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
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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. -
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. -
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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. -
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. -
“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. -
Media Asia Film Production Limited All Rights Reserved 1
Media Asia Film Production Limited All Rights Reserved 1 rd The 73 Cannes Official Selection Septet: The Story of Hong Kong《七人樂隊》 An omnibus film presented by Media Asia and China Film Media, a production of Milkyway Image, Septet: The Story of Hong Kong has been selected for the official lineup of the 73rd Cannes Film Festival. The film is composed of seven short films in honor of Hong Kong by seven of the city’s most revered directors - Tsui Hark, Ann Hui, Sammo Hung, Patrick Tam, Yuen Wo Ping, Ringo Lam, and Johnnie To, who produced the film and directed one of the seven segments. It is another Johnnie To’s film selected by Cannes Film Festival after Breaking News, Election, Triangle, Vengeance and Blind Detective. It all began with an idea by Johnnie To: despite their renowned international repute and countless accolades under their belts, many Hong Kong directors of his generation still share the same passion for filmmaking and an unwavering love for their city. Johnnie To rallied his like-minded director friends Sammo Hung, Ann Hui, Patrick Tam, Yuen Wo Ping, Ringo Lam, and Tsui Hark to make a movie about Hong Kong. It would be shot on film as a tribute to the bygone era of filmmaking, and the stories would span from the 50s to the future. Each director shot a short movie around 10 minutes each for their allotted decade. Each segment would be a special melody imprinted with the director’s feelings for Hong Kong. Seven of Hong Kong’s most revered directors with distinctly unique styles come together for the first time to compose a symphony of stories for their city. -
Drug War: La Incursión De Johnnie to En La China Continental
volúmen XXIV (2014) números anteriores ¿quiénes somos? normas de publicación DRUG WAR: LA INCURSIÓN DE JOHNNIE TO EN LA CHINA CONTINENTAL Por Víctor Villpert T.O.: Du zhan. Producción: Beijing Hairun Pictures/Milkyway Image (China-Hong Kong, 2012). Productores: Johnnie To y Wai Ka-Fai. Dirección: Johnnie To. Guión: Wai Ka-Fai y Yau Nai-hoi, Ryker Chan, Yu Xi. Fotografía: Cheng Siu-Keung. Música: Xavier Jamaux. Montaje: Allen Leung. Intérpretes: Louis Koo, Sun Honglei, Huang Yi, Hao Ping, Li Zhenqi, Lam Suet, Eddie Cheung, Gordon Lam, Michelle Ye, Guo Tao, Li Jing. Color – 107 min. Estreno en España: 12-X-2013. Drug War generó entre la comunidad de seguidores del cine asiático unas expectativas considerables desde que se tuvo noticia de su rodaje. No es difícil entender por qué. A la popularidad del director hongkonés Johnnie To hay que sumar el hecho de que nos encontramos ante su primer thriller rodado en la China continental, territorio en el que, a diferencia de lo que ocurre en Hong Kong, el medio audiovisual está sujeto al escrutinio del SARFT, órgano entre cuyas competencias se encuentra la de la censura. Y, reconozcámoslo, en la posibilidad de la censura hay un morbo añadido. La trama de Drug War nos lleva por terrenos típicos del género criminal. Tras sobrevivir a la explosión de uno de los laboratorios clandestinos dedicados al procesamiento de droga que dirige, Timmy Choi (Louis Koo), todavía herido, estrella su coche contra un restaurante. El implacable capitán de la policía Zhang Lei (Sun Honglei), que comanda un equipo antinarcóticos, le pondrá contra las cuerdas; su única alternativa a la pena de muerte será colaborar en la desarticulación de la poderosa red de narcotráfico de la que forma parte. -
Vengeance GB:MAQUETTE.ENGLISH.QXD
Michèle & Laurent Pétin present Duration : 1h48 INTal SALES INTal PUBLICIST KINOLOGY STEPHEN LAN IN PARIS [email protected] 65, rue de clichy Ph : +49.172.200..6686 75017 PARIS - France Ph : +33.9.51.47.43.44 IN CANNES 2, rue Bivouac Napoléon - 3rd floor 06400 CANNES - France Gregoire Melin - Ph : +33.6.87.51.03.96 - [email protected] Gaia Bidat - Ph : +33.6.60.32.37.15 - [email protected] Vanessa Saal - Ph : +33.6.08.31.47.94 - [email protected] www.arpselection.com www.vengeance-lefilm.com Synopsis A father comes to Hong Kong to avenge his daughter, whose family was murdered. Officially, he's a French chef. Twenty years ago, he was a killer. Vengeance... à la carte Johnnie To has one passion: making movies. And one favorite pastime: eating well. He makes all his impor- tant decisions around a dinner table. The following story is peppered with various restaurants … Imagine a small port half an hour north of Hong Kong. The village of Sai Kung is inhabited mostly by fishermen and a few film stars. Enter a fish restaurant that seems identical to all the others on the pier. Go into the kitchen and sit at the table that has been set up there specially. In case you're still wondering, check out the sideboard lined with French wines and vintage cognac. Yes, you're at the table booked by Johnnie To, who lives just around the corner. He has already ordered the meal, a plethora of dishes which he only nibbles at. -
Urban Space in the Films of Johnnie To*
Concentric: Literary and Cultural Studies 46.1 March 2020: 59-81 DOI: 10.6240/concentric.lit.202003_46(1).0004 The Unexpected Encounter of Two Parallel Lines: Urban Space in the Films of Johnnie To* William Carroll Department of East Asian Languages and Cultures Indiana University Bloomington, USA Abstract In this paper the author compares Hong Kong filmmaker Johnnie To’s (杜琪 峯) formal articulation of urban space in his internationally celebrated crime films with that in his locally popular romantic comedies. Drawing from recent scholarship on urban space in Hong Kong, Chinese, and broader East Asian cinema, he establishes that To’s films in both genres hinge on spatial relationships that are specific to rapidly forming metropolises. However, through close analyses of the crime films Expect the Unexpected (非常突然 Feichang turan, 1998) and Breaking News (大事件 Da shijian, 2004) and the romantic comedies Turn Left, Turn Right (向左走‧向右走 Xiangzuo zou, xiangyou zou, 2003) and Don't Go Breaking My Heart (單身男女 Danshen nannu, 2011), he contends that To’s crime films depict these spatial relationships within a framework of spatial continuity, while his romantic comedies do so within a framework of spatial fragmentation. These two frameworks play into the two genres’ separate dramatic needs: fatalistic confrontation for the crime films vs. delayed reconciliation in the romantic comedies. However, To uses these spatial frameworks within the two genres to explore the ways that urban design can either thwart or facilitate encounters between the inhabitants of a global city. Keywords urban space, industrial genres, film genre, romantic comedies, crime films, spatial continuity, spatial fragmentation, fate, global cities * The author wishes to thank Matt Hubbell, Yueling Ji, Gary Kafer, Katerina Korola, Mikki Kressbach, David Krolokoski, Cooper Long, Nicole Morse, Jordan Schonig, H.S. -
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Johnnie to and the Hong Kong Action Film
Director in Action Johnnie To and the Hong Kong Action Film Stephen Teo Hong Kong University Press 14/F Hing Wai Centre 7 Tin Wan Praya Road Aberdeen Hong Kong © Stephen Teo 2007 Hardback ISBN 978-962-209-839-8 Paperback ISBN 978-962-209-840-4 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. Secure On-line Ordering http://www.hkupress.org Cover image: Photograph by Jupiter Wong Printed and bound by Lammar Offset Printing Ltd., Hong Kong, China. Hong Kong University Press is honoured that Xu Bing, whose art explores the complex themes of language across cultures, has written the Press’s name in his Square Word Calligraphy. This signals our commitment to cross-cultural thinking and the distinctive nature of our English-language books published in China. “At first glance, Square Word Calligraphy appears to be nothing more unusual than Chinese characters, but in fact it is a new way of rendering English words in the format of a square so they resemble Chinese characters. Chinese viewers expect to be able to read Square Word Calligraphy but cannot. Western viewers, however are surprised to find they can read it. Delight erupts when meaning is unexpectedly revealed.” — Britta Erickson, The Art of Xu Bing Contents List of Illustrations vii Acknowledgements xi 1. -
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FORUM TRIVIS.A Frank Hui Hongkong im Sommer 1997: Während die Übergabe der britischen Hongkong, China 2016 Jevons Au Kronkolonie an China vorbereitet wird, stellt sich auch die Unterwelt 97 Min. · DCP, 1:2.39 · Farbe Vicky Wong auf tiefgreifende Veränderungen ein. Mit der Önung der Grenze zu China halten neue Sitten und Kodexe Einzug in die Welt der Triaden – Regie Frank Hui, Jevons Au, Vicky Wong Buch Loong Man-hong, Thomas Ng, wer sein Geschäftsmodell nicht umstellt, hat schon verloren. Mak Tin Shu Ein Genrelm aus Hongkong, der die Jahre des Umbruchs zum Hinter- Kamera Zhang Ying, Ray Cheung, Rex Chan grund seiner Geschichte wählt, kommt einem doppelten Schwanen- Schnitt Allen Leung, David Richardson gesang gleich. Auch für das eigenständige, in ganz Asien renommierte Production Design Jean Tsoi Hongkongkino hat der politische Wandel das faktische Ende gebracht. Kostüm Sukie Yip Frank Hui Geboren 1980 in Hongkong. Einer der wenigen, die das Genre noch verteidigt und weiterentwi- Produzenten Johnnie To, Yau Nai-ho 2005 schloss er ein Studium der Film- und ckelt haben, der Regisseur Johnnie To, hält als Produzent von TRIVISA Fernsehregie ab. Nach einer Reihe von . nun die Fahne für drei Nachwuchsregisseure hoch, die von drei legen- Mit Kurzfilmen ist TRIVIS.A Frank Huis erster dären Gangstern aus jenen Tagen erzählen – kein Episodenlm, son- Lam Ka Tung (Kwai Ching-hung) abendfüllender Spielfilm. Richie Jen (Yip Kwok-foon) Jevons Au Auch: Au Man-kit. dern die verschachtelte Geschichte von Männern, die Opfer der eige- Jordan Chan (Cheuk Tze-keung) Geboren 1981 in Hongkong. Er schloss sein nen Legende werden.