Advisory Editor: Jecheol Park, National University of Singapore, Singapore Published by The International Academic Forum (IAFOR), Japan Executive Editor: Joseph Haldane Editorial Assistance: Rachel Dyer IAFOR Publications. Sakae 1-16-26-201, Naka-ward, Aichi, Japan 460-0008 IAFOR Journal of Media, Communication & Film Volume 3 – Issue 1 – Spring 2016 IAFOR Publications © Copyright 2016 ISSN: 2187-0667 Online: JOMCF.iafor.org Cover photograph: Harajuku, James Rowlins IAFOR Journal of Media, Communication & Film Volume 3 – Issue 1 – Spring 2016 Edited by James Rowlins Table of Contents Notes on Contributors 1 Introduction 3 Editor, James Rowlins Interview with Martin Wood: A Filmmaker’s Journey into Research 5 Questions by James Rowlins Theorizing Subjectivity and Community Through Film 15 Jakub Morawski Sinophone Queerness and Female Auteurship in Zero Chou’s Drifting Flowers 22 Zoran Lee Pecic On Using Machinima as “Found” in Animation Production 36 Jifeng Huang A Story in the Making: Storytelling in the Digital Marketing of 53 Independent Films Nico Meissner Film Festivals and Cinematic Events Bridging the Gap between the Individual 63 and the Community: Cinema and Social Function in Conflict Resolution Elisa Costa Villaverde Semiotic Approach to Media Language 77 Michael Ejstrup and Bjarne le Fevre Jakobsen Revitalising Indigenous Resistance and Dissent through Online Media 90 Elizabeth Burrows IAFOR Journal of Media, Communicaion & Film Volume 3 – Issue 1 – Spring 2016 Notes on Contributors Dr. -
ALSO LIKE LIFE: the FILMS of HOU HSIAO-HSIEN New Addition: Hou Hsiao-Hsien in Conversation at BFI Southbank – Monday 14 September
ALSO LIKE LIFE: THE FILMS OF HOU HSIAO-HSIEN New addition: Hou Hsiao-Hsien In Conversation at BFI Southbank – Monday 14 September Thursday 13 August 2015, London The BFI is delighted to announce that one of the leading figures of the Taiwanese New Wave Hou Hsiao-Hsien, whose latest film The Assassin won Best Director at this year’s Cannes Film Festival, will make a very rare visit to the UK to take part in an In Conversation event at BFI Southbank. The event, which takes place on Monday 14 September, is part of Also Life Life: The Films of Hou Hsiao- Hsien, a major retrospective celebrating Hou’s work, which takes place from 2 Sept – 6 Oct 2015 at BFI Southbank. Hou-Hsiao-Hsien has helped put Taiwanese cinema on the international map with work that explores the island’s rapidly changing present as well as its turbulent, often bloody past, and is one of the best examples in world cinema of a director who found his own distinctive style and voice while working on the job. The season will kick off with Cute Girl (1980), Cheerful Wind (1981) and The Green Green Grass of Home (1982), all starring Hong Kong pop star Kenny Bee; these early films offer a mixture of comedy and romance and begin to show Hou’s interest in Taiwan’s regional differences, a key theme of his later films. Hou’s other early films such as The Sandwich Man (1983) and The Boys from Fengkuei (1983) dramatised engaging life stories – including his own in The Time to Live and the Time to Die (1985). -
Hou Hsiao-Hsien Pdf Free Download
HOU HSIAO-HSIEN PDF, EPUB, EBOOK Richard Suchenski | 272 pages | 04 Aug 2014 | Synema Gesellschaft Fur Film u. Medien | 9783901644580 | English | Vienna, Austria Hou Hsiao-hsien PDF Book Seller does not offer returns. Great Directors. Excellent condition. None had been granted a wide release; a very few hovered in the dim hinterlands of availability on obscure videos—poor color, wrong format, inadequate subtitles. Shi-yan Chao, Asian Cinema A hefty collection of essays, reminiscences, and interviews. Main navigation for mobiles. Business seller information. Learning and training. Approaching his body of work at global level reveals Hou to be a progenitor of slow cinema, with his films moving at a glacial pace as mood is used to create meaning within his austere compositions. Unfolding like a series of solemn tableaux, this dignified saga focuses on the disintegration of the Lin family under an oppressive regime as three sons — bar owner Wen-heung Sung Young Chen , psychologically damaged translator Wen-leung Jack Kao , and the leftist Wen-ching Tony Leung Chiu Wai — choose different but no less tragic paths. The executive committee of the Taipei Golden Horse Film Festival, organizers of the annual prize ceremony, said Monday that their decision to reward Hou was a unanimous one. Shipping cost cannot be calculated. Sometimes all it takes is the right recommendation to set you on your path from newbie to know-it-all…. Each of the recent works requires detailed treatment to do it justice; City of Sadness is discussed in the companion volume on Films. Movies and food are two of the things we do best at SBS, and you can now enjoy the best of both worlds in this new column as we match delicious recipes with soul Item Information Condition:. -
Blue Gate Crossing
Mediendossier trigon-film BLUE GATE CROSSING (Lanse Da Men) von Yee Chih-yen Taiwan 2002 Verleih trigon-film Klosterstrasse 42 Postfach 5430 Wettingen 1 Tel: 056 430 12 30 Fax: 056 430 12 31 [email protected] www.trigon-film.org Medienkontakt Nathalie Bao-Götsch Tel: 056 430 12 35 Fax: 056 430 12 31 [email protected] Bildmaterial www.trigon-film.org in der —Bildergalerie“ Mitwirkende Regie und Buch: YEE Chih-yen Kamera: CHIENN Hsiang Schnitt: LIAO Ching-song Ton: TU Duu-chih Musik: Chris HOU Art Director: HSIA Shao-yu Kostüme: Anico Produzenten: Peggy CHIAO, HSU Hsiao-ming Produktion: Arc Light Films (Taiwan) Koproduziert von: Pyramide Productions (Frankreich) Sprache: Mandarin/d,f Dauer / Format: 85 Minuten / 1:1.85 Darstellende Rollen CHEN Bo-lin ZHANG Shihao GUEY Lun-mei MENG Kerou LIANG Shu-hui LIN Yuezhen Festivals/Auszeichnungen (Auswahl) Quinzaine des réalisateurs, Cannes 2002 Special Jury Prize, Bratislava International Film Festival 2002 Seattle Film Festival 2002 Toronto Film Festival 2002 Vancouver Film Festival 2002 Synopsis Drei Jugendliche in der asiatischen Grossstadt Taipei erleben die Schwierigkeit, sich der eigenen Gefühle klar zu werden und sie ihrer Umgebung kund zu tun. Welche Rolle dabei Freundschaft, Zuneigung und Sexualität spielen, müssen sie immer wieder von Neuem erkunden. Die Schülerin Yuezhen möchte den attraktiven und beliebten Shihao näher kennen lernen, den sie hoffnungslos anhimmelt. Ihre etwas verträumte Freundin Kerou soll ihr dabei helfen und mit ihm Kontakt aufnehmen. Der ahnungslose Shihao denkt aber, dass Kerou ihn kennen lernen möchte. Mehr und mehr fühlt er sich zu Kerou hingezogen und die beiden finden zu einem Vertrauen, welches ihnen erlaubt, sich aufwühlende Gefühle und Träume zu offenbaren. -
Journal of Asian Studies Contemporary Chinese Cinema Special Edition
the iafor journal of asian studies Contemporary Chinese Cinema Special Edition Volume 2 – Issue 1 – Spring 2016 Editor: Seiko Yasumoto ISSN: 2187-6037 The IAFOR Journal of Asian Studies Volume 2 – Issue – I IAFOR Publications Executive Editor: Joseph Haldane The International Academic Forum The IAFOR Journal of Asian Studies Editor: Seiko Yasumoto, University of Sydney, Australia Associate Editor: Jason Bainbridge, Swinburne University, Australia Published by The International Academic Forum (IAFOR), Japan Executive Editor: Joseph Haldane Editorial Assistance: Rachel Dyer IAFOR Publications. Sakae 1-16-26-201, Naka-ward, Aichi, Japan 460-0008 Journal of Asian Studies Volume 2 – Issue 1 – Spring 2016 IAFOR Publications © Copyright 2016 ISSN: 2187-6037 Online: joas.iafor.org Cover image: Flickr Creative Commons/Guy Gorek The IAFOR Journal of Asian Studies Volume 2 – Issue I – Spring 2016 Edited by Seiko Yasumoto Table of Contents Notes on contributors 1 Welcome and Introduction 4 From Recording to Ritual: Weimar Villa and 24 City 10 Dr. Jinhee Choi Contested identities: exploring the cultural, historical and 25 political complexities of the ‘three Chinas’ Dr. Qiao Li & Prof. Ros Jennings Sounds, Swords and Forests: An Exploration into the Representations 41 of Music and Martial Arts in Contemporary Kung Fu Films Brent Keogh Sentimentalism in Under the Hawthorn Tree 53 Jing Meng Changes Manifest: Time, Memory, and a Changing Hong Kong 65 Emma Tipson The Taste of Ice Kacang: Xiaoqingxin Film as the Possible 74 Prospect of Taiwan Popular Cinema Panpan Yang Subtitling Chinese Humour: the English Version of A Woman, a 85 Gun and a Noodle Shop (2009) Yilei Yuan The IAFOR Journal of Asian Studies Volume 2 – Issue 1 – Spring 2016 Notes on Contributers Dr. -
Stony Brook University
SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Mediating Trans/nationalism: Japanese ‘Jun’ai’ (Pure-Love) in Popular Media Representations A Dissertation Presented by I-Te Rita Sung to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Comparative Literature Stony Brook University August 2016 Stony Brook University The Graduate School I-Te Rita Sung We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. E. Ann Kaplan, Distinguished Professor, Dissertation Co-Advisor Cultural Analysis & Theory Krin Gabbard, Professor Emeritus, Dissertation Co-Advisor Cultural Analysis & Theory Jeffrey Santa Ana, Associate Professor, Chairperson of Defense Cultural Analysis & Theory and English Department Leo T.S. Ching, Outside Member, Duke University, Department of Asian and Middle Eastern Studies Aaron A. Gerow, Outside Member, Yale University, Department of East Asian Languages and Literatures This dissertation is accepted by the Graduate School Nancy Goroff Interim Dean of the Graduate School ii Abstract of the Dissertation Mediating Trans/nationalism: Japanese ‘Jun’ai’ (Pure-Love) in Popular Media Representations by I-Te Rita Sung Doctor of Philosophy in Comparative Literature Stony Brook University 2016 Since the beginning of the 21st century, the jun’ai (pure-love) genre has flourished in Japan, both in works of popular literature and in film. This phenomenon coincides with a time when the country is seen by the media as being characterized by soshitsukan (sense of loss). -
Hou Hsiao-Hsien E O Cinema De Memórias Fragmentadas 侯 Hou Hsiao-Hsien 孝 E O Cinema De Memórias Fragmentadas 賢
侯 孝 賢 Hou Hsiao-Hsien e o cinema de memórias fragmentadas 侯 Hou Hsiao-Hsien 孝 e o cinema de memórias fragmentadas 賢 CCBB São Paulo 9 a 26 dez 2010 Rio de Janeiro 14 dez 2010 a 9 jan 2011 Brasília 2 a 16 jan 2011 Figura central do novo cinema taiwanês, Hou Hsiao- -Hsien, nascido na China e criado em Taiwan, iniciou sua carreira como diretor em 1980. Dos primeiros filmes, mais comerciais, passou para os de memórias pessoais e outros sobre a memória de seu país de adoção, consolidando atualmente um estilo visual e narrativo dos mais sofistica- dos da história do cinema. Tais filmes conferiram a Hou Hsiao-Hsien o reconhecimento da crítica e das curadorias de importantes festivais e vêm, desta forma, consagrando o cineasta como um dos maiores mestres da cinematografia mundial contemporânea. Ao realizar Hou Hsiao-Hsien e o cinema de memórias fragmentadas, o Centro Cultural Banco do Brasil reconhece a importância deste cineasta e proporciona ao público de São Paulo, do Rio de Janeiro e de Brasília a oportunidade de conferir toda a sua filmografia, em retrospectiva que abarca 17 filmes em longa-metragem – todos inéditos no circuito comercial brasileiro –, além do curta-metragem O bonecão do filhinho (Son’s Big Doll / Er zi de da wan’ou), que integra O homem-sanduíche (The Sandwich Man / Er zi de da wan’ou, 1983), um dos filmes-chave na renovação do cinema taiwanês. A mostra constitui uma valiosa oportunidade para os que procuram acompanhar o desenvolvimento do audio- visual contemporâneo e conferir propostas instigantes e de grande apuro estético. -
Abstract Taiwanese Identity and Transnational Families
ABSTRACT TAIWANESE IDENTITY AND TRANSNATIONAL FAMILIES IN THE CINEMA OF ANG LEE Ting-Ting Chan, Ph.D. Department of English Northern Illinois University, 2017 Scott Balcerzak, Director This dissertation argues that acclaimed filmmaker Ang Lee should be regarded as a Taiwanese transnational filmmaker. Thus, to best understand his work, a Taiwanese sociopolitical context should be employed to consider his complicated national identity as it is reflected in his films across genres and cultures. Previous Ang Lee studies see him merely as a transnational Taiwanese-American or diasporic Chinese filmmaker and situate his works into a broader spectrum of either Asian-American culture or Chinese national cinema. In contrast, this dissertation argues his films are best understood through a direct reference to Taiwan’s history, politics, and society. The chapters examine eight of Lee’s films that best explain his Taiwanese national identity through different cultural considerations: Pushing Hands (1992) and Eat Drink Man Woman (1994) are about maternity; The Wedding Banquet (1993) and Brokeback Mountain (2005) consider homosexuality; The Ice Storm (1997) and Taking Woodstock (2009) represent a collective Taiwanese view of America; and Crouching Tiger, Hidden Dragon (2000) and Lust, Caution (2007) reflect and challenge traditions of Taiwan Cinema. The eight films share three central leitmotifs: family, a sympathetic view of cultural outsiders, and a sympathy for the losing side. Through portraying various domestic relations, Lee presents archetypal families based in filial piety, yet at the same time also gives possible challenges represented by a modern era of equal rights, liberalism, and individualism – which confront traditional Taiwanese-Chinese family views. -
Download Detailseite
PS-6660:Berlinale 2012 28.01.2012 19:40 Uhr Seite 124 PANORAMA SPECIAL Wang Toon Shen Ko-Shang Chu Yen-Ping Ho Wi-Ding THE RITUAL BUS ODYSSEY THE ORPHANS 100 Produktion: Hu Hsin Yi Produktion: Li Meng-Chien Produktion: Lin Sheng-Kuo Produktion: Hu Chin-Hsin Kamera: Mahua Hsin Hua FENG Kamera: Chien Yu-Tao Kamera: Pun Yiu-Ming Kamera: Jack Pollock Schnitt: Lai Meng-Jie Schnitt: Huang Kuan Chun Schnitt: Chen Po-Wen Schnitt: Hsu Wei-Yao Ton: CMPC Technical Center Ton: 3H Sound Studio Ltd. Ton: 3H Sound Studio Ltd. Ton: 3H Sound Studio Ltd. Darsteller: Tsai Ming-Hsiu, Hsieh Chi-Wen Darsteller: Nikki Hsieh Darsteller: Chang Fang-Yi Darsteller: Cheng Chin-Shan Wu Nieh-Jen Wang Shaudi Chen Kuo-Fu Hou Chi-Jan A GROCERY CALLED FOREVER DESTINED ERUPTION THE DEBUT GREEN ISLAND SERENADE Produktion: Cheng Nien-Hsiang Produktion: Jeyi AN Produktion: Eason Ko Produktion: Aileen Li Kamera: Wang Chun-Ming Kamera: Huang Tien-Jen Kamera: Jake Pollock Kamera: Kwan Pun-Leung Schnitt: Lin Yung Yi Schnitt: Chen Hsiao-Tung Schnitt: Chen Hsiao-Tung Schnitt: Liao Ching-Sung Ton: 3H Sound Studio Ltd. Ton: CMPC Technical Center Ton: 3H Sound Studio Ltd. Ton: 3H Sound Studio Ltd. Darsteller: Li Hou Lou-Yuan Darsteller: Kou Chia-Jui, Jenny Liao Darsteller: Peggy Tseng, Doris Wang, Darsteller: Chi Lu-Hsia, Jian Man-Shu, Chen Yu-Hsun Huang He River Wei Te-Sheng Chen Yu-Hsun Chang Tso-Chi Leon Dai DEBUT HIPPOCAMP HAIR SALON SPARKLES KEY Produktionsleitung: Wang Yen-Ni Produktion: Tsui Tung-Chien Produktion: Gao Meng-Jie Produktion: Liu Wei-Jan Produktion: Huang Chih-Ming Kamera: Sam Hu Kamera: Li Jian-Hung, Chang Yi-Ming Kamera: Chang Hsiang-Yu Kamera: Liao Ching Yao, Huang Hung-Chi, Schnitt: Wei Hao-Chih Schnitt: Chang Tso-Chi Schnitt: Chang Hsiang-Yu Wang Yen-Ni, Chiang Yi-Ning Ton: 3H Sound Studio Ltd.