Insertion Sequences in the Script of Kungfu Hustle Movie.Pdf
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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. -
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. -
Video-Windows-Grosse
THEATRICAL VIDEO ANNOUNCEMENT TITLE VIDEO RELEASE VIDEO WINDOW GROSS (in millions) DISTRIBUTOR RELEASE ANNOUNCEMENT WINDOW DISNEY Fantasia/2000 1/1/00 8/24/00 7 mo 23 Days 11/14/00 10 mo 13 Days 60.5 Disney Down to You 1/21/00 5/31/00 4 mo 10 Days 7/11/00 5 mo 20 Days 20.3 Disney Gun Shy 2/4/00 4/11/00 2 mo 7 Days 6/20/00 4 mo 16 Days 1.6 Disney Scream 3 2/4/00 5/13/00 3 mo 9 Days 7/4/00 5 mo 89.1 Disney The Tigger Movie 2/11/00 5/31/00 3 mo 20 Days 8/22/00 6 mo 11 Days 45.5 Disney Reindeer Games 2/25/00 6/2/00 3 mo 8 Days 8/8/00 5 mo 14 Days 23.3 Disney Mission to Mars 3/10/00 7/4/00 3 mo 24 Days 9/12/00 6 mo 2 Days 60.8 Disney High Fidelity 3/31/00 7/4/00 3 mo 4 Days 9/19/00 5 mo 19 Days 27.2 Disney East is East 4/14/00 7/4/00 2 mo 16 Days 9/12/00 4 mo 29 Days 4.1 Disney Keeping the Faith 4/14/00 7/4/00 2 mo 16 Days 10/17/00 6 mo 3 Days 37 Disney Committed 4/28/00 9/7/00 4 mo 10 Days 10/10/00 5 mo 12 Days 0.04 Disney Hamlet 5/12/00 9/18/00 4 mo 6 Days 11/14/00 6 mo 2 Days 1.5 Disney Dinosaur 5/19/00 10/19/00 5 mo 1/30/01 8 mo 11 Days 137.7 Disney Shanghai Noon 5/26/00 8/12/00 2 mo 17 Days 11/14/00 5 mo 19 Days 56.9 Disney Gone in 60 Seconds 6/9/00 9/18/00 3 mo 9 Days 12/12/00 6 mo 3 Days 101.6 Disney Love’s Labour’s Lost 6/9/00 10/19/00 4 mo 10 Days 12/19/00 6 mo 10 Days 0.2 Disney Boys and Girls 6/16/00 9/18/00 3 mo 2 Days 11/14/00 4 mo 29 Days 21.7 Disney Disney’s The Kid 7/7/00 11/28/00 4 mo 21 Days 1/16/01 6 mo 9 Days 69.6 Disney Scary Movie 7/7/00 9/18/00 2 mo 11 Days 1212/00 5 mo 5 Days 157 Disney Coyote Ugly 8/4/00 11/28/00 3 -
Negotiating Transnational Collaborations with the Chinese Film Industry
University of Wollongong Research Online University of Wollongong Thesis Collection 2017+ University of Wollongong Thesis Collections 2019 Negotiating Transnational Collaborations with the Chinese Film Industry Kai Ruo Soh University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses1 University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Soh, Kai Ruo, Negotiating Transnational Collaborations with the Chinese Film Industry, Doctor of Philosophy thesis, School of the Arts, English and Media, University of Wollongong, 2019. -
A We Pictures Production
A We Pictures Production Mr. & Mrs. Incredible – production note (Eng) From the producer of BODYGUARDS AND ASSASSINS and the director who brought you CJ7 comes an action comedy of superhero proportion Produced by Peter Ho-Sun Chan Directed by Vincent Kok World Sales We Distribution Limited Unit F, 17/F, MG Tower, 133 Hoi Bun Road, Kwun Tong, Kowloon, Hong Kong Tel: +852-2366-1622 Fax: +852-2366-0661 Email: [email protected] Mr. & Mrs. Incredible – production note (Eng) ABOUT THE PRODUCTION Producer : Peter Ho-Sun Chan Director : Vincent Kok Scriptwriters : Vincent Kok, Fung Min-hang Production Design Consultant : Yee Chung Man Production Designer : Cyrus Ho Action Choreographer : Jacky Yeung Tak Ngai Director of Photography : Peter Ngor Original Music by : Raymond Wong Editor : Chung Wai Chiu Sandra Ng as Red (The Aroma Woman) Louis Koo as Huan (The Gazer Warrior) Production Budget : US$7.5 Million Production Status : Completed Release Date : February 3, 2011 (Hong Kong) Mr. & Mrs. Incredible – production note (Eng) SYNOPSIS Hong Kong No.1 box office queen Sandra Ng (Echoes of the Rainbow, Golden Chicken – Golden Horse Awards Best Actress) teams up with Johnnie To regular Louis Koo (Election I & II, Triangle, Overheard) in this larger-than-life action comedy about a retired superhero couple caught in the middle of a colossal martial arts tournament. Love is never meant to be an easy matter -- especially for superheroes. Huan aka the Gazer Warrior (Louis Koo) falls in love with Red aka the Aroma Woman (Sandra Ng) during a superhero standoff. But life as a superhero means little time for each other. -
Farce, Pathos, and Absurdity in Stephen Chow's Film Comedies: from Beijing with Love and CJ7 Reconsidered
Concentric: Literary and Cultural Studies 36.2 Sept. 2010: 213-241 Farce, Pathos, and Absurdity in Stephen Chow’s Film Comedies: From Beijing with Love and CJ7 Reconsidered* Eric K.W. Yu Department of Foreign Languages and Literature National Chiao Tung University, Taiwan Abstract The hugely popular Hong Kong film comedian and director Stephen Chow Sing Chi enjoyed international box-office success as well as critical acclaim for his Kung Fu Hustle (2004). Despite its lukewarm reception in the West, his latest film CJ7 (2008) has been compared to Charlie Chaplin’s classic The Kid (1921). This paper explores the seldom-discussed Chaplinesque aspect in Chow’s oeuvre, arguing that how to evoke pathos while preserving the funniest ingredients of farce has in fact been an artistic obsession for Chow for years. Focusing on Chow’s early work From Beijing with Love (1994), a daring blend of farce and pathos, and CJ7, his latest endeavor to “seek joy amidst sorrow,” this paper examines Chow’s major comic devices, including the significance of absurdity created by situational humor, and probes into the curious interaction between low comedy elements and narrative techniques which elicit emotional responses beyond belly laughs. How can pathos be created in a generally low comic climate without appearing to be playful insincerity? How can pathos so created be prevented from developing into sentimentality, an easy target for burlesque? Such are the questions in film aesthetics addressed by the present study. Attending to the dissimilar reception of CJ7 in Greater China and the West, this paper also seeks to explore how cultural differences might have complicated Chow’s recent attempts to cater his works for a more global audience. -
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EMAIL : [email protected] YM: henz_magician TELP :XL 081910293132 (CALL OR SMS) How To Order: 1.Pilih judul yang di inginkan dengan mengetik "1" dikolom yg disediakan & JANGAN Merubah Format susunan list ini 2.Isi Form Pemesanan (WAJIB!) 3. Save pesanan anda dan ganti nama file list ini dengan nama id anda (Order / id kaskus atau chip / nama anda sendiri ) 4.Kirimkan File List ini ke email : [email protected] 5.Konfirmasikan pesanan anda ke 081910293132 (SMS) & Sebutkan type dan ukuran hardisk yg diinginkan (Jika Ingin Membeli Hardisk baru) How To Order: 1.Pilih judul yang di inginkan dengan mengetik "1" dikolom yg disediakan & JANGAN Merubah Format susunan list ini 3. Save pesanan anda dan ganti nama file list ini dengan nama id anda (Order / id kaskus atau chip / nama anda sendiri ) 4.Kirimkan File List ini ke email : [email protected] 5.Konfirmasikan pesanan anda ke 081910293132 (SMS) & Sebutkan type dan ukuran hardisk yg diinginkan (Jika Ingin Membeli Hardisk baru) How To Order: JANGAN Merubah Format susunan list ini 3. Save pesanan anda dan ganti nama file list ini dengan nama id anda (Order / id kaskus atau chip / nama anda sendiri ) 5.Konfirmasikan pesanan anda ke 081910293132 (SMS) & Sebutkan type dan ukuran hardisk yg diinginkan (Jika Ingin Membeli Hardisk baru) JENIS Total Terpilih HD Movie #NAME? HD Music Concert #NAME? 3D Movie #NAME? Documenter #NAME? PC Games #NAME? Asian TV Series & Movie #NAME? TV Series 710.36 Comedy & Indo Movie 2.2 Anime 0 Tokusatsu 0 Smack Down 0 TOTAL #NAME? Harap form pengiriman diisi dengan jelas dan benar Rek. -
University De Macau
UNIVERSITY DE MACAU UNIVERSITY OF MACAU FACULTY OF SOCIAL SCIENCES AND HUMANITIES DEPARTMENT OF COMMUNICATION Stephen Chow — the King of Comedy in Hong Kong “Laughter in Disguise” and “Seeing beyond Believing” By Shen Chen (Ives) M-A9-5506-0 Supervisor: Prof. Tan See Kam A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at the University of Macau August 2011 DECLARATION I declare that this thesis represents my own work, including where due acknowledgments are made, and that it has not been previously included in a thesis, dissertation or monograph submitted to this university or to any other institutions for a degree, diploma or other qualifications. Signature _ ii Acknowledgments The conceptualization of this thesis, the refinement of its content, and its eventual production have benefited from the contribution of numerous people. I would like to avail myself of this opportunity to extend my sincerest appreciation to each and every one of them. Biggest and broadest thanks must go first to my supervisor Prof. Tan See Kam whose motto “flexibility in thoughts and creativity in deeds” have and will be inspiring and influencing me for good. He enthused me with the study of movies, deflated, deflected and sharpened my ideas, and assisted me in a number of inquiries at the heart of the research explored in this thesis with his healthy skepticism, his illuminating criticism, his shrewd advice, his extreme attention to detail and his commitment to seeing the thesis through. I am also deeply in debt to Prof. Chen Huailin, whose rigid, but rigorous inculcation of knowledge imparted nerves of steel and immunity to trials and tribulations to me; Prof. -
P26-29 Stephen Chow.Indd
His humor knows no bounds, but with his latest movie CJ7, a new side of Stephen Chow has emerged. Ben Sin talked to the actor to find out more... t’s been four years since Hong Kong audi- Fu Hustle, wanted him to work on a sequel to that with his witty, deadpan sarcastic remarks. Soon, TVB ences last got their dose of Stephen Chow movie. But Chow abandoned that project in favor of this realized Chow’s natural comedic talent and placed him in the surprise international hit Kung Fu one, and they came running anyway. on a few TV serials. One of them was Final Combat, in Hustle, which set the record for the highest “This was the most enjoyable shooting experience,” he which Chow’s smart-mouth, wisecracking protagonist grossing film of all time (a record Chow says of the film, which Chow claims was influenced by proved to be extremely popular with local audiences. has already set and broken four times to the Steven Spielberg’s classic 1982 film ET. “Xu Jiao The series further exposed Chow’s comedic talents to date). Most likely, he’ll do it again with his is a very intelligent actor, as well as a very lovely little the city, which eventually led to film offers. highly anticipated big budget sci-fi fantasy girl, which makes the filmmaking process very smooth comedy CJ7. and relaxing,” he says of the nine year old, who was For a while, Chow split his time between TVB and I selected ahead of 10,000 others to become the young playing supporting role in films. -
American Family Entertainment and the Only Child Generation In
American Family Entertainment and the Only Child Generation in Contemporary Urban China Ting He Submitted for the degree of Doctor of Philosophy (PhD) University of East Anglia School of Film, Television & Media Studies Submitted April 2013 ©This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis, nor any information derived therefrom, may be published without the author's prior, written consent. Acknowledgements First and foremost, I would like to express my gratitude to my supervisor team, Mr Peter Kramer and Prof Mark Jancovich, for their always insightful suggestions and expert guidance. It has been a privilege and memorable experience to work with both of them. I am also grateful to Rayna Denison, who provided many comments and suggestions on my work during my upgrade panel. I would also like to thank Dr Melanie Williams and Dr Andrew Willis for their valuable feedback from the viva exam. My special thanks go to the PhD students of my school, Erin Giannini, Oliver Gruner, Antonella Palmieri, Seb Manley, Vincent Gaine, Derek Johnson, Rachel Mizsei Ward, Heather Wintle and everyone else involved in the PhD seminars over the past years for their comments and suggestions on the papers I have presented in these seminars. Lastly, but most of all, thanks to my parents, He Yuansheng and Pan Jie, my husaband, Zhang Yu, for their unconditional love and support, without which this thesis would have never come into being. Abstract As a result of the economic reform which took place three decades ago, imported American family entertainment had gradually become an important part of the everyday entertainment for Chinese consumers. -
Hong Kong Cinema Moving Into the Mainland of China
1 Watchful Partners, Hidden Currents Hong Kong Cinema Moving into the Mainland of China Esther C.M. Yau The naming of Hong Kong cinema became detached from the city of Hong Kong in the mid‐2000s when its major local film companies, producers, and directors relocated their offices and personnel to the Chinese mainland to redirect their energies into co‐producing films. The Cantonese film legacies and local Hong Kong stories that gave this cinema its reputation remained largely absent from the “co‐production films” (he pai pian) made under partnership terms in the mainland of the People’s Republic of China (hereafter the PRC or China).1 In growing quantity and budget, co‐produced films capitalized on distribution privileges, massive numbers of moviegoers, and government endorsement to become the highest‐grossing pictures in the annual output of the PRC. In the late 1970s and early 1980s co‐produced films were occasional, low‐ budget, “cross‐border” ventures involving China’s state film studios. By the early 1990s there were award‐winning features coming out of this practice to expand the screenscape of Hong Kong cinema. Redefined by partnership arrangements, co‐production after the mid‐2000s became the very medium that drove the unprec edented transregional move of the Hong Kong film industry. Relocating creative talents and genre filmmaking experience into China played a substantial part in China’s state‐managed cultural globalization through a rapid expansion of China’s commercial cinema; a form of soft power for the early twenty‐first century. Moving Hong Kong’s film industry operations inevitably brought change to the ideoscapes andCOPYRIGHTED mediascapes of the mainland.