Nomination List of the 18Th Hong Kong Film Awards
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A Brief Analysis of China's Contemporary Swordsmen Film
ISSN 1923-0176 [Print] Studies in Sociology of Science ISSN 1923-0184 [Online] Vol. 5, No. 4, 2014, pp. 140-143 www.cscanada.net DOI: 10.3968/5991 www.cscanada.org A Brief Analysis of China’s Contemporary Swordsmen Film ZHU Taoran[a],* ; LIU Fan[b] [a]Postgraduate, College of Arts, Southwest University, Chongqing, effects and packaging have made today’s swordsmen China. films directed by the well-known directors enjoy more [b]Associate Professor, College of Arts, Southwest University, Chongqing, China. personalized and unique styles. The concept and type of *Corresponding author. “Swordsmen” begin to be deconstructed and restructured, and the swordsmen films directed in the modern times Received 24 August 2014; accepted 10 November 2014 give us a wide variety of possibilities and ways out. No Published online 26 November 2014 matter what way does the directors use to interpret the swordsmen film in their hearts, it injects passion and Abstract vitality to China’s swordsmen film. “Chivalry, Military force, and Emotion” are not the only symbols of the traditional swordsmen film, and heroes are not omnipotent and perfect persons any more. The current 1. TSUI HARK’S IMAGINARY Chinese swordsmen film could best showcase this point, and is undergoing criticism and deconstruction. We can SWORDSMEN FILM see that a large number of Chinese directors such as Tsui Tsui Hark is a director who advocates whimsy thoughts Hark, Peter Chan, Xu Haofeng , and Wong Kar-Wai began and ridiculous ideas. He is always engaged in studying to re-examine the aesthetics and culture of swordsmen new film technology, indulging in creating new images and film after the wave of “historic costume blockbuster” in new forms of film, and continuing to provide audiences the mainland China. -
Sungkyun Journal of East Asian Studies
Sungkyun Journal of East Asian Studies On the Rooftop: A Study of Marginalized Youth Films in Hong Kong Cinema Xuelin ZHOU University of Auckland Sungkyun Journal of East Asian Studies. Vol. 8, No. 2 ⓒ 2008 Academy of East Asia Studies. pp.163-177 You may use content in the SJEAS back issues only for your personal, non-commercial use. Contents of each article do not represent opinions of SJEAS. Sungkyun Journal of East Asian Studies. Vol.8, No.2. � 2008 Academy of East Asian Studies. pp.163-177 On the Rooftop: A Study of Marginalized Youth Films in Hong Kong Cinema1 Xuelin ZHOU University of Auckland ABSTRACT Researchers of contemporary Hong Kong cinema have tended to concentrate on the monumental, metropolitan and/or historical works of such esteemed directors as Wong Kar-Wai, John Woo and Tsui Hark. This paper focuses instead on a number of low-budget films that circulated below the radar of Chinese as well as Western film scholars but were important to local young viewers, i.e. a cluster of films that feature deviant and marginalized youth as protagonists. They are very interesting as evidence of perceived social problems in contemporary Hong Kong. The paper aims to outline some main features of these marginalized youth films produced since the mid-1990s. Keywords: Hong Kong, cinema, youth culture, youth film, marginalized youth On the Rooftop A scene set on the rooftop of a skyscraper in central Hong Kong appears in New Police Story(2004), or Xin jingcha gushi, by the Hong Kong director Benny Chan, an action drama that features an aged local police officer struggling to fight a group of trouble-making, tech-savvy teenagers.2 The young people are using the rooftop for an “X-party,” an occasion for showing off their skills of skateboarding and cycling, by doing daredevil stunts along the edge of the building. -
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. -
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. -
List of Action Films of the 2010S - Wikipedia, the Free Encyclopedia
List of action films of the 2010s - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/List_of_action_films_of_the_2010s List of action films of the 2010s From Wikipedia, the free encyclopedia This is an incomplete list, which may never be able to satisfy particular standards for completeness. You can help by expanding it (//en.wikipedia.org /w/index.php?title=List_of_action_films_of_the_2010s&action=edit) with reliably sourced entries. This is chronological list of action films originally released in the 2010s. Often there may be considerable overlap particularly between action and other genres (including, horror, comedy, and science fiction films); the list should attempt to document films which are more closely related to action, even if it bends genres. Title Director Cast Country Sub-Genre/Notes 2010 13 Assassins Takashi Miike Koji Yakusho, Takayuki Yamada, Yusuke Iseya Martial Arts[1] 14 Blades Daniel Lee Donnie Yen, Vicky Zhao, Wu Chun Martial Arts[2] The A-Team Joe Carnahan Liam Neeson, Bradley Cooper, Quinton Jackson [3] Alien vs Ninja Seiji Chiba Masanori Mimoto, Mika Hijii, Shuji Kashiwabara [4][5] Bad Blood Dennis Law Simon Yam, Bernice Liu, Andy On [6] Sorapong Chatree, Supaksorn Chaimongkol, Kiattisak Bangkok Knockout Panna Rittikrai, Morakot Kaewthanee [7] Udomnak Blades of Blood Lee Joon-ik Cha Seung-won, Hwang Jung-min, Baek Sung-hyun [8] The Book of Eli Albert Hughes, Allen Hughes Denzel Washington, Gary Oldman, Mila Kunis [9] The Bounty Hunter Andy Tennant Jennifer Aniston, Gerard Butler, Giovanni Perez Action comedy[10] The Butcher, the Chef and the Wuershan Masanobu Ando, Kitty Zhang, You Benchang [11] Swordsman Centurion Neil Marshall Michael Fassbender, Olga Kurylenko, Dominic West [12] City Under Siege Benny Chan [13] The Crazies Breck Eisner Timothy Olyphant, Radha Mitchell, Danielle Panabaker Action thriller[14] Date Night Shawn Levy Steve Carell, Tina Fey, Mark Wahlberg Action comedy[15] The Expendables Sylvester Stallone Sylvester Stallone, Jason Statham, Jet Li [16] Faster George Tillman, Jr. -
Anthony Wong
26 April/4 May 2019 – Udine – Teatro Nuovo and Cinema Centrale FAR EAST FILM FESTIVAL 21 rd Programme for Friday the 3 of May ANTHONY WONG The Hong Kong superstar returns to the Far East Film Festival after 20 years! Back in Udine to collect his Golden Mulberry Award for Outstanding Achievement and present the wonderful Still Human. Press release for the 2nd of May 2019 For immediate release UDINE – Friday the 3rd of May. Penultimate day of the 21st Far East Film Festival. After Jeon Do-yeon and Yao Chen, it's time to turn the festival's spotlights on another superstar: Anthony Wong! He's played the lead in masterpieces like Johnnie To's The Mission. He's starred in unforgettable cult movies like Andrew Lau and Alan Mak's Infernal Affairs. He's been a hit man, a cop, a romantic hero and a serial killer. He's played every role in every genre, from crime and comedy to fantasy and splatter. His filmography is practically infinite, and it's no exaggeration to say that he is the face of the last thirty years of Hong Kong cinema... Already a guest at the very first edition of the FEFF in 1999, when he presented Beast Cops by Gordon Chan and Dante Lam, Anthony now returns to Udine exactly twenty years later to collect his Golden Mulberry Award for Outstanding Achievement (taking his place in the Udine hall of fame alongside other giants of Asian cinema including Jackie Chan, Joe Hisaishi, Feng Xiaogang, Johnnie To and Brigitte Lin). -
Brattle Theatre Film Notes: Au Began His Career As a Cine- the 1980S
Brattle Theatre Film Notes: au began his career as a cine- the 1980s. Hong Kong cinema Hong Kong, 2002. R. 101 min. matographer, working on films experienced a resurgence in the Cast: Andy Lau, Tony Leung Chiu Lsuch as “Where’s Officer Tuba?” 1980s and early 1990s with the Wai, Anthony Wong Chau-Sang, in 1986 and “Chungking Express” in release of films like director John Eric Tsang; Writer: Felix Chong; Woo’s “A Better Tomorrow” (1986) Cinematographer: Yiu-Fai Lai; 1994. He started his dire c t o r i a l Pr oducer: Andy Lau; Direc t o r s : career with 1987’s “The Ultimate and “The Killer” (1989) both with ( Wai Keung Lau, Alan Mak ) Vampire” and has since worked on action star Chow Yun-Fat. The films movies like the “Best of the Best” w e re known for their chore o- series (1996), “Young and graphed action as well as the inter- ard-boiled and fast paced is D a n g e rous” series (1996); “The nal moral conflicts of the main char- one way to describe the acters. HHong Kong action thriller Duel” (2000); and “The Park” (2003). “Infernal Affairs.” is co-director, Alan Mak, also nfernal Affairs” also adds a told HKMania.com that the level of intrigue. While the he film, which runs from Nov. movie has some very exciting 19 until Nov. 25 at the Brattle Hscript took three years to “I write. He said that the taste of the action scenes, the psychological TTheatre in Cambridge, herald- Hong Kong public shifted fro m impact of the duplicitous ro l e s ed a new wave of Hong Kong cin- action movies in the 1980s to takes its effect on the undercover ema for many critics. -
INFERNAL AFFAIRS (2002, 101 Min.) Online Versions of the Goldenrod Handouts Have Color Images & Hot Links
November 13 2018 (XXXVII:12) Wai-Keung Lau and Alan Mak: INFERNAL AFFAIRS (2002, 101 min.) Online versions of The Goldenrod Handouts have color images & hot links: http://csac.buffalo.edu/goldenrodhandouts.html DIRECTED BY Wai-Keung Lau (as Andrew Lau) and Alan Mak WRITING Alan Mak and Felix Chong PRODUCED BY Wai-Keung Lau producer (as Andrew Lau), line producers: Ellen Chang and Lorraine Ho, and Elos Gallo (consulting producer) MUSIC Kwong Wing Chan (as Chan Kwong Wing) and Ronald Ng (composer) CINEMATOGRAPHY Yiu-Fai Lai (director of photography, as Lai Yiu Fai), Wai-Keung Lau (director of photography, as Andrew Lau) FILM EDITING Curran Pang (as Pang Ching Hei) and Danny Pang Art Direction Sung Pong Choo and Ching-Ching Wong WAI-KEUNG LAU (b. April 4, 1960 in Hong Kong), in a Costume Design Pik Kwan Lee 2018 interview with The Hollywood Reporter, said “I see every film as a challenge. But the main thing is I don't want CAST to repeat myself. Some people like to make films in the Andy Lau...Inspector Lau Kin Ming same mood. But because Hong Kong filmmakers are so Tony Chiu-Wai Leung...Chen Wing Yan (as Tony Leung) lucky in that we can be quite prolific, we can make a Anthony Chau-Sang Wong...SP Wong Chi Shing (as diverse range of films.” Lau began his career in the 1980s Anthony Wong) and 1990s, serving as a cinematographer to filmmakers Eric Tsang...Hon Sam such as Ringo Lam, Wong Jing and Wong Kar-wai. His Kelly Chen...Dr. -
Music from the 1990S to the Present
j：,/ � • .. ….......:._. ‘. • '1- ;V . jn/w Tnn • ft ¾( ! \ ..' � •'. I . I .广, I n . .....Vv'Z …'.J I O > 3 . • • I •• . ^ • jr ,' ‘:'. ； , ''Jr ... Hong Kong Film Music from the 1990s to the Present CHENG LingYan A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Philosophy in Ethnomusicology © The Chinese University of Hong Kong June 2004 The Chinese University of Hong Kong holds the copyright of this thesis. Any person(s) intending to use a part or whole of the materials in the thesis in a proposed publication must seek copyright release from the Dean of the Graduate School. ^ST university~7^// ^XLIBRARy SYSTEM^W Abstract i Hong Kong Film Music from the 1990s to the Present Submitted by LingYan CHENG for the degree of Master of Philosophy in Ethnomusicology at The Chinese University of Hong Kong in June 2004 Abstract This thesis focuses on Hong Kong film music from the 1990s to the 2000s. In recent years, there has been much research and theory on western film music, especially the Hollywood film industry, by musicologists and scholars in film studies, popular music studies, and other fields. However, there has been little research on Hong Kong Film music, the system of which is different from that of western film music, and therefore I will apply basic film music concepts, but using the real situation of Hong Kong film music to formulate my own argument. The methodology used in this thesis will include the application of basic concepts used by scholars of film music, such as the functions of music in film, combined with fieldwork and analysis of films. -
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No.1 October 2019 EDITORS-IN-CHIEF Tobias BIANCONE, GONG Baorong EDITORIAL BOARD MEMBERS (in alphabetical order by Pinyin of last name) Tobias BIANCONE, Georges BANU, Christian BIET, Marvin CARLSON, CHEN Jun, CHEN Shixiong, DING Luonan, Erika FISCHER-LICHTE, FU Qiumin, GONG Baorong, HE Chengzhou, HUANG Changyong, Hans-Georg KNOPP, HU Zhiyi, LI Ruru, LI Wei, LIU Qing, LIU Siyuan, Patrice PAVIS, Richard SCHECHNER, SHEN Lin, Kalina STEFANOVA, SUN Huizhu, WANG Yun, XIE Wei, YANG Yang, YE Changhai, YU Jianchun. EDITORS WU Aili, CHEN Zhongwen, CHEN Ying, CAI Yan CHINESE TO ENGLISH TRANSLATORS HE Xuehan, LAN Xiaolan, TANG Jia, TANG Yuanmei, YAN Puxi ENGLISH CORRECTORS LIANG Chaoqun, HUANG Guoqi, TONG Rongtian, XIONG Lingling，LIAN Youping PROOFREADERS ZHANG Qing, GUI Han DESIGNER SHAO Min CONTACT TA The Center Of International Theater Studies-S CAI Yan: [email protected] CHEN Ying: [email protected] CONTENTS I 1 No.1 CONTENTS October 2019 PREFACE 2 Empowering and Promoting Chinese Performing Arts Culture / TOBIAS BIANCONE 4 Let’s Bridge the Culture Divide with Theatre / GONG BAORONG STUDIES ON MEI LANFANG 8 On the Subjectivity of Theoretical Construction of Xiqu— Starting from Doubt on “Mei Lanfang’s Performing System” / CHEN SHIXIONG 18 The Worldwide Significance of Mei Lanfang’s Performing Art / ZOU YUANJIANG 31 Mei Lanfang, Cheng Yanqiu, Qi Rushan and Early Xiqu Directors / FU QIUMIN 46 Return to Silence at the Golden Age—Discussion on the Gains and Losses of Mei Lanfang’s Red Chamber / WANG YONGEN HISTORY AND ARTISTS OF XIQU 61 The Formation -
Staff and Students
KIB STAFF AND STUDENTS HAN Min CHEN Shao-Tian WANG Ying JI Yun-Heng Director: XUAN Yu CHEN Wen-Yun LI De-Zhu DUAN Jun-Hong GU Shuang-Hua The Herbarium Deputy Directors: PENG Hua (Curator) SUN Hang Sci. & Tech. Information Center LEI Li-Gong YANG Yong-Ping WANG Li-Song ZHOU Bing (Chief Executive) LIU Ji-Kai LI Xue-Dong LIU Ai-Qin GAN Fan-Yuan WANG Jing-Hua ZHOU Yi-Lan Director Emeritus: ZHANG Yan DU Ning WU Zheng-Yi WANG Ling HE Yan-Biao XIANG Jian-Ying HE Yun-Cheng General Administrative Offi ce LIU En-De YANG Qian GAN Fan-Yuan (Head, concurrent WU Xi-Lin post) ZHOU Hong-Xia QIAN Jie (Deputy Head) Biogeography and Ecology XIONG De-Hua Department Other Members ZHAO JI-Dong Head: ZHOU Zhe-Kun SHUI Yu-Min TIAN Zhi-Duan Deputy Head: PENG Hua YANG Shi-Xiong HUANG Lu-Lu HU Yun-Qian WU Yan CAS Key Laboratory of Biodiversity CHEN Wen-Hong CHEN Xing-Cai (Retired Apr. 2006) and Biogeography YANG Xue ZHANG Yi Director: SUN Hang (concurrent post) SU Yong-Ge (Retired Apr. 2006) Executive Director: ZHOU Zhe-Kun CAI Jie Division of Human Resources, Innovation Base Consultant: WU Master' s Students Zheng-Yi CPC & Education Affairs FANG Wei YANG Yun-Shan (secretary) WU Shu-Guang (Head) REN Zong-Xin LI Ying LI De-Zhu' s Group LIU Jie ZENG Yan-Mei LI De-Zhu ZHANG Yu-Xiao YIN Wen WANG Hong YU Wen-Bin LI Jiang-Wei YANG Jun-Bo AI Hong-Lian WU Shao-Bo XUE Chun-Ying ZHANG Shu PU Ying-Dong GAO Lian-Ming ZHOU Wei HE Hai-Yan LU Jin-Mei DENG Xiao-Juan HUA Hong-Ying TIAN Xiao-Fei LIU Pei-Gui' s Group LIANG Wen-Xing XIAO Yue-Qin LIU Pei-Gui QIAO Qin ZHANG Chang-Qin Division of Science and TIAN Wei WANG Xiang-Hua Development MA Yong-Peng YU Fu-Qiang WANG Yu-Hua (Head) SHEN Min WANG Yun LI Zhi-Jian ZHU Wei-Dong MA Xiao-Qing SUN Hang' s Group NIU Yang YUE Yuan-Zheng SUN Hang YUE Liang-Liang LI Xiao-Xian NIE Ze-Long LI Yan-Chun TIAN Ning YUE Ji-Pei FENG Bang NI Jing-Yun ZHA Hong-Guang XIA Ke HU Guo-Wen (Retired Jun. -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Film Studies Hong Kong Cinema Since 1997: The Response of Filmmakers Following the Political Handover from Britain to the People’s Republic of China by Sherry Xiaorui Xu Thesis for the degree of Doctor of Philosophy December 2012 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Film Studies Doctor of Philosophy HONG KONG CINEMA SINCE 1997: THE RESPONSE OF FILMMAKERS FOLLOWING THE POLITICAL HANDOVER FROM BRITAIN TO THE PEOPLE’S REPUBLIC OF CHINA by Sherry Xiaorui Xu This thesis was instigated through a consideration of the views held by many film scholars who predicted that the political handover that took place on the July 1 1997, whereby Hong Kong was returned to the sovereignty of the People’s Republic of China (PRC) from British colonial rule, would result in the “end” of Hong Kong cinema.