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Bullet in the Head
JOHN WOO’S Bullet in the Head Tony Williams Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © Tony Williams 2009 ISBN 978-962-209-968-5 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 Condor Production Ltd., Hong Kong, China Contents Series Preface ix Acknowledgements xiii 1 The Apocalyptic Moment of Bullet in the Head 1 2 Bullet in the Head 23 3 Aftermath 99 Appendix 109 Notes 113 Credits 127 Filmography 129 1 The Apocalyptic Moment of Bullet in the Head Like many Hong Kong films of the 1980s and 90s, John Woo’s Bullet in the Head contains grim forebodings then held by the former colony concerning its return to Mainland China in 1997. Despite the break from Maoism following the fall of the Gang of Four and Deng Xiaoping’s movement towards capitalist modernization, the brutal events of Tiananmen Square caused great concern for a territory facing many changes in the near future. Even before these disturbing events Hong Kong’s imminent return to a motherland with a different dialect and social customs evoked insecurity on the part of a population still remembering the violent events of the Cultural Revolution as well as the Maoist- inspired riots that affected the colony in 1967. -
Ludacris – Red Light District Brothers in Arms the Pacifier
Pickwick's Video/DVD Rentals – New Arrivals 19. Sept. 2005 Marc Aurel Str. 10-12, 1010 Vienna Tel. 01-533 0182 – open daily – http://www.pickwicks.at/ __________________________________________________________________ Ludacris – Red Light District Genre: Music Synopsis: Live concert from Amsterdam plus three music videos. Brothers In Arms Genre: Action Actors: David Carradine, Kenya Moore, Gabriel Casseus, Antwon Tanner, Raymond Cruz Director: Jean-Claude La Marre Synopsis: A crew of outlaws set out to rob the town boss who murdered one of their kinsmen. Driscoll is warned so his thugs surround the outlaws and soon there is a shootout. Set in the American West. The Pacifier Genre: Comedy Actors: Vin Diesel, Lauren Graham, Faith Ford, Brittany Snow, Max Theriot, Carol Kane, Brad Gardett Director: Adam Shankman Synopsis: The story of an undercover agent who, after failing to protect an important government scientist, learns the man's family is in danger. In an effort to redeem himself, he agrees to take care of the man's children only to discover that child care is his toughest mission yet. Pickwick's Video/DVD Rentals – New Arrivals 19. Sept. 2005 Marc Aurel Str. 10-12, 1010 Vienna Tel. 01-533 0182 – open daily – http://www.pickwicks.at/ __________________________________________________________________ The Killer Language: Japanese Genre: Action Actors: Chow Yun Fat Director: John Woo Synopsis: The story of an assassin, Jeffrey Chow (aka Mickey Mouse) who takes one last job so he can retire and care for his girlfriend Jenny. When his employers betray him, he reluctantly joins forces with Inspector Lee (aka Dumbo), the cop who is pursuing him. -
Newsletter 19
In Memory of the Star-Studded MP & GI In 1956, Loke Wan-tho of Singapore's Cathay Organisation established in Hong Kong Motion Picture & General Investment Co Ltd (MP & GI) which thrived in just a few years. Loke Wan-tho, the life and soul of star-studded MP & GI, is himself the brightest star. MP & GI was famed for its Mandarin comedies and musicals. In fact, its Cantonese unit was set up before the Mandarin unit, producing box office successes such as The Romance of Jade Hall (1957) and Bitter Lotus (1960), though it was those middlebrow and westernised features which became MP & GI's trade mark. MP & GI's Cantonese features thus provide useful yardsticks against which their origin and interrelationship with the Mandarin ones are measured. What connections and conflicts do these Cantonese films have with the rest of the Cantonese film world? The two units converged, at the release of The Greatest Civil War on Earth (1961), breaking the deadlock reached by the segregated Mandarin and Cantonese worlds. The world of homeland sentiments and classy Shanghai school so frequently portrayed in Mandarin contemporaries is slowly fading away, pulling itself closer to the Hong Kong society. The focus on Cathay/MP & GI in this issue allows us to share with the writers opinions, first-hand experience, and research that they have of the company, apart from supplying us with the tracks left behind by those involved in the preparation of the film retrospective to be launched between March and June. Despite the vanishing of the MP & GI myth, we still remember fondly the orbit once frequented by the galaxy of stars and how precious it was to have these stars, both on and off the screen, gathered together for a united goal. -
Ratpack Films a Lion Rock Production
Ratpack Films Present A Lion Rock Production Directed by Su Chao-Pin Co-directed by John Woo Produced by John Woo & Terence Chang Running time: 117 minutes Certificate: 15 Opens at UK cinemas on 15th February 2013 Press Contacts Sarah Wharton – [email protected] Lisa DeBell – [email protected] Almar Haflidason – [email protected] For hi-res images/production notes and more, go to – www.fetch.fm CAST MICHELLE YEOH - Zeng Jing JUNG WOO-SUNG - Jiang Ah-Sheng WANG XUEQI - The Wheel King BARBIE HSU - Turquoise SHAWN YUE - Lei Bin KELLY LIN - Drizzle GUO XIAODONG - Zhang Renfeng JIANG YIYAN - Tian Qingtong LEON DAI - The Magician PAW HEE CHING - Mrs. Cai MATT WU - Killer Bear JIN SHIJIE - Doctor Li PACE WU - Kongdong Teal Sword CALVIN LI - Wisdom ANGELES WOO - Eater Bear CREW Directed by SU CHAO-PIN and JOHN WOO Produced by JOHN WOO and TERENCE CHANG Screenplay by SU CHAO-PIN Action Director STEPHEN TUNG Director of Photography HORACE WONG Art Director YANG BAIGUI Costume Designer EMI WADA Composer PETER KAM Editor CHEUNG KA-FAI INTRODUCTION Directed by Su Chao-pin (SILK), co-directed by internationally acclaimed director John Woo, and produced by Terence Chang and John Woo, REIGN OF ASSASSINS is a wuxia style-martial arts actioner. Filmed and choreographed similar in style to CROUCHING TIGER, HIDDEN DRAGON, but packed with suspense, romance and revenge, it offers up a story that is a combination of FACE/OFF and MR. AND MRS. SMITH set in ancient China. The project began when producer Terence Chang was looking for an action vehicle for international star and heroine Michelle Yeoh. -
The Hollywood Factor in the Reshaping of the Asian Film Industry Razón Y Palabra, Núm
Razón y Palabra ISSN: 1605-4806 [email protected] Universidad de los Hemisferios Ecuador Rampal, Kuldip Cultural Imperialism or Economic Necessity?: The Hollywood Factor in the Reshaping of the Asian Film Industry Razón y Palabra, núm. 43, febrero-marzo, 2005 Universidad de los Hemisferios Quito, Ecuador Available in: http://www.redalyc.org/articulo.oa?id=199520626021 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Razón y Palabra ISSN Impreso: 1605-4806 Número 43, año 10, febrero‐marzo 2005 Instituto Tecnológico y de Estudios Superiores de Monterrey, México. Cultural Imperialism or Economic Necessity?: The Hollywood Factor in the Reshaping of the Asian Film Industry Por Kuldip Rampal Número 43 Introduction The demise of totalitarianism in the former Soviet Union and its Eastern European satellites states in the early 1990s provided added attractions for liberal democratic systems and market economies in politically closed and command economy-style societies. Along with these moves have come media liberalization and media globalization, whose social implications the developing world is just beginning to see. Marshall McLuhan's projected global village (McLuhan, 1967) is increasingly a reality made possible by the communication revolution -- satellite and cable television, multinational media conglomerates such as those of Rupert Murdoch and TIME-Warner communications, and, increasingly, the Internet. Trade liberalization and economic growth have given more people the means to become consumers of media entertainment than ever before. -
Wider Visions.Pdf
WV_(24/1)(2/23)_cov 12/9/09 10:01 am Page 1 WV_(24/1)(2/23)_cov 12/9/09 10:01 am Page 2 Introduction Contents Credits Section 1: Alternative Cinema 3 This study guide has been written to accompany the Transition Wider Visions study guide adapted by Baz Al-Rawi from original text Year (TY) Moving Image Module, a project of the Arts Council Working by Elaine Lennon. Edited by Alicia McGivern with contributions by Section 2: Maria Full of Grace 5 Group on Film and Young People (piloted 2005–2008). Focusing Deirdre Quinlan, IFI Education. on alternative and world cinema, the guide introduces this type Section 3: House of Flying Daggers 10 of film and follows with a close study of three films. We would like to thank the following for permission to reproduce copyright material: Maria Full of Grace is a South American film which combines Section 4: Touching the Void 15 documentary and thriller elements to tell the story of a young Crouching Tiger, Hidden Dragon images courtesy of Sony Pictures; woman caught up in the drugs trade. House of Flying Daggers is Section 5: Auteur Cinema 19 Little Miss Sunshine images courtesy of Twentieth Century Fox a Chinese martial arts action film from an ‘auteur’ filmmaker and Films Ltd. © Twentieth Century Fox Films Ltd.; Slumdog Millionaire Touching the Void belongs to a genre known as the docu-drama. Films for further viewing 21 images and House of Flying Daggers images courtesy of Pathé The final chapter introduces the concept of the auteur filmmaker Films U.K. -
Please Turn Off Cellphones During Screening March 27, 2012 (XXIV:10) John Woo, the KILLER (1989, 111 Min.)
Please turn off cellphones during screening March 27, 2012 (XXIV:10) John Woo, THE KILLER (1989, 111 min.) Written & Directed by John Woo Produced by Hark Tsui Original Music by Lowell Lo (as Lowell Lowe) Cinematography by Peter Pau (as Peter Pao) and Wing-Hung Wong (as Wong Wing Hang) Film Editing by Kung Wing Fan (as Fan Kung Ming) Art Direction by Man-Wah Luk (as Luk Man Wah) Set Decoration by Chun-Ching Tai Stunt action coordinators Siu-Tung Ching (as Ching Siu Tung) and Chi-Ho Lau (as Lau Chi Ho) Yun-Fat Chow…Ah Jong (as Chow Yun Fat) Danny Lee…Insp. Li Ying / Little Eagle Sally Yeh…Jennie Kong Chu…Fung Sei (as Chu Kong) Kenneth Tsang…Sgt. Tsang Yeh (as Tsang Kong) Fui-On Shing…Wong Hoi (as Shing Fui On) Wing-Cho Yip…Wong Dung-Yu 1992 The Legend of the Swordsman, 1991 Once Upon a Time in JOHN WOO (b. Yusen Wu, September 23, 1946, Guangzhou, China, 1990 Zhong Ri nan bei he, 1990 The Swordsman, 1989 A China) has directed 39 films, some of which are 2009 Red Cliff Better Tomorrow III: Love and Death in Saigon, 1989 The Killer II, 2008 Red Cliff, 2003 Paycheck, 2002 Hostage, 2002 (as Tsui Hark), 1988 Gunmen, 1988 The Big Heat, 1987 A Better Windtalkers, 2000 Mission: Impossible II, 1997 Face/Off, 1996 Tomorrow II, 1986 Peking Opera Blues, 1986 A Better Broken Arrow, 1993 Hard Target, 1992 Hard Boiled, 1991 Once Tomorrow (as Tsui Hark), and 1985 King Worker. a Thief, 1990 Bullet in the Head, 1989 The Killer, 1987 A Better Tomorrow II, 1986 A Better Tomorrow, 1985 Liang zhi lao hu, PETER PAU (1952, Hong Kong) won a Best Cinematography 1981 Hua ji shi dai (as Wu Hsiang-fei), 1979 Last Hurrah for Oscar for Crouching Tiger, Hidden Dragon (2000). -
Mr. Warner's Vietnam War Movie List 84 Charlie Mopic a Unique Look At
Mr. Warner’s Vietnam War Movie List 84 Charlie Mopic A unique look at the Vietnam War in revealed through the subjective lens of a fictitious army motion picture (MoPic) cameraman. Highly recommended for a "realistic" presentation of a reconnaissance mission by a team of GIs in the Central Highlands in 1969. (95 minutes) A Bright Shining Lie A U.S. senior military adviser is sent to Vietnam and finds himself fighting a war he cannot win alongside a corrupt and demoralized South Vietnamese Army. Based on the Pulitizer Prize and National Book Award winning book by Neil Sheehan, A Bright Shining Lie: John Paul Vann and America in Vietnam. (118 minutes) Apocalypse ow Francis Ford Coppola's 1979 provocative vision of the human "heart of darkness" revealed through the peculiar madness of the Vietnam War. A United States Army officer/trained assassin is sent into the depths of a southeast Asian jungle to seek out a renegade colonel and terminate his command during the Vietnam War. (153 minutes) Apocalypse ow Redux Reissue of 1979 film with restored footage edited out of original version. Even better (much better!) than the original; judged by some critics as the best film of 2001--even though it was made in 1979! (202 minutes) Birdy To escape an irrational world, Birdy, an ex-Vietnam veteran sits in an almost catatonic state in an Army hospital where he has come to believe he is one of the feathered creatures of his boyhood dreams. In an effort to break Birdy's silence, his psychiatrist brings in Birdy's loyal, best friend of his youth as they attempt to reach him and bring him back to reality. -
Link BAND of BROTHER Series
http://www.sinema-21.com/film-band-of-brothers-eps-01-10/ link BAND OF BROTHER series .. wajib donlot nih .. stelah itu hapus note . #we were soldier #valkyrie #full metal jacket #the pianist #flags our father #downfall #kingdom of heaven #platoon #saints and soldier #apocalypse now #beneath hill 60 #the pacific #born on the fourth of july #the walking dead #restrepo #the thin red line #behind enemy lines http://en.wikipedia.org/wiki/War_film http://www.kaskus.us/showthread.php?t=2420251 http://movie.detikhot.com/read/2009/07/14/114640/1164632/620/film-film-gangster- terbaik http://thepulplist.com/2009/05/top-20-gangster-movies-of-the-last-40-years/ Feature Films & Television Shows 84 Charlie Mopic [PN1997 .E3648 1989] A unique look at the Vietnam War in reve aled through the subjective lens of a fictitious army motion picture (MoPic) cam eraman. Highly recommended for a "realistic" presentation of a reconnaissance mi ssion by a team of GIs in the Central Highlands in 1969. (95 minutes) A Bright Shining Lie [PN1997 .B744 1998] A U.S. senior military adviser is sent to Vietnam and finds himself fighting a war he cannot win alongside a corrupt an d demoralized South Vietnamese Army. Based on the Pulitizer Prize and National B ook Award winning book by Neil Sheehan, A Bright Shining Lie: John Paul Vann and America in Vietnam. (118 minutes) View trailer Apocalypse Now [PN1997 .A66 1982] [Videodisc] Francis Ford Coppola's 1979 provoc ative vision of the human "heart of darkness" revealed through the peculiar madn ess of the Vietnam War. -
Hong Kong: Communicating 1997 and Beyond Through Film Author(S)
Hong Kong: Communicating 1997 and beyond through Film Author(s): Laura Ferguson Source: eSharp , Special Issue: Communicating Change: Representing Self and Community in a Technological World (2010), pp. 30-49 URL: http://www.gla.ac.uk/esharp ISSN: 1742-4542 Copyright in this work remains with the author. _______________________________________________________ eSharp is an international online journal for postgraduate research in the arts, humanities, social sciences and education. Based at the University of Glasgow and run by graduate students, it aims to provide a critical but supportive entry to academic publishing for emerging academics, including postgraduates and recent postdoctoral students. [email protected] eSharp Special Issue: Communicating Change Hong Kong: Communicating 1997 and beyond through Film Laura E. Ferguson (University of Glasgow) This paper intends to examine how cinema in Hong Kong depicted the 1997 Handover and post-Handover Hong Kong in the hope of being able to identify collective attitudes, beliefs and fears displayed during these periods to support the central argument that Hong Kong cinema is a key cultural vehicle for communicating change. The period from the Sino British Joint Declaration of 1984 onwards was an era of great change for the region which was strongly reflected in films produced throughout that time. There was particularly a sense of anxiety evident in many movies in the years leading up to the handover, involving what Julian Stringer described as ‘narratives of loss, alienation and doubt’ (Stringer 1997, p.25). This paper shall examine Hong Kong films in the years between the Sino British Joint Declaration and the Handover, through the immediate effect of the event itself in 1997 and looking towards the long-term future of Hong Kong as a part of China, arguing that they depict a society in crisis over its identity and permanent uncertainty over its future. -
Masculinitiesand Hong Kongcinema
Masculinitiesand Hong KongCinema Edited by Laikwan Pang & Day Wong .ij. ~ *. if :±: ~B. if±. HONG KONG UNIVERSITY PRESS Hong Kong University Press 14/F Hing Wai Centre 7 Tin Wan Praya Road Aberdeen Hong Kong © Hong Kong University Press 2005 ISBN 962 209 737 5 (Hardback) ISBN 962 209 738 3 (Paperback) 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 Printed and bound by Rainbow Graphic & Printing Co., 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, Tbe Art ofXu Bing Contents Acknowledgements vii Contributors ix Introduction: The Diversity of Masculinities in Hong Kong Cinema 1 Laikwan Pang Part I History and Lineage 15 Chapter 1 Making Movies Male: Zhang Che and the Shaw 17 Brothers Martial Arts Movies, 1965-1975 David Desser Chapter 2 Post-1997 Hong Kong Masculinity 35 Laikwan Pang Chapter 3 Queering Masculinity in Hong Kong Movies 57 Travis S. -
Hong Kong's Cultural Identity Reflected in Jackie Chan's Films
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 8-2009 Hong Kong's cultural identity reflected in Jackie Chan's films. Yajuan Ding 1969- University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Ding, Yajuan 1969-, "Hong Kong's cultural identity reflected in Jackie Chan's films." (2009). Electronic Theses and Dissertations. Paper 352. https://doi.org/10.18297/etd/352 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. HONG KONG'S CULTURAL IDENTITY REFLECTED IN JACKIE CHAN'S FILMS By Yajuan Ding M.A., University of Science and Technology Beijing, 2002 A Dissertation Submitted to the Faculty of the Graduate School of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Department of Humanities University of Louisville Louisville, Kentucky August 2009 Copyright 2009 by Yajuan Ding All rights reserved HONG KONG'S CULTURAL IDENTITY REFLECTED IN JACKIE CHAN'S FILMS By Yajuan Ding M.A., University of Science and Technology Beijing, 2002 A Dissertation Approved on July 28, 2009 By the following Dissertation Committee: Dissertation Director ii DEDICATION This dissertation is dedicated to my parents, Mr. Jifa Ding and Mrs.