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3D423bbe0559a0c47624d24383
BENDS straddles the Hong Kong- Shenzhen border and tells the story of ANNA, an affluent housewife and FAI, her chauffeur, and their unexpected friendship ABOUT as they each negotiate the pressures of Hong Kong life and the city’s increasingly complex relationship to mainland China. Fai is struggling to find a way to bring his THE pregnant wife and young daughter over the Hong Kong border from Shenzhen to give birth to their second child, even though he crosses the border easily every FILM day working as a chauffeur for Anna. Anna, in contrast, is struggling to keep up the facade of her ostentatious lifestyle into which she has married, after the sudden disappearance of her husband amid financial turmoil. Their two lives collide in a common space, the car. PRODUCTION NoteS SHOOT LOCATION: Hong Kong TIMELINE: Preproduction, July/August 2012 Principal Photography, September/October 2012 (23 days) Completion, Spring 2013 PREMIERE: Cannes Film Festival 2013, Un Certain Regard (Official Selection) LANGUAGE: Cantonese & Mandarin FORMAT: HD, Colour LENGTH: 92 minutes THE CaST ANNA - Lead Female Role Carina Lau 劉嘉玲 SelecTED FILMOGRAPHY: Detective Dee and the Mystery Phantom Flame Let the Bullets Fly 2046 Flowers of Shanghai Ashes of Time Days of Being Wild FAI - Lead Male Role Chen Kun 陳坤 SelecTED FILMOGRAPHY: Painted Skin I & II, Rest On Your Shoulder, Flying Swords of Dragon Gate 3D Let the Bullets Fly Balzac and the Little Chinese Seamstress Writer/Director Flora Lau 劉韻文 Cinematographer Christopher Doyle (H.K.S.C.) 杜可風 A Very Special Thanks To William Chang Suk Ping 張叔平 Flora was born and raised in Hong Kong. -
Movie Tv Sho Audio Radio
70 FILM REVIEWS MOVIES 71 NEW MOVIES ONBOARD 72 MOVIES TV SHOWS 74 TV SHOWS AUDIO Entertainment 76 AUDIO/RADIO RADIO © 2018 20TH CENTURY FOX. ALL RIGHTS RESERVED. BAD TIMES AT THE EL ROYALE FILM REVIEWS WANT HELP WITH WHAT TO WATCH THIS MONTH? FILMMAKER AND DIRECTOR KAM RASLAN MAKES THE CASE FOR THESE THREE MOVIES. THE INCREDIBLES Is The Incredibles the best animated movie ever? Yes. Yes, it is. It’s hilariously funny, exciting, moving and visually beautiful. A family of superheroes have to live in witness protection as normal people because superheroes have been deemed a menace to society. Naturally, Mr Incredible hates his boring life as an insurance salesman and his goingplacesmagazine.com children have to hide their superhero skills. But when an opportunity for a return to the old life comes knocking, Mr Incredible puts his entire family at risk, which sounds like a job LOGAN for Elastigirl. Is Logan the best superhero movie ever? EDGE OF TOMORROW Probably. A thunderous Hugh Jackman Because it was made all the way back in Is Edge of Tomorrow the best science fiction | 70 is Wolverine one last time as he plays a 2004, the animation for The Incredibles may movie ever? Maybe not, but it’s definitely | January 2019 January | reluctant father figure to the stunningly not seem quite as plush as, say, Zootopia, the best science fiction movie starring Tom intense young actress Dafne Keen. On a but director Brad Bird (who made his name Cruise, and when it comes to big-budget desperate journey from Mexico to the far with The Simpsons) created such a complete action Hollywood movies, nobody delivers north, the pair are perfectly matched as universe that you instantly forget. -
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). -
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. -
Howard Choya4
Global Cities Schizophrenic Hong Kong: Postcolonial Identity Crisis in the Infernal Affairs Trilogy HOWARD Y. F. CHOY Michel Foucault avers: «one should totally and absolutely suspect anything that claims to be a return. there is in fact no such thing as a return.» It is, however, in rigid irredentist claims of the return that Hong Kong was handed over from British to Chinese rule in 1997. To the natives of Hong Kong, this postcolonial turn is actually less a decolonization than a recolonization of the capitalist Cantonese city by the mainland Mandarin master. They find themselves helplessly trapped in the dual nationality of overseas British and Chinese nationals. This existential agony is deftly cinematized in the Infernal Affairs trilogy under the disguise of a police epic. The 2002 box-office success and its 2003 prequel and sequel tell a story about an undercover cop and a mafia mole. A crisis of consciousness arises from both the former’s desire to regain his true identity and the latter’s struggle to become a real cop. The identity crisis is not only about, as critics suggest, split personalities between good and evil, but also political tensions between the colonized and colonizers. This paper argues that the collective failure of identity change before and after the fin de siècle changeover characterizes the Special Administrative Region’s schizophrenic return. Schizophrenic Hong Kong : Postcolonial Identity Crisis in the Infernal Affairs Trilogy Chineseness/Britishness: Return and Depart Michel Foucault avers: «One should totally and absolutely suspect anything that claims to be a return. there is in fact no such thing as a return».1 It was, however, in rigid irredentist claims of a «return» that the People’s Republic of China (PRC) took over Hong Kong from Great Britain in 1997. -
Product Guide
AFM PRODUCTPRODUCTwww.thebusinessoffilmdaily.comGUIDEGUIDE AFM AT YOUR FINGERTIPS – THE PDA CULTURE IS HAPPENING! THE FUTURE US NOW SOURCE - SELECT - DOWNLOAD©ONLY WHAT YOU NEED! WHEN YOU NEED IT! GET IT! SEND IT! FILE IT!© DO YOUR PART TO COMBAT GLOBAL WARMING In 1983 The Business of Film innovated the concept of The PRODUCT GUIDE. • In 1990 we innovated and introduced 10 days before the major2010 markets the Pre-Market PRODUCT GUIDE that synced to the first generation of PDA’s - Information On The Go. • 2010: The Internet has rapidly changed the way the film business is conducted worldwide. BUYERS are buying for multiple platforms and need an ever wider selection of Product. R-W-C-B to be launched at AFM 2010 is created and designed specifically for BUYERS & ACQUISITION Executives to Source that needed Product. • The AFM 2010 PRODUCT GUIDE SEARCH is published below by regions Europe – North America - Rest Of The World, (alphabetically by company). • The Unabridged Comprehensive PRODUCT GUIDE SEARCH contains over 3000 titles from 190 countries available to download to your PDA/iPhone/iPad@ http://www.thebusinessoffilm.com/AFM2010ProductGuide/Europe.doc http://www.thebusinessoffilm.com/AFM2010ProductGuide/NorthAmerica.doc http://www.thebusinessoffilm.com/AFM2010ProductGuide/RestWorld.doc The Business of Film Daily OnLine Editions AFM. To better access filmed entertainment product@AFM. This PRODUCT GUIDE SEARCH is divided into three territories: Europe- North Amerca and the Rest of the World Territory:EUROPEDiaries”), Ruta Gedmintas, Oliver -
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. -
Japanese Women, Hong Kong Films, and Transcultural Fandom
SOME OF US ARE LOOKING AT THE STARS: JAPANESE WOMEN, HONG KONG FILMS, AND TRANSCULTURAL FANDOM Lori Hitchcock Morimoto Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Department of Communication and Culture Indiana University April 2011 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee _______________________________________ Prof. Barbara Klinger, Ph.D. _______________________________________ Prof. Gregory Waller, Ph.D. _______________________________________ Prof. Michael Curtin, Ph.D. _______________________________________ Prof. Michiko Suzuki, Ph.D. Date of Oral Examination: April 6, 2011 ii © 2011 Lori Hitchcock Morimoto ALL RIGHTS RESERVED iii For Michael, who has had a long “year, two at the most.” iv Acknowledgements Writing is a solitary pursuit, but I have found that it takes a village to make a dissertation. I am indebted to my advisor, Barbara Klinger, for her insightful critique, infinite patience, and unflagging enthusiasm for this project. Gratitude goes to Michael Curtin, who saw promise in my early work and has continued to mentor me through several iterations of his own academic career. Gregory Waller’s interest in my research has been gratifying and encouraging, and I am most appreciative of Michiko Suzuki’s interest, guidance, and insights. Richard Bauman and Sumie Jones were enthusiastic readers of early work leading to this dissertation, and I am grateful for their comments and critique along the way. I would also like to thank Joan Hawkins for her enduring support during her tenure as Director of Graduate Studies in CMCL and beyond, as well as for the insights of her dissertation support group. -
Ein Film Von Wong Kar Wai
PRESSE-INFORMATION Polyfilm Verleih präsentiert Ein Film von Wong Kar Wai mit TONY LEUNG - GONG LI - TAKUYA KIMURA - FAYE WONG ZHANG ZIYI - CARINA LAU - CHANG CHEN Special Appearance MAGGIE CHEUNG HONGKONG 2004 Länge: 127 Minuten / Farbe / 35 mm / Cinemascope / Dolby SRD VERLEIH: Polyfilm Verleih Margaretenstrasse 78 - 1050 Wien FON +43-1-581 39 00-20 - FAX +43-1-581 39 00-39 http://verleih.polyfilm.at [email protected] INHALTSVERZEICHNIS BESETZUNG...............................................................................................................3 STAB .............................................................................................................................3 SYNOPSIS ...................................................................................................................4 WONG KAR WAI ÜBER SEINEN FILM ...............................................................5 DIE MUSIK WONG KAR WAI zur Musik in ‚2046’............................................................................................................6 SHIGERU UMEBAYASHI – Originalmusik....................................................................................................6 PEER RABEN – Originalmusik......................................................................................................................6 MUSIKALISCHE UND EMOTIONALE REISEN – zur Musik in Wong Kar-wais ‚2046’ ................................7 DIE DARSTELLER TONY LEUNG – Chow Mo Wan ...................................................................................................................9 -
Female Subjectivity, Left-Wing Films, and the Representation Of
Concentric: Literary and Cultural Studies 38.1 March 2012: 197-221 Disappearing Politics and the Politics of Disappearance: Female Subjectivity, Left-Wing Films, and the ∗ Representation of 1930s Shanghai in Center Stage Han Li Department of Modern Languages and Literatures Rhodes College, USA Abstract This paper examines the intertextual structure and its dynamic employment of (de)constructing female subjectivity in Stanley Kwan’s Center Stage (1992). In this study, I suggest how the film’s fundamental reconstruction of the life experience of Ruan Lingyu (1910-35) is intertwined with representational erasure of 1930s Shanghai that in turn testifies to Hong Kong’s own subjectivity. I focus on the places in Center Stage where remakes of certain scenes of Ruan’s films along with original footage are inserted into the reconstructed narration of Ruan’s life. By examining the appropriation of these clips in Center Stage , I demonstrate how a parallel is created between the female characters’ experience in these 1930s films with the purported situation of Ruan Lingyu on the reconstruction level. I argue that in the filmmaker’s effort to seemingly reconstruct the female subject, the narrative in fact serves to de-politicize the 1930s films, especially the leftist ones. With the postmodern meta-cinematic structure of this film, not only does the reconstructed female subjectivity dissolve in the self-reflexive move, but the leftist progressive ideologies are also undermined. The representational erasure of the leftist elements on the discursive level is supported by the art direction in Center Stage , in which painted paperboards are used as background. On these two intermingled discursive and visual layers, Kwan tackles the apocalyptical anxiety of Hong Kong society in the 1990s with a unique representational hegemony of 1930s Shanghai. -
Important Current Affairs December 2017 Capsule with PDF
Important Current Affairs December 2017 Capsule with PDF Awards & Honours Pratibha Gai get top royal honour o Scientist Pratibha Laxman Gai has been named for damehood, the female equivalent of knighthood, for "services to chemical sciences and technology". o She is the fourth Indian-origin woman conferred with the honour since it was instituted in 1917. o Gai has patented inventions in the fields of hydrocarbon catalysis/polymers, electronic ceramics, Piezoelectrics & nanocoatings for polymers & food. K S Chitra bags 'Harivarasanam' Award o Veteran singer K S Chitra has been selected for prestigious 'Harivarasanam' award 2017, instituted by the Kerala government. o Chitra has been selected for the award in recognition of her contribution to propagate the spirit of secularism and universal brotherhood. o The award carrying a cash prize of Rs one lakh, citation and plaque would be presented at a function on January 14, 2018. Mamang Dai wins Sahitya Akademi Award o Authors Mamang Dai & Ramesh Kuntal Megh have won this year's Sahitya Akademi award for their work The Black Hill, a novel, and Vishw Mithak Sarit Sagar, a literary criticism, in English and Hindi respectively. 1 | P a g e o Sahitya Akademi announced its annual Sahitya Akademi Awards in 24 languages. o The award in the form of a casket containing an engraved copper-plaque, a shawl and a cheque of Rs 1 lakh. Ramnath Goenka Excellence Awards o The 12th edition of the Ramnath Goenka Excellence in Journalism Awards were presented. o The awards, which come with a trophy and a reward of Rs 1 lakh to each of the winners, recognise courage and commitment and showcase the outstanding contributions of journalists from across the country. -
Development and Planning in Seven Major Coastal Cities in Southern and Eastern China Geojournal Library
GeoJournal Library 120 Jianfa Shen Gordon Kee Development and Planning in Seven Major Coastal Cities in Southern and Eastern China GeoJournal Library Volume 120 Managing Editor Daniel Z. Sui, College Station, USA Founding Series Editor Wolf Tietze, Helmstedt, Germany Editorial Board Paul Claval, France Yehuda Gradus, Israel Sam Ock Park, South Korea Herman van der Wusten, The Netherlands More information about this series at http://www.springer.com/series/6007 Jianfa Shen • Gordon Kee Development and Planning in Seven Major Coastal Cities in Southern and Eastern China 123 Jianfa Shen Gordon Kee Department of Geography and Resource Hong Kong Institute of Asia-Pacific Studies Management The Chinese University of Hong Kong The Chinese University of Hong Kong Shatin, NT Shatin, NT Hong Kong Hong Kong ISSN 0924-5499 ISSN 2215-0072 (electronic) GeoJournal Library ISBN 978-3-319-46420-6 ISBN 978-3-319-46421-3 (eBook) DOI 10.1007/978-3-319-46421-3 Library of Congress Control Number: 2016952881 © Springer International Publishing AG 2017 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms 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 specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.