Music from the 1990S to the Present

Home , Aaron Kwok, Alan Tam, Anita Yuen, Antony Leung, A Better Tomorrow II, A Chinese Ghost Story

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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 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. In chapter one, I will focus on the present-day film music practice, and compare it with the history and changes of composition in Hong Kong from the 1960s to 2000s. In chapter two, functions of film music and the formulaic uses of instruments will be introduced. In chapter three, the imagined scoring of Chinese music in film is identified and a special phenomenon in Hong Kong film -- the crossover of pop singers into films ~ will be discussed in chapter four. These film music practices are closely related to the listening experience of the audience and thus the film music itself reflects locality in the musicality of Hong Kong audiences. Abstract (Chinese) ii

自1990年代迄今香港電影音樂

鄭寧恩

論文摘要（中文）

近年西方電影音樂的研究蓬勃發展，各種理論紛陳。其中音樂學、電影

以及流行音樂學者多致力研究荷李活電影，而甚少以民族音樂學的角度探討電影

音樂o即使Alison E. Arnold曾以印度電影音樂為其博士論文題目（1996)，其研

究亦缺乏實地考查的資料，如觀察及討論電影音樂的創作過程。

另外，香港電影音樂雖深受荷李活電影影響，但仍有其獨立不同的操作

模式。故純粹應用西方電影音樂的理論，並不能完全適合香港本土電影音樂的研

究。因此作者於本研究中，除採納基本的電影音樂概念外，主要就香港電影音樂

的發展實況立論°

本文的首章主要根據作者對各電影音樂人的訪問及實地觀察的資料，勾

劃香港電影音樂的創作過程及運作情況。其中亦追溯1990年代「原創音樂」一

名正式確立以前的香港電影音樂的「原創」成份，與現況比較。在早期電影音樂

的部份，則集中討論邵氏出產的歌舞片及黃梅調電影。

本文第二章介紹電影音樂的功能及分析香港電影公式化使用樂器的現

象。第三章集中討論香港電影如何虛擬中國音樂與民族音樂。第四章探討香港電

影音樂的獨特現象：大量歌手與演員身分重叠。最後結合上述歷史發展與音樂特

色，從而剖析現今香港電影音樂的操作與本地觀眾的音樂口味互為影響的關係。 Acknowledgment iii

Acknowledgment I am deeply grateful to the professors in Ethnomusicology - Chan Sau Yan, John Lawrence Witzleben and Yu Siu-Wah. They open my eyes to the field and always provide thoughtful advices for improving my academic learning and personality. I am also thankful to all other teachers in the Music Department, including Michael McClellan, Greta Olson, Harrison Ryker, Daniel Law, Tsao Penyeh, Victor Chan, Chan Wing-wah and David Gwilt, who gave me foundational training in music.

I would like to express my heartfelt thanks to my supervisor J. Lawrence Witzleben, who led my interest to Ethnomusicology in his World Music class. He not only provides immediate comments and discussion for the thesis, but also gives fresh inspiration of ideas in various categories of music. Without his endless support and warm encouragement, I would not be able to finish this thesis.

My special thanks also to advisor Yu Siu-Wah, who taught me to think critically and provided useful suggestions for my research and sound encouragement whenever I feel frustrated.

For the completion of this thesis, I am indebted to numerous film music composers - that I interviewed. Tommy Wai and Peter Kam offered me generous help and great insights into the industry. Other composers include Teddy Robin, Ken Chan, Punk Chan and Raymond Wong who also gave valuable information on the history of film music and its production. My thanks also to numerous friends who offered various help in my research and study, they are Ng Cheuk Yin, Winnie Tse, Wong Chuen Fung, Teresa Suen, Alfred Wong, Kitty Ko and Amelia Chiang.

Last but not the least, I devote this thesis to my mother for her unceasing love and support in my music career. Table of Contents iv

Table of Contents Abstract i Abstract (Chinese) ii Acknowledgement iii Table of Contents iv List of Figures vi Romanization and Translation vii Introduction 1

Chapter One Original Scoring 原倉[f音樂： 6 Compositional Practice in the Present-Day Hong Kong Film Music Industry How Original is "Original Scoring" ？ 8 Originality in Previous Practice? 9 �Fil Musim c from the 1960s to the 1990s 9 �“Chinese Musi" c in the Huang Mei Diao Film 9 ~ Canned Music in the 1960s and 1970s 11 ~ The Composer in 1970s Film Music 12 Film Music of the 2000s 12 Time Limitations 13 Budget 15 Technology in Use 18 Close Relationships between the Director, Composer, and Mixer 21

Chapter Two Film Music Functions and Formulaic Uses of Instruments 24 Function of Film Music 25 Formulaic Uses of Instruments 26 Re-Occurrence of Music in a Film 30

Chapter Three Imagined Scoring of Chinese Music 33 Chinese Instruments 34 Authenticity In Scene and Out of Scene 35 Imagined Scoring -- Creative Listening Experience 36 Cultural Correctness 38 Table of Contents v Listening Experiences Formed in Daily Life 39 Music for the Elders in Hong Kong 41 Conclusion 41

Chapter Four Crossover of Pop Singers Into Films 43 Hong Kong Pop Singers as Film Actor/Actress or Vice Versa 44 Diegetic and Non-Diegetic Music 50 Popular Song In Film and Film Theme Song 53 The Crossover of Popular Music Composers Into Film Music 54 Pop Songs and Listening Experience 56 Change in the Practice - Problems of Overlapping Identities 59

Chapter Five Conclusion: Musically Illiterate in Pop but Fluent in Chinese? 62 The Hong Konger is Musically Not Chinese 63 The Hong Konger is Musically Fluent in Pop 64 Questions for Further Study 64

Appendix 1 ( Wong Fook Ling ) 66 Appendix 2 ( Frankie Chan ) 71 Appendix 3 (List of United States, Taiwan and Hong Kong Film Music Awards) 80 Appendix 4 ( Film Titles ) 81 Appendix 5 (Directors, Composers, Lyricists, Actors/Actresses and Singers ) 84 References Cited 86 Glossary 92 List of Figures vjj

List of Figures Figure 1.1 Peter Kam was composing music for a current film Figure 1.2 Tommy Wai was writing music in his studio Figure 1.3 Development of Film Music Practice in Hong Kong Film Industry Figure 1.4 Tommy Wai's Studio Figure 1.5 Keyboard and Midi Figure 1.6 Mixing Equipment Figure 1.7 Sound Module Figure 1.8 Mixing Consule Figure 1.9 Screen (Right) Figure 1.10 Peter Kam's Studio Figure 1.11 Punk Chan's Studio Figure 1.12 The Involvement of the Director in the Composition of Film Music Figure 1.13 The Relationship between the Director, Composer, and Mixer Figure 2.1 Last 15 Minutes Music of the Film Fly Me to Polaris Figure 2.2 Music of the Film Infernal Affairs I Figure 2.3 Music Excerpts from the Film In The Mood For Love Figure 2.4 The Appearance of the Song Bei yi wang de shi guang in the Film Series of Infernal Affairs Figure 4.1 The Identity of Various Artists Figure 4.2 The Nominations and Awards for Various Artists Figure 4.3 Relationship of Audience's Listening Experience and Pop Songs in Film Figure 4.4 The Hong Kong Popular Songs Used in the Film Golden Chicken Figure 5.1 The Process of Imagined Scoring of Chinese Music in Hong Kong Film Figure 5.2 The Process of Scoring Cantonese Music Scene in Film Romanization and Translation vii

Romanization and Translation Standizaed romanization for terms and names originated from Hong Kong or Taiwan are used in most cases in this thesis. For those terms without official translation, the pinyin system, which is the standard romanization in China, is adopted. All the English translations of film titles are adopted from the information of the database of the Hong Kong Film Archive. In addition, Chinese (traditional) characters are provided immediately after a term or a name at its first appearance. The film titles and the persons related to film music production will be provided in Appendices 4 and 5, with a glossary of typical Chinese terms at the end of the thesis. Finally, quotations in Chinese will be translated by the author and the original text will also be quoted immediately after the translation. Introduction j

Introduction Hong Kong Film Music from the 1990s to the Present

Overview 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 very different from that of western film music. In the entry on film music in the New Grove Dictionary of Music and Musicians ’1 the author mentions the historical development of film music in some non-western areas like Japan and India, but very few notes are included, on Chinese film music, and the statements made are not quite clear. Although Hong Kong film is in many ways quite different from Hollywood film, some of the general concepts used by Western scholars, such as the function of music in film and memory affiliation, can be applied here. However, because of the differences between film music in Hollywood and Hong Kong, I will adapt these film music concepts, but develop my argument based on the specific circumstance of the local film music industry

1 Cooke, 2001. Introduction j

Previous Scholarship There are many books on music in Hollywood film, such as those by Anahid Kassabian (2001 ) and James Buhler ( 2000 ). Studies of Hong Kong film are also flourishing, from I. C. Jarvie ( 1977 ) to Esther C. M. Yau ( 2001 )，but very few studies are on Hong Kong/ Chinese film music. An article written by Yu Siu-Wah 余少華 in Introduction to the Development of Hong Kong Music 香港音樂發展槪論 discusses Hong Kong film music from the 1930s to the 1990s (1999). A book by Lan Zu Wei 藍祖騎 is basically a collection of interviews with Chinese, Taiwanese and Hong Kong film music composers ( 2000 ). Studies of film music in the field of ethnomusicology are still rare. Alison E. Arnold did her dissertation on Hindi film music ( 1996 )，but even in her work, the ethnographic study of film music, such as watching and discussing the process of film music composition, is absent.

Methodology The methodology used in this thesis will include the application of basic concepts used by scholars of film music, such as diegetic/non-diegetic music (music performed directly in a scene/ background music )，and the function of music in film, combined with fieldwork and analysis of films. I have interviewed several top film music composers in Hong Kong including, for example, Tommy Wai 韋啓良’ Peter

Kam 金培達 and Teddy Robin 泰迪羅賓，2 who have won several awards in the Hong Kong and overseas film ceremonies. Others interviewed include Raymond Wong 黃英華，Ken Chan 陳嘉業 and Punk Chan 陳光榮.Kam's films have included Fly Me to Polaris 星願，Purple Storm 紫雨風暴 and Lost In Time 忘不了.

2 The list of name is in chronological order of interview date. Introduction j

Wai's films have included Temptation of a Monk 誘僧 and July Rhapsody 男人四十. Teddy's Film have included Cops and Robbers 點指兵兵 and Aces Go Places 最佳拍檔.They have worked with directors like Ann Hui 許鞍華，Peter Chan 陳可辛， Jingle Ma Choh Shing 馬楚成 and Stephen Chow 周星馳. I have already collected information on the process of film music composition, from technical to musical aspects, and on the background of these composers. My fieldwork also included observing the process of film scoring.

Outline of the Thesis In chapter one, I will first introduce the contemporary practice of Hong Kong film music, from its time limitations, budget, work procedure, software in use, and techniques used during composition to the close relationship among the director, composer, and mixer. The historical development and changes of previous compositional processes from the 1960s to 1990s are also included. The traditional film music production in the 1960s to 1960s was, to a certain extent, creative in film music composition. In the 1960s, film music was largely based on "canned music" which implied the use of pre-composed music to fit certain scenes. The new generation of Hong Kong film music composers has developed a sense of wanting to create their own music rather than using some canned music as was done in films from the 1980s onwards. Increasing budgets for film music also allow composers to hire live orchestras to perform their work. Creativity in Hong Kong film music has existed in practice long before the appearance of the term "Original Scoring" in the 1996 Hong Kong Film Awards. In chapter two, the functions of film music will be disussed, such as Introduction j

"music interprets and adds meaning to a scene" and "music helps to aid memory."3 In addtion, the formulaic uses of instruments in composing music or scenes can be identified. For example, the music for fighting scenes is always a heavy, densely rhythmic techno sound. This may be influenced by Hollywood film, by a decision of the director, or by considering the acceptance of the music by the audience. Those formulaic uses have thus become a tradition in composing film music and this phenomenon will be discussed with the support of transcriptions of the music from recent Hong Kong films. Chapter three will focus on the imagined scoring of Chinese music in Hong Kong films. When casting an ancient Chinese story, is using Chinese instruments in the music almost a "must"? If a composer represents Cambodian music, for example, by using an ethnic instrument from a different country, what kinds of problems does this create? These questions are also related to the issue of cultural correctness. In chapter four, I will discuss a special phenomenon in Hong Kongfilm — the crossover of pop singers into films. There are many pop singers in Hong Kong who have become successful film actors or actresses or vice versa. There are frequent uses of theme songs that are sung by the leading actor, actress, or supporting characters in a film. Successful film songs help to promote the film. However, the film music composers are not always also popular music composers. The practice of film music in Hong Kong is inter-related with the listening experience of Hong Kong mass audiences. Their listening preferences may be formed by the composer, accumulated in daily life, or affected by popular culture, and this in turn has significant influence on the creativity of the composer.

3 Cohen, p361. Introduction j

Furthermore, there will be many more issues on Hong Kong film music which are still open to discussion, such as the intimate relationship between popular music and film music. However, this thesis will contribute new information on Hong Kong film music, and discuss how the locality and musicality of Hong Kongers is presented in the music. 1 Original Scoring 原創音樂-Compositional Practice in the Present-Day 6 Hong Kong Film Music Industry

Chapter One Original Scoring 原創音樂- Compositional Practice in the Present-Day Hong Kong Film Music Industry

Here is my fieldwork experience: With the last few scenes of the film playing on the wall and the music flowing in

the studio, I sat on the sofa observing the composer who was checking the spotting4 of the film music. Heavy rhythm with guitar sounding followed the fighting of the characters in the scene and ended sharply with the last shot of Aaron Kwok's character

leaving the hallway.5 After marking the time spotting of the film music of each scene, the production of the music for this film was finished. Under the tight schedule, the composer had to soon start writing music for another new film. After scanning the first scene once, the composer started to fit in the theme melody that he had already framed up already into the scene. Different instruments were added and the first draft of the music

was then set up for the director to review the next day.6 On another day, another composer was revising music for the first reel of the

film, for which he had been given 1970s disco music as a reference.7 After discussion

4 "Deciding where to place music cues ('spotting') involves the director, composer and music editor" Cooke 2001:807. 5 The film mentioned here is Heat Team 重案黐孖 Gun, which was showed in June 2004. 6 The observation was made in Tommy Wai's studio on 25th May, 2004. The film mentioned here is New Police Story 新警察故事 which was showed in September 2004, 7 The fllm mentioned here is Super Model 我要做 Model, which was showed in June 2004. 1 Original Scoring 原倉lj音樂-Compositional Practice in the Present-Day 7 Hong Kong Film Music Industry with the director, certain part of the scene needed to be silent and therefore, the composer needed to make changes to the music, such as cutting short the music and fading out naturally. Other changes like exaggerating the atmosphere of the scene by using different chord progressions were also required. The creation of film music is based on • • • c the composer's own experience and intuition. When I left the studio, the composer was still working hard on his writing as he had to finish the film music in a few days due to the time limitation.9 From my interviews with contemporary Hong Kong film music composers such as Tommy Wai, Peter Kam, Raymond Wong, Punk Chan, and Ken Chan, I am able to get an insight into the present practice of “Original Scoring"原倉�J音樂.The providey d information on every aspect of film music production including working procedures, time limitations, budget, software in use, and the close relationship of director, composer, and mixer. Through observation of their working and composition, I learned details such as the techniques that are used during composition and the functions of their equipment.

Figure 1.1 Peter Kam was composing Figure 1.2 Tommy Wai was music for a current film. writing music in his studio.

As mentioned before, the practice in present film music industry is called

8 Kam 2004. The observation was made in Peter Kam's studio on 27th May, 2004. 1 Original Scoring 原倉lj音樂-Compositional Practice in the Present-Day 8 Hong Kong Film Music Industry

"Original Scoring," a term officialized in the 1996 Hong Kong Film Awards 香港電影金像獎 with the two film music awards (originally called "Best Film Music”最佳音樂/電景多配樂 and ‘‘Best Film Song，’最佳電影歌曲）renamed as "Best Original Film Score"最

佳原創音樂 and “Best Original Film Song，，最佳原創電影歌曲.10 (Refer to Appendix 3) The renaming of the music awards marked "originality" as the key element in present Hong Kong film music.

How Original is "Original Scoring"? "Original Scoring" refers to the music that is specifically written by a film

music composer for an individual film and individual scenes.11 In the 1990s, a

composer had to start composing music using only the script and rough cut12 of the film

only. No dialogue or dubbing for the scenes were provided.13 According to Tommy Wai, a contemporary film music composer who began his career in the early 1990s,

music composition at the time was like "composing music for silent film."14 A composer had to follow the script and to compose music according to the indications for "character," "event," and "dialogue" on the script. He/she would determine when to start and stop (spotting) the music according to his/her own experience. After the final cut of the film was provided, the composer had to revise the music and to cut or fade it

out.15 The resources that were provided for the composer were rather simple and crude, and which resembled earlier practice dating back to the 1960s.

10 Information from the official website of Hong Kong Film Awards: http://www.hkfaa.com/historv/home.html 11 Wai and Kam 2004. 12 Rough cut means the preliminary version of film. 13 Wai 2003. 14 Ibid., 15 Wai & Ken Chan 2003. . 1 Original Scoring 原倉lj音樂-Compositional Practice in the Present-Day 9 Hong Kong Film Music Industry Originality in Previous Practice? Film Music from the 1960s to the 1990s As mentioned before, "Original Scoring" refers to the music that is specifically

written by a film music composer for an individual film and even for individual scenes.16 However, the practice of creating Hong Kong film music in its earlier years was not as original as nowadays. In the late 1950s, "Song and Dance" film 歌舞片 transplanted Western opera and hit dance music, and the song and choreography were mostly "copied"

from western films, especially from those of Hollywood.17 Yu Siu Wah 余少華，in his article "Music in Film 'Little Skylark,'" stated that the peak of Hong Kong art/song and

dance film appeared in 1967.18 Mandarin films like Madam Butterfly 蝴蝶夫人 and

The Wild> Wild Rose 野玫瑰之戀19 were rearranged from the pre-existing western operas, with both the story and the music adapted into film, so not much original scoring could be expected. Another kind of "Song and Dance" film was in Cantonese, exemplified by Joy to the World 歡樂滿人間’ Incredible Rumor 紅驚星動，and Rhapsody 青春戀歌.The main actresses were pop idols like Connie Chan Bo Chu 陳寶珠 and Josephine Siu

Fong Fong 蕭芳芳.20 All three films were shot in 1968, and referred to the western popular youth dances like go-go and Cha Cha’21 which required little original scoring of film music.

"Chinese" Music in the Huang Mei Diao Film Huang Mei Diao 黃梅調 was prevalent in Mandarin films in the 1960s, and

16 Wai and Kam 2004. 17 RTHK, 1984. 18 Yu 2003: 324. 19 Bizet's opera Carmen was rearranged and shot as the film The Wild Wild Rose in 1960 20 Ibid., 21 Wong Chi-wah 1990: 8. . 1 Original Scoring 原倉lj音樂-Compositional Practice in the Present-Day 10 Hong Kong Film Music Industry

singing is the essence of Huang Mei Xi 黃梅戲.22 Composer Wong Fook Ling 王福齡’ in his interview on a 1984 TV program for Radio Televsion Hong Kong, claimed that the Shaw Brothers Film Company decided to start shooting Huang Mei Diao films in the 1950s. Yu Siu Wah, in his article" Chinese Music in Hong Kong," also mentions the decision of the Shaws (Shaw Brothers Film Company,召P氏）to shoot this kind of “Chinese ancient costume and singing movie," and the Huang Mei Diao film The Heavenly Match 天f山I己 gained great success through marketing in China and

overseas.23 To guarantee the success of this film geme in Hong Kong, the story and music of the Shaw's film is just like a cover version of the mainland Chinese one. Based on the information in Wong Fook Ling's interview, music in Hong Kong Huang Mei Diao film originated from Chinese film. The films in which Wong participated in music composition included The Last Woman of Shang 妲己 in 1964 and The Three Smiles 三笑 in 1969. Before he arranged and fit the Huang Mei Diao into films, Wong had to do research and gather information, using Chinese Huang Mei Diao films like Tian xian pei 天f山酉己[The Heavenly Match ] and Nufu ma 女‘附馬[The Bridegroom Is A Girl ] as references. Honestly speaking, Wong admitted that his composition for Huang Mei Diao film was highly imitative of the Chinese version:

‘The music was actually a copy! Although it is unpleasant to say so We cannot change a lot, or else it won't sound like Huang Mei Diao, we have to copy it "24 (「講句不好聽，就是抄啦！….改變不能太多’否則不像黃梅調，要抄番…」)

Here, the word "copy" may have several implications. It may refer to the "arrangement and matching" of the main melody of Huang Mei Diao or actually to the actual new composition of music for other scenes. This music was really "composed" by Wong but needed to sound like Huang Mei Diao so as to fill in the gaps between the

22 Huang Mei Xi is local opera of Anhui, Jiangxi regions. 23 Yu 1999: 302. 24 RTHK 1984. 1 Original Scoring 原倉lj音樂-Compositional Practice in the Present-Day 11 Hong Kong Film Music Industry

numerous songs. In contrast, the film The Last Woman of Shang hired another composer Akira Ifukube 伊福部昭 to compose the music. In fact, we could call such "imitation" of Huang Mei Diao as "Chinese Music" in Hong Kong film. From the information above，one can notice that the "originality" of original scoring was doubtful in the music of Hong Kong Huang Mei Diao film.

Canned Music in the 1960s and 1970s In the 1960s, the practice of "Matching Scenes with Music"配樂一 fitting a soundtrack made of pre-existent recordings ( so-called "Canned Music"罐頭音樂）into

film -- was adopted by the Hong Kong film industry,25 mainly due to the insufficient funding and tight schedule of film production. In a televised interview with Wong Fook Ling, the host of the program further clarified the definition of "Canned Music":

‘The so-called Canned Music, means to arrange and put in order the pre-existent recordings for the sound track of the film. It is just like canned food, which needs no cooking. Some criticize that creativity and new ideas are absent in the practice of canned music. But it has some advantages in practicality."26 (厂所謂耀頭音樂’是利用已造好的聲帶’稍加整理安排’用在電影方面。好像吃飯不用煮’ 一開罐頭就食得°有人批評罐頭音樂缺乏原創性’並無新意。但實際應用’有實際的好處。」）

Such canned music was pre-composed by other composers, but not specifically for any particular film. According to the contemporary film music composer Tommy Wai, canned music may refer to the "Moody Music" disc series, or to the "Music Library." The music in the "Music Library" was composed by professional composers, and is classified according to various music styles, like "pleasant", "sorrowful" or • ” 27 "romantic." The person in charge of film music would fit the canned music into

25 Wai 2003. 26 RTHK 1984. 27 Wai 2004. 1 Original Scoring 原倉lj音樂-Compositional Practice in the Present-Day 12 Hong Kong Film Music Industry scenes where the effect and mood of the music matched. With the overflowing of canned music in film music production, another practice with creative composition could be found in the 1970s film industry.

The Composer in 1970s Film music In the 1970s, the concept of original scoring became more defined and widely implemented. According to Teddy Robin, he took part in the film The Price of Love 愛情的代價 in 1970 as actor and "Composer." What he composed was .an interlude Hai tao 海濤[Ocean Waves] in the film. The song was written before the film but was intended specifically for it. The director described the scenic view to Teddy and asked him to compose a song that would be sung when the actor is facing the sea. So, the song was composed according to Teddy's own feelings towards the ocean. In addition, Wong Fook Ling was also responsible for "composing" in the same film. He wrote the

theme song for the film The Price of Love, which was also sung by Teddy Robin.28 Teddy's experience proved that the practice of the 1970s film music was original scoring in the sense that music was written specifically for certain scenes, although without any script or rough cut in hand.

Film Music of the 2000s As mentioned before, Hong Kong film music composers in the 1990s may have the rough cut of the film provided during their composition of music. In the 2000s, a composer can even request the "final cut" before composing music. He/she can also read the script and watch the "rough cut" first, in order to decide the theme of the

music.29 Sometimes, reference music30 will be provided by the director within the

28 Kwan 2004. 29 Wai 2003. Reference music may refer to pre-existed music and even thematic music from some famous films. 1 Original Scoring 原創音樂-Compositional Practice in the Present-Day 13 Hong Kong Film Music Industry

"rough cut." For example, one director included what he called "experimental music"

in the film Beastcops 野獸刑警 as reference music.31 This shows the director's own musical preference, and the composer could get ideas for the choice of music genres and

for "spotting" from such references.32 After the first or second draft of the music was made，the director will come to listen and to discuss whether the "direction" of the music fit the film or not, and the composer would then go on composing the music. If the director and composer had different ideas on the music for a certain scene, the composer will negotiate and try to convince the director to agree with his/her ideas towards the music. Music is composed with the aid of various technologies, such as midi. In case a live orchestra is needed, the orchestral score will be copied out from the midi or score. Finally，the composed music will be handed over for the "mixing." Although reference music can help the composer to grasp the ideas of the director, musical creativity is rather restricted within this genre. This practice also demonstrates that the director has overall control over the music in the film and that the relationship between composer and director is very close. However, the time limitations for film music writing and even for the whole film production have not changed much over years.

1950s-60s ^19608-705 ^191^-^ • 1990s-2000s (little creativity) (Very little Creativity) (Sense of Originality) (Original Scoring)

Cant0neSe °peratic Film Matching 如卿 with Music May compose for certain Film Music composed for Song and Dance F.lm Canned Music (no originality) pu^ose and scene content specific scene and individual 行丨 Huang Mei Diao Film m

Figure 1.3 Development of Film Music Practice in Hong Kong Film Industry

Time Limitations Many composers claim that music and mixing are almost the last sessions or

31 Ibid., 32 Ken Chan 2003. 1 Original Scoring 原倉lj音樂-Compositional Practice in the Present-Day 14 Hong Kong Film Music Industry stages of the whole film production, so the time schedule for film music composition is always tight and rushed. The time limit for composing film music varies from a few

days to several months, but normally it will be from one week to three weeks.33 This situation has existed since the 1950s. In Cantonese film of the 1950s to 1960s, Cantonese operatic films 戲曲片 usually adapted the pre-existing stories from popular Cantonese operas. According to a televised interview with contemporary directors like Long Tu 龍圖 and Li Tie 李鐵’ there was a colloquial term - ‘‘ 7 day freshness"七日鮮--which accurately-described the excessive shooting of films at that time. It indicated that the filming schedule was

so tight that the shooting for one film had to be finished within seven days34 and also that the popularity of the film would only last for 7 days. As the time limit for film production was so tight, "Canned Music" was frequently applied into films in the 1970s. In Lan Zu Wei's book Film Music Composers, Frankie Chan mentions his experience of using canned music due to a tight filming schedule:

‘‘When I enrolled into the Shaws to be in charge of film music, there were too many film productions. In most cases, I had to fit in the canned music as I had no time to frame or develop (compose)35 the music. What I could do was to be a music craftsman only."36 (「正因邵氏公司的電影太多’我在邵氏做電影配樂的時候，多數都只要拿現成的罐頭音樂來套用上去好，根本沒有時間去構思去發展(創作)音樂，所以只能說去做一個音樂工匠而已。」）

Chan's statement is strong evidence of the abundant usage of "Canned music" in the 1970s. But in the present-day film industry, composers insist on using no canned music but composing all the music by themselves, no matter how tight the schedule is.

33 Ken Chan 2003. 34 35 RTHK 1984. Author's own interpretation. 36 Lan 2002: 220. 1 Original Scoring 原倉lj音樂-Compositional Practice in the Present-Day , c Hong Kong Film Music Industry

In addition, there is also a time limit for the film music within a film. Usually, a film will be divided into five or six reels and each reel will last for about twenty

minutes.37 Because of the time limit for each reel, the director will design the ending of

a SCene at the end of the reel so the music has to conclude or fade out.38 In some cases, there are two different versions of a film, a normal version and a so-called "Specially Extended Version"特別加長版 or "Director's Cut"導演剪接版，and there may also be different versions for showing in Hong Kong or overseas 海外版.For both extended and overseas versions, the film music needs to be revised to fit the changing time limits of each scene, and sometimes, composers need to recompose, repeat, or fade out the music. Still, all kind of music editing will be done by the composers themselves, unlike in the earlier practice of "Matching Scenes with Music". In addition to the problem of time limits, the budget for film music is always insufficient.

Budget In the 2000s, "the quality of film music is getting better since an increased budget for music is provided," claims Peter Kam. Some directors have begun to value film music while some still underestimate its function as only a supplement to film. However, with increasing budgets a composer will be able to hire live orchestra to

perf0m his/her compositions. Indeed, this practice has been in existence since the 1950s. The music for the Shaw films was recorded from live performances by an orchestra or ensemble. Yu Siu Wah flashed back to his experience as a part-time musician in the early 1970s,39 when he participated in films like Illicit Desire (風流韻事）in 1973 where a live ensemble of mixed Chinese and western musical instruments

37 Ken Chan 2003; Kam and Raymond Wong 2004 38 Ken Chan 2003. ‘ 39 Yu 2004. 1 Original Scoring 原倉lj音樂-Compositional Practice in the Present-Day 16 Hong Kong Film Music Industry was employed. A so-called "large" budget for music could allow the hiring of an ensemble of ten or more musicians. There were usually three recording sessions per day and musicians would receive their payment right after their daily performance. Each

musician could receive about 150 dollars per day.40 Wong Fook Ling also mentioned his experience as a composer and conductor:

“ I had to compose a song at night and record it the next morning. I lived this way for five or six years. I was so busy that I did not sleep for 25 days and I had to eat and conduct at the same time.41"

(「今晚返去寫(作曲）’第二日要錄音….這種生活維持了五、六年。可以連續25日無睡覺’ 一路指揮一路食飯。」)

According to Wong, the time schedule for film music composition in the 1970s was very tight, and his title as "Conductor" also indicated that the music was performed by a live ensemble or orchestra. However, canned music was used instead of live orchestra to meet the low budget. Wong Fook-ling also mentioned his experience in applying canned music: “This kind of music is 'economical'. In some cases, we need to join together ten or more recordings for only two minutes of music."42 (「呢種慳皮的音樂，有時雨分鐘的音樂’用十幾條聲帶接埋一齊。」） "Canned music" is described as economical, indicating that applying canned music was far cheaper than hiring a live orchestra to record music. As the budget for film music was often insufficient, the practice of using canned music was extensively adopted. Another reason for the flood of canned music is the tight scheduling of film production. For the same reason, synthesizers were used instead of live orchestras in the 1980s. In my interview of Teddy Robin, he recalled his experience of using

40 ibid., 41 RTHK 1984. 42 RTHK 1984. 1 Original Scoring 原倉lj音樂-Compositional Practice in the Present-Day 17 Hong Kong Film Music Industry

synthesizers in his first film Cops and Robbers 點指兵兵 in 1979. The reasons for

using synthesizers were a limited budget and a tight schedule.43 Later, midi technology was developed and replaced synthesizers (The function of the midi will be discussed later). Under the budget limitations, the midi can imitate the various sounds of different instrument and fewer "real" instruments are needed. The practice of using midi plus a

few real instruments has been applied in films like Beastcops in 199844 and Tommy

Wai's other films. However, midi is criticized as impersonal,45 and live instruments are

still valued.46 The budget for a presentable film production is about HK$10 million, of

which the budget for film music takes up less than 1%.47 If a live orchestra is needed,

the budget for film music will at least be doubled.48 A current film, Kung Fu Hustle 功夫’ has hired the Hong Kong Chinese Orchestra, and the daily cost is far higher than the budget for the music for a normal film. As the orchestras in China or Europe are relatively cheaper, composers are more likely to hire them. For example, Tommy Wai's film Heroic Duo 雙雄 used the Shenzhen Symphony Orchestra 深;t川交響樂團 to perform his music, and Punk Chan's film Infernal Affairs I 無間道 used the Asian Philharmonic Orchestra 亞洲愛樂管弦樂團 in Beijing. As Punk Chan mentions, the

fees for hiring an ensemble/ orchestra of 30 musicians in Hungary49 could only hire 12 musicians in Hong Kong. In addition, the fee for booking a good hall for an ensemble

in Hong Kong is also high.50 With an increase in budget for film music, composers are able to hire live orchestras to perform their works, but they are still restricted by the budget limitations and thus have to hire orchestras in China or Europe rather than local

43 Kwan 2004. 44 Ibid., 45 Ibid., 46 Kam 2003. 47 Kwan 2004 48 Kam 2003. Punk Chan hired an ensemble and produced the film music for Infernal Affairs II in Hunaarv 50 Punk Chan 2004. e y' 1 Original Scoring 原倉lj音樂-Compositional Practice in the Present-Day 18 Hong Kong Film Music Industry one. Limited budgets also limit the choice of songs for a film. In applying pre-existing songs into films, the film production team needs to pay the copyright for those songs. The film Golden Chicken 金雞 is a good example of this issue. Many popular songs are used in the film to represent different time periods in Hong Kong. As the film was co-produced with a famous recording company, most songs in the film were

picked from its catalogue.51 Although the songs were chosen by the director and the composer, the music was restricted to artists in the catalogue. Therefore, the choice of music was restricted by copyright and the payment of copyright was also restricted by the budget for film music.

Technology in Use Due to limited budgets and tight time schedules, midi technology has been used as a substitute for real musical instruments. Before the midi, a sequencer, which could

be regarded as the pioneer of the midi, was used to record all music signals.52 Composer Raymond Wong 黃英華 learned to use the sequencer in the 1980s before entering his career in film music. His previous experience of using a sequencer made it easier for him to handle midi.53 Afterwards, in the mid 1980s, the midi replaced the sequencer and became the main program in use. Midi stands for "Musical Instrument Digital Interface." When played on a keyboard, signals go through a "sound module" and then enter into computer software programs like Protools or Digital Performer. The signals the sound module receives would then be transferred to different sounds in the computer, such as saxophone or piano. A Sound Module of better quality will be more expensive, as the signals are recorded

51 Kam 2004. 52 Wai 2004. 53 Raymond Wong 2004. 1 Original Scoring 原倉lj音樂-Compositional Practice in the Present-Day 19 Hong Kong Film Music Industry from the sounds of real musical instruments, and the quantity of sounds available also

varies with price.54 From the mid 1980s onwards, midi has been widely adopted into the production of Hong Kong popular song, film music and music composition, and arrangement for other media.

WKKBMmamamFigure 1.4 Tommy Wai's Studio Figure 1.5 Keyboard and Midi

Figure 1.6 Mixing equipment Figure 1.7 Sound Module

54 Tse 2004. 1 Original Scoring 原倉lj音樂-Compositional Practice in the Present-Day 20 Hong Kong Film Music Industry

Bhi a iTHlHfc

IMHBBI^EMBHHBH^Hr^^SHiBHHIHHil^^SSBI^^^ Figure 1.8 Mixing Consule Figure 1.9 Screen (right)

Figure 1.10 Peter Kam，s Studio Figure 1.11 Punk Chan's Studio

Protools, Digital Performer and Cubase are the main software used by composers. Digital Performer is easier to use while Protools is more popular in recording and mixing studios. Therefore, most composers that I interviewed use Digital Performer for composition and switch to Protools before handing their work over to the

studio.55 "Sampling" is also used in composition. This imitates the sound of musical instruments, and is sometimes used to substitute for live instruments. In the view of composer Tommy Wai, adding sampling to the recording of a live orchestra will strengthen the sound. No matter how real the sound of midi or sampling is, composers still prefer having a live orchestra to perform their works, as the "fake one" ( midi or

55 Wai 2004. 1 Original Scoring 原倉lj音樂-Compositional Practice in the Present-Day 21 Hong Kong Film Music Industry sampling) could never be better than the "real one" (live instruments ). However, the final decision is still made by the director, and the final production of film music is also affected by mixing.

Close Relationships between the Director, Composer，and Mixer The relationships between the director, composer, and mixer are close. It is the director who has the overall authority to assign or hire a composer. Once a director co-operates well with one composer, he seldom changes composers, as he does not have

time to "bet on a wrong wager."56 The director is also the head of the film production and he/she may hope that the music could help to enhance the atmosphere. After the director finishes shooting the whole film, he/she may think that some scenes need to be added in to strengthen the story line, but as the budget is limited they cannot re-shoot or add-in any scene. Therefore, the composer has to bear the responsibility for enhancing the atmosphere of the scenes by applying successful formulaic use of instrumental music (this will be discussed in the following 57 , • • chapter). The discussions on music between the director and composer may start from the very beginning of the film production, although film music is almost the last stage of the production. The standard for music requirements of directors is varied. All directors would require precision in spotting, such as where to begin or end the music. Other than that，many directors will offer great freedom to the composer and accept the music if it suits the scene or feels right. However, as mentioned above, some directors may place reference music in the film copy for the composer and suggest that they compose in a similar style. Some directors may have requirements for music, but will still respect the ideas and creativity of the composer. Others devote so much effort to the music that

56 Raymond Wong 2004. 57 Ibid., 1 Original Scoring 原倉lj音樂-Compositional Practice in the Present-Day 22 Hong Kong Film Music Industry they will give opinions on each music spot, even on something as tiny as a note. CO

Z Directors offer great freedom for the N. / musio^^^^M ^^^^^^^ \

/ Z Directors have requirements for the X \\ / music but still respect the ideas of \ I \ / the composer. —] / \\ 厂 Directors pay attention to j/ ( each note of the music. ) /

Figure 1.12 The Involvement of the Director in the Composition of Film Music.

Other than the director, the final stage of film production is also in the hands of the person in charge of mixing. The mixer is responsible for mixing sound effects, music, and dialogue into one sound track. In the period of mono mixing, all the tracks of different instruments were dubbed onto a single music track, and the volume of the whole music track could be adjusted in the process of mixing.

^ |DirectOl| Position: Head of the film production / \ Authority : High, including decisions on film music

[Film Music Composer| [Mixeij Position: Almost the last stage of film production, Position: Final stage of film production Enhances the atmosphere of film scenes Mixes all the sounds and music. Authority: Can negotiate with the director Authority: Affects the quality of the final product of film music Figure 1.13 The Relationship between the Director, Composer, and Mixer.

58 Wai, Kam & Raymond Wong, 2004. 1 Original Scoring 原倉lj音樂-Compositional Practice in the Present-Day 23 Hong Kong Film Music Industry Later, in the early 1990s, Dolby mixing began to be adopted. Different instruments can be dubbed individually onto 8 or 16 tracks and the volume of each

instrument can be adjusted specifically59 during mixing. With the widespread adoption of Dolby, different problems arose. In 2003， Jonathan Wong 王手賢’ the composer for the film May & August 五

月八月 complained that his music suffered from the use of Dolby.60 The essence of the film music was lost as the volumes of the multi-tracks were wrongly adjusted. Ideally, the composer needs to participate in this final mixing, in order to guarantee that the ‘ originality of the music is not distorted in the process. However, as a composer has faith in a mixer with whom he has long co-operated and because of the tight time schedule of film production, he can seldom go to follow up the process of mixing nowadays. Thus, we can see that a close relationship between the director, composer and mixer is a key factor in the smooth production of a film and its music.

59 Wai 2004. 60 Jonathan Wong 2003. •2 Film Music Functions and Formulaic Uses of Instruments 24

Chapter Two Film Music Functions and Formulaic Uses of Instruments

When watching a romantic scene in a film, one can often hear piano or harp music surrounding the couple. Perhaps, at the moment when the actress or actor makes you cry, a violin sound is ready to play up the atmosphere. Percussive, heavy rhythmic music always appears in a gunfight or follows the hero until he pursues and successfully captures the evildoer. During my observation of the process of film music composition, I watched the first reel of the final cut of a recent film with the composer for the first time. The dialogue was muted, no sound effects were added, and what we watched was a silent scene featuring a gangster coercing a hostage. Different police vans were coming from all sides and the police were confronting the gangster.61 Then, the film excerpt was played once again, with a meter beating in a certain spotted section so as to measure the "pulse of the scene." According to the composer, Tommy Wai, each scene has its own pulse and composers have to set the tempo according to this pulse or else the music will not fit the scene.62 At the next step,

61 The film mentioned here is New Police Story which was shown in 2004. 62 Wai 2004. •2 Film Music Functions and Formulaic Uses of Instruments 25

the theme, chords, and different instruments were added in track by track. In composing music for a fighting scene, the percussive instruments were added first,

followed by the melodic instruments.63 When the composed music was played with the "silent scene," an intense atmosphere was formed. Why are percussive instruments always used in fighting scenes? Why is densely rhythmic music always used in these scenes? Before answering these questions, we may need to know the relationship between these formulaic uses of instruments and the composer's perception of the function of the music.

Function of Film Music Annabel J. Cohen, in her article "Film Music - Perspectives from Cognitive Psychology," discusses film music function and the psychological process in detail. Three functions of film music are listed: "music interprets and adds meaning to a scene," "music helps to aid memory," and "music helps to suspend disbelief."64 Music helps to interpret what the scene means and has its greatest effect when the visual scene is ambiguous. Thus, it would add meaning to what the audiences perceive from the screen. Music helps to aid memory, and re-occurrence of the same music materials would evoke the audience's memory of a previous scene or character, etc.65 Film music helps to suspend disbelief as the visual image combined with acoustic effect makes the scene fit more closely to the audience's memory/reality. Thus, more music is needed in films with less realistic images, such as cartoons.66

63 Ibid., 64 Cohen, p361. 65 Cohen, p365. 66 Cohen, p365-368. •2 Film Music Functions and Formulaic Uses of Instruments 26

The perceptions of Hong Kong film music composers match with these theories. Most composers agree that good film music should not be noticed in a

scene and should enhance the atmosphere, action, or dialogue.67 Kam thought that film music could also help to transmit a message that is not included or could not be

expressed in the scene.68 For example, the 2003 film Heroic Duo used hypnotism as the main theme of the story. It was hard to express the situation of hypnotism through the scenes, so the music played an important role in building up the

atmosphere.69 Raymond Wong believes that film music can help to improve the film and remedy weaknesses in the story line, especially the emotional scenes.70 To enhance the atmosphere of the scene, the music needs to help the audience to associate with it and to have resonance for them, and therefore the formulaic use of instruments was developed by the film music composers. Why has the formulaic use of instruments become a set form in film music? In the listening experience of the audience, percussive music in a hurried tempo becomes a signal of danger. If the director wishes to create an atmosphere in which the audience will be touched and cry, using a violin will be a safe choice.71 Therefore, it is more "secure" for the composer to adopt these formulaic uses of instruments in their composition, as these types of music have proven successful in many tests over the years before their becoming into a formula or a "tradition."72

Formulaic Uses of Instruments What are these formulaic uses of instruments? The usage of instruments

67 Punk Chan & Ken Chan 2004. 68 Kam 2003. 69 Wai 2004. 70 Raymond Wong 2004. 71 Kam, 2003 72 Ibid., •2 Film Music Functions and Formulaic Uses of Instruments 27

has associations in the mass media. Claudia Gorbman has also mentioned the intimate relationship between meaning production and listeners' personal listening experience:

“if we put the music into a minor mode, a sadder, darker, more remote feeling comes upon the scene... if played much faster, allegro staccato, this music will add an energy, an allegresse to the three characters' bicycling, and perhaps even an optimism...if the melody were performed on a solo violin (more pathos), a solo tuba (more humor), a large orchestra (over-blown, romantic excess)...."73

Similar formulaic use of instruments works well in Hong Kong, such as when the sound of the erhu and violin are used to represent sadness; percussive instruments with heavy rhythmic patterns always fit the fighting scenes; piano, harp, or other string instruments are used to accompany sweet or romantic scenes. These formulaic uses of instruments are fully presented in the 1999 film

Fly ^ to Polaris 星願，where the following music is heard in the last 15 minutes of the film: Content of scene Time (VCD disc 2) Music Cecilia Cheung 張柏芝 31:52 Vocal (theme music) + Harp (female character) goes to 35:05 Guitar + Vocal (1 phrase from find Richie Jen 任賢齊 theme song sung by Cecilia (male character) Cheung) Cecilia jumps into the 35:30-36:03 Repeat the phrase from theme swimming pool song sung by Cecilia Cheung Richie leaves 36:27-36:53 Female vocal 37:54 Violin + Quiet music (guitar) Richie admits he is the 40:28-40:59 Strings "ghost"

Phone call to radio program 42:56 Quiet music

73 Gorbman 1987:16-17. •2 Film Music Functions and Formulaic Uses of Instruments 28 Song from radio 44:29-45:35 Richie Ren's song Richie starts to fly to 45:58 Piano music + vocal Heaven The moment when Richie 46:23-47:12 Violin(Melody at high pitch) with flies and Cecilia cries orchestra support (crescendo), Strings Figure 2.1 Last 15 Minutes Music of the Film Fly Me to Polaris.

At the climax of the sad atmosphere (at the moment Richie flies to heaven), violin is ready to draw the audience into tears and the orchestral support in crescendo increases the sad atmosphere when Cecilia cries. In addition, whenever the female character played by Cecilia Cheung feels depressed or lost, female vocal music is applied to represent the sadness. The usage of the voice, especially the typical single phrase from the theme song, represents the director's own taste,

according to the film music composer.74 This can be regarded as one of new variants of the formulaic use of instruments that has been created by the composer, one which is free from the audience's previous listening experience. Another example is the 2003 film Infernal Affairs I, in which a heavy percussive rhythm is applied frequently.

Content of Scene Music Opening Theme: Live Orchestra + Midi + Vocal Temple, Edison Chan 陳冠 Rhythmic, Sitar, Strings 希 appears Testing Hi-Fi Song Bei yi wang de shi guang 被遺忘的時光[The Days Being Forgotten ]sung by Tsai Chin 蔡琴(solo, no accompaniment) Funeral parlor Blow Instrument (Indian Scale)

74 Kam, 2003. •2 Film Music Functions and Formulaic Uses of Instruments 29 Meeting on the roof of a Bass notes, Strings commercial building Interrogating the suspect Drum + Horn Dealing in Mongkok Trumpet, Timpani (Bass sound) Police action Repetitive melody, horn, orchestra Rhythmic music, guitar (Indian Scale) Kelly Chen 陳慧琳 Sweet theme played by harp, flute and piano appears Chase at cinema Timpani, Rhythmic music and repetitive strings Anthony Wong 黃秋生 Synthesizer pulse, repetitive guitar notes and clarinet goes to the roof of a commercial building Runs away from the roof Heavy rhythmic Anthony dies + Gun fight Female vocal + harp Chapman To 杜汶澤 dies Female vocal Andy Lau g!]德華 and Orchestra Tony Leung梁朝偉 co-operate with each other Go to warehouse Techno sound, repetitive strings and band sound Inside the warehouse Timpani ->techno sound and variation of theme music Eric Tsang 曾志偉 dies Orchestra ->variation of theme music Discovers Andy Lau Bass Kelly Chen re-appears Sweet theme played by piano and flute Roof Bass, horn and vocal Ka Tung Lam 林家棟 Bass, guitar and blow instrument (indian scale) dies Tony Leung dies Piano + vocal Andy Lau leaves the Opening theme music, orchestra, piano and vocal elevator Funeral Bagpipe, orchestra and vocal End credits Film song Infernal Affairs sung by Tony Leung and Andy Lau Figure 2.2 Music of the Film Infernal Affairs 1.

The rhythmic music applied to scenes like police action and chasing creates a tense and nervous atmosphere. Bass sounds and repetitive strings are also •2 Film Music Functions and Formulaic Uses of Instruments 30

added to further intensify the atmosphere. In addition, sweet theme music played by harp, flute, and piano is used to accompany the appearance of the female character, Kelly Chen, and imply her love affair with another male character, Tony Leung. This is yet another formulaic use of instruments. Once again, in this film, vocal music is used to represent sadness. The female voice appears whenever an actor dies. The repetitive application of the formulaic use of instrument helps to aid the memory, as the re-occurrence of the same music materials can evoke audience's memory of previous scenes such as the deaths of Anthony Wong, Chapman To, and Tony Leung, and also their listening experience formed by other films.

Re-Occurrence of Music in a Film Besides the formulaic usage of instruments, the repeated appearance of music/songs also helps to evoke the memory of the audience. Director Wong Kar Wai is famous for his repetitive use of the same music materials in a film. In the 2000 film In the Mood For Love 花樣年華， the main theme or leitmotif of the film, a waltz with pizzicato cello plus violin, electric guitar, and a bass drum beat, was composed by Michael Galasso.75 The music was adapted from Shigeru Umebayashi 梅林茂，s "Yumeji's Theme" from the 1972 Suzuki Seijun 鈐木清順 film.76 This theme appears throughout the whole film and thus closely link the audience's memory to each scene content.

75 Lan, p232-233. 76 Lan, p232. •2 Film Music Functions and Formulaic Uses of Instruments 31 Scene content Music Tony Leung first meets Maggie Cheung 張曼玉，when Maggie is Yumeji's theme accompanying her husband to play mahjong Tony meets Maggie on the stairs when buying noodles Yumeji's theme Buying noodles in a rainy day Yumeji's theme Maggie and Tony take a taxi Yumeji's theme Tony works in the office and discusses the contents of his novel Yumeji's theme with Maggie Maggie accompanies Tony to write the novel in a hotel Yumeji's theme Maggie accompanies Rebecca Pan 潘迪華 to play mahjong Yumeji's theme After rehearsing their "break-up", Maggie takes a taxi home Yumeji's theme Maggie is listening to a radio broadcast Hua yang de nian hua End credits Yumeji's theme Angkor Wat Theme Figure 2.3 Music Excerpts from the Film In The Mood for Love.

In contrast, the record of the period song Hua yang de nian hua 花牛素白勺$ 華[Flower Ages ], sung by Zhou Xuan 周游 was always played in the home of the female character, Maggie Cheung, which marks the time reference of the story and also points out the theme of the film. As claimed by the director, the song was

used to reconstruct the music and listening preferences of the 1960s;77 that is, to make use of a period song to associate the audience's listening experience with the olden days. The re-occurrence of a song can be the marker of time reference in a film story, and it may also cross over to other time periods, such as when old songs are used in a modern time period for a specific purpose. In the Infernal Affairs film series, an old song Bei yi wang de shi guang [ The Days Being Forgotten ], sung by

77 Lan, p231. •2 Film Music Functions and Formulaic Uses of Instruments 32

the legendary Taiwanese singer Tsai Chin, was used in all three films. The song appeared as an example for testing high fidelity equipment in the early part of the first film. In the second film, the song appeared in the scene when the main character played by Edison Chan first heard the song in his early years. The old song was no longer used to fit the elderly age group, but was instead used to outline the overtones of the scene: the (good old) days being forgotten.

Film Content of Scene Time Period Music Infernal Test Hi-Fi Near the opening of film Solo, no Affairs I accompaniment Infernal Edison Chan met Near the opening of film With accompaniment Affairs II Carina Lau Edison met Yu Chiu At the end of film Solo, no 趙頌苑 accompaniment Infernal Flashback to the first At the end of film Solo, no Affairs III meeting of Andy and accompaniment Tony Figure 2.4 The Appearance of the Song Beiyi wang de shi guang in the Film Series of Infernal Affairs.

Thus，the re-occurrence of music in film is not only used to associate the audience's listening experience with previous scenes, but also to mark the time period of the song and even to add and interpret meanings that cannot be shown by the film scene. 3 Imagined Scoring of Chinese Music 33

Chapter Three Imagined Scoring of Chinese Music

Anahid Kassabian, in her book Hearing Film : Tracking Identifications in Contemporary Hollywood Film Music, mentions the function of film music :

"Identification, Mood and Commentary."78 Certain film music will be used to identify a character or a certain event, etc. and the author supports her argument with quotation of a Chinese music example:

"if we see a picture shot in China, we immediately have the fourths and • ,,79 gongs going. y

In Hong Kong, it is true that in many films that feature Chinese ancient stories, we immediately have suona 噴口內’ gongs 鑼 and drums 鼓 in scenes that feature traditional weddings, funerals, or operatic music performance. Melodies using pentatonic scales are always heard. In scenes featuring female characters, who are young ladies from the upper social class or musicians in a brothel, they are always playing Chinese instruments such as the guqin 古琴 or pipa 琵琶.Male characters such as knights-errant or intellectuals will play the dizi 笛子’ which vividly portrays

78 Kassabian, p56. 79 Kassabian, p58. 3 Imagined Scoring of Chinese Music 34

their romantic images. In additions to these types of diegetic music,80 Chinese instruments are also added in the non-diegetic music, in order to sinicize the synthesized or western orchestration. This practice is widely employed in present-day Hong Kong film music and can be called "imagined scoring."

Chinese Instruments In the 1994 film The Lovers 梁祝，there is a scene featuring the main characters and their classmates having a guqin lesson. In the 1994 film Deadful

Melody 六指琴魔，the strings of the guqin could be used as a weapon to kill enemies. Both films featured ancient Chinese stories. Furthermore, Chinese instruments are also added into the background music of different film genres. In the 2002 film Chinese Odyssey 2002 天下無雙’ which recast the Huang Mei Diao story The Kingdom And The Beauty 江山美人 in the form of a comedy, various Chinese instruments are used in the music throughout the film. A suona is heard in the opening credits, while yangqin, huqin, pipa, dizi, and guzheng are either added in the background music or to accompany the Huang Mei Diao songs, along with western instruments such as timpani, drum set, synthesizers, or strings. In another comedy, Cat and Mouse 老鼠愛上貓，which features the story ofZhanzhao 展昭 ’ the bodyguard of Judge Bao 包青天，bianzhong 編鐘， guzheng 古箏，erhu 二胡，drum，xiao 簫’ dizi and pipa are heard throughout the film. Although the use of Chinese instruments in films featuring ancient Chinese stories has become a "must" in Hong Kong film music, there is always a distance between the film music and the diegetic music in these scenes. How "authentic" is this diegetic music?

80 ‘‘Diegetic means music contained with the action. Non-diegetic music is more or less as background music." Stated in the "film music" entry of The New Gmve Dictionary of Music and Musician. Cooke 2001: 806 3 Imagined Scoring of Chinese Music 35

Authenticity In Scene and Out of Scene In his article "Xianggang dian ying yin yue - li shi yu zheng zhi zai Xianggang dian ying"香港電影音樂-歷史與政治在香港電影[Hong Kong Film Music — History and Politics in Hong Kong Film]，Yu Siu-wah has discussed the problem of authenticity in the music for the 1990 film Swordsman 笑傲江湖 and the 1992 film Swordsman II 笑傲江湖 II 東方不敗 ’ respectively. In Swordsman, there is a scene featuring the main character, played by Sam Hui 許冠傑，where he and the other supporting actors play a sanxian 三弦，guqin, and dizi in a small ensemble. Yu criticized the ensemble as being non- standard, because the sanxian was regarded as a lower class instrument in China at that time and was obviously not supposed to be

played together with the guqin, an instrument played by intellectuals.81 In addition,

the dongxiao 洞蕭 and guqin duet in the original knight novel82 was changed a duet for dizi and guqin in the film, which was a mistake since the sound of the dizi would cover up that of the guqin. Finally, the authenticity of the film music was further criticized for the sound of the guqin, as the music in the scene with the guqin playing was actually performed on the guzheng!83 Similarly, the music in the 1993 film Temptation of A Monk 誘僧 was supposed to be based on research on the music culture of the Tang 唐 Dynasty

(618-907) and western regions.84 According to the composer , these scenes with musical instruments were in the end based on the decisions of the director, Clara Law 羅卓瑶.The first scene features the actress Joan Chen 陳t中 playing xun 墳.The second and third scenes appear about 50 minutes into the film where musicians are playing a lute and an ensemble of Chinese instruments such as pipa and huqin 胡琴 is

81 Yu 2001:134-135 82 The film story came from the knight novel with the same name, written by Jin Yong 金庸 83 Ibid., 84 Wai 2003 & 2004. 3 Imagined Scoring of Chinese Music 26

playing in a brothel. After the composers Tommy Wai and Tats Lau劉以達 had carried out their research, they found that the xun was the most common musical instrument in the Tang dynasty. From the viewpoint of Chinese music history, this finding is doubtful, as the xun was not even included in the musical instruments that were listed in the literature of the Tang dynasty. For example, in yuefuzalu 樂府雜錄， only pipa, zheng 箏’ konghou 箜篌’ sheng 笙,di 笛’ bili 觱篥’ wuxian 五絃’ fangxiang 方饗’ jiou 擊甌，qin, ruanxian 阮咸’ jiegu 揭鼓，drum and paipan 拍板 were included, while the xun was absent. If the xun was a common musical instrument in the Tang dynasty, there was no reason for the author Duan Anjie 段安節 to exclude the xun at that time. However, the xun was indeed an ancient musical instrument in China and the audiences would probably notice the antiquity of the instrument in these scenes, although the choice of instrument did not exactly match exactly the historical background of the story.

Imagined Scoring 一 Creative Listening Experience Scoring an "imagined ethnic music" was not a tradition that only existed in Hong Kong film music. In Claudia Gorbman's article "Scoring the Indian: Music in the Liberal Western," the development of the Hollywood film industry in representing native Indian music is discussed:

"Accompanying the onscreen Indian savage one usually hears a ‘tom-tom，rhythmic drumming figure of equal beats, the first of every four beats being accented....85"

As the composers in the Hollywood film industry continue to use the Tom-tom rhythmic drumming to represent the music of Native Americans, the listening experience of the non-Native American audiences had thus trained them to

85 Gorbman 2000: 235. 3 Imagined Scoring of Chinese Music 37

believe that such Hollywood imagined scoring was the real ethnic music of Native Americans. A similar practice has been adopted by the Hong Kong film industry, where the Chinese music is further stereotyped into melodies with a pentatonic scale. The most famous examples are the theme song of the film Swordsman and the thematic materials of Swordsman II, which were composed by James Wong 黃霑. The melody, which came to be a very successful composition, was basically a stepwise descending and ascending pentatonic scale: 65321 32165 5656 1235 653212. Thus, condensing Chinese music into a pentatonic scale can be regarded as imagined scoring for Hong Kong audiences who are living in but not familiar with Chinese musical culture. As music from before the Qing 清 dynasty (1644-1911) is rarely heard nowadays, the film music for "ancient" scenes can therefore be creative, to a certain extent. The listening experiences of the audience towards such "ancient Chinese music" have long been formed by film music composers. Therefore, the practice of (1) sinicized orchestration plus a few Chinese instruments and (2) using melodies having a pentatonic scale are applied in almost all films that feature ancient scenes and can successfully associate the audience's listening experience. However, (3)having the wrong sound come out of an instrument is also common in Hong Kong films and TV drama, as when the sound of a guzheng comes out of a guqin or that of a xiao from a dizi, or when an actor or actress pretends to play the instrument while their playing techniques or even the movement of their fingers does not fit with the music. The main reason for such "imagined scoring of film music" is that Hong Kong audience are musically not Chinese. The ignorance of Hong Kong audiences towards Chinese music is the main reason for such inauthenticity. Although education on Chinese music has been carried out in schools, and the Hong Kong Chinese Orchestra frequently gives 3 Imagined Scoring of Chinese Music 38

concerts, Hong Kong people, even the film music composers themselves, are still lacking in their knowledge of Chinese music. Since mass audiences seldom know what a qin sounds like or how to distinguish between the sounds of guzheng and qin, the practice of using the wrong sound is still allowed to exist in the film industry.

Cultural Correctness Imagined Scoring also applies to music other than Chinese, as was proven by the film Purple Storm 紫雨風暴，in which the relationship between the geographical background of the story and the music was controversial. As the story took place in Cambodia, the composer had done research on Cambodian music before his composition. According to the composer, there is no folk song but only court dance music in Cambodia, and as the traditional melodies were not suitable for the scene, he therefore had to compose the film interlude himself. To make it sound like Cambodian music, the composer had to avoid using Chinese, Japanese, or Korean scales，but still wanted to make it sound like Asian music by carefully employing some Asian instruments. The two main musical instruments in the film were a metallophone - a gamelan-type percussion instrument86 and a wind instrument which sounded like a suona. The wind instrument was chosen from samplings of Asian wind sounds, and it was neither a Chinese suona nor a Cambodian wind instrument.87 The gamelan usually appeared with the wind instrument to shape the sound of "Cambodianess" and become the "character music" of the supporting character who came from Cambodia. In this case, the composer also took advantage of Hong Kong audiences' unfamiliarity with Cambodian music. He intended to compose something that did not sound like

86 The main type of ensemble in Indonesia and Malaysian, which consisting mostly of bronze percussion instruments. Kam 2003. 3 Imagined Scoring of Chinese Music 39

Chinese, Japanese, or Korean scales, which are relatively recognizable to Hong Kong audiences. Other instruments like those of the Gamelan were used to consolidate the Southeast Asian style of the music. Thus, the practice of "imagined ethnic music" was acceptable because of the mass audience's unfamiliarity with Cambodian music. From the information above, we can notice that the composers had a certain intention to achieve authenticity in the music, but there are deviations in their concept of cultural correctness. Perhaps using indigenous music was not the main priority of the composers, as the main function of the film music was to serve the needs of the scene and associate the music with the previous listening experiences of the audiences. Therefore, scoring an "imagined ethnic music" is more practical than introducing culturally authentic music. As audiences are not familiar with the music, the creation of the film music is rather free from the listening expectations of the audience. In contrast, Cantonese operatic music scenes are retained in a more authentic way since performance of the music still survives in the living environment.

Listening Experiences Formed in Daily Life It is common to include scenes of Cantonese Opera performance to represent the local culture of Hong Kong. In the 1993 film C'est La Vie, Mon Cheri 新不了

情’Anita Yuen 袁詠儀 was a street singer of Cantonese opera on Temple Street 廟街.A similar theme appeared in the 1995 film Hu Du Men 虎度門 ’ in which the actress Josephine Siu was a famous "actor" (male role ) of Cantonese Opera in Hong Kong. There were several scenes that featuring her singing in a performance on stage. Both Yuen and Siu are actresses who do not usually sing, but they played the roles of singers and actresses in these films. In Hu Du Men, there is a scene featuring Cantonese operatic music as practiced by the actress Josephine Siu and her 3 Imagined Scoring of Chinese Music 40

troupe who were real operatic performers in the Chinese Artists Association of Hong Kong 香港八和會館.Cantonese opera performance has also appeared in films such as Lee Rock 1 五億探長雷洛傳 in 1991, in which the actor Andy Lau went to the theatre for entertainment. A final example is the 1988 film Rouge 胭脂扣，in

which the actress Anita Mui sang Cantonese narrative song, Nanyin 南音’88 in a performance in a traditional Chinese restaurant. In these scenes featuring Cantonese Opera performance, the authenticity in the scene is more or less guaranteed, and musical instruments that are used to accompany Cantonese Opera in daily life appeare in the film scenes. In Hu Du Men, several accompanying instruments are shown in a scene which features a Cantonese opera troupe practicing in the Chinese Artists Association of Hong Kong. These are the bowed gaohu 高胡 and four percussion instruments, including the shade 沙的，buyu 卜魚,xiaobo 小鈸 and gouluo 勾鑼. Another performance of Cantonese opera appeared in the 2002 film Demi-Haunted 魂魄卩吾齊，where the accompanying ensemble consisted of two percussive instruments with one gaohu and one yangqin. As Cantonese opera performance still survives in the living environment, the listening experience of the audience is formed in their daily life instead of through the creative composition of film music composers. Although the scenes feature live performance and the film music is likely to appear as diegetic music, the music is actually recorded afterwards in a studio.89 The film music composers may not use a standard-sized accompanying ensemble for Cantonese opera, but they will retain at least a few "correct" instruments such as the violin, shade, buyu, or yangqin. If not, the film music may contradict the listening experiences of the audience and be criticized for its inauthenticity.

88 One of the local narrative singing genres in Hong Kong. The scene in Demi-Haunted is one of the example, as claimed by the film music composer. Wai, 2004. 3 Imagined Scoring of Chinese Music 41

Music for the Elders in Hong Kong The film music composer often further stereotypes Cantonese opera as the preference of non-teenagers and elderly people in various films, as there are already many scenes in Hong Kong films featuring the elders listening to Cantonese opera. For example, in the 2003 film Infernal Affairs II, the head of one of the Hong Kong triad societies, whose age was 60 or 70’ was killed during his singing practice in a Cantonese operatic music society. Another head of the triad society played by Eric Tsang also listened to Cantonese operatic music at home. Thus, the music preferences of the age group were superficially compressed into a single genre in the film.

Conclusion From the film examples discussed above, one can notice that the creativity of the composer is much related to the listening experience of the audience. In the films that feature ancient Chinese scenes, music is free from criticism as the music from before the Qing Dynasty is seldom heard nowadays and Hong Kong audiences are not knowledgeable about Chinese music. Wrong sounds coming from an instrument have been accepted for many years. Chinese music being stereotyped as pentatonic scales, and music based on western orchestration with the addition of a few Chinese musical instruments are common film music practices, since the listening experiences of the audience have long been formed by the film music composers. However, the films that feature Cantonese opera performance are more authentic both within or out of the scenes. As the listening experiences of the Hong Kong audiences have accumulated in daily life, in which Cantonese opera performance is retained and regularly seen in the cinema or in ritual activities, the real accompanying musical instruments are adopted in scenes and film music. 3 Imagined Scoring of Chinese Music 42

Composers have limited creative control over this genre, and they have further condensed the music to become the exclusive listening preference of the elders. This practice fits into a part of the audience's previous impressions and then succeeds in associating their new memories with the film music. As Hong Kong audiences are musically not Chinese, and the local Cantonese opera music is stereotyped as being only for the elders, what is the musicality of Hong Kong youth as shown in film music? 4 Crossover of Pop Singers into Films 43

Chapter Four Crossover of Pop Singers into Films

The musical sensibilities of Hong Kong youth are not Chinese, but pop. This can be shown by the frequent crossover of pop singers into films in Hong Kong. Artists in Hong Kong are judged by their success in both careers: acting and singing. Many stars such as the late Leslie Cheung 張國榮’ Andy Lau, Jacky Cheung 張學友 and the late Anita Mui 梅驢芳 have been successful as both actors/actresses and singers. The crossover of pop singers into films has also appeared in Hollywood and Japan. There were a few great artists in Hollywood who had success as both singers and actors/actresses, like Frank Sinatra, Elvis Presley and Madonna. More recently, Hollywood hit films such as Moulin Rouge or Chicago which were musicals, also had the actors/actresses singing in the films. Their singing was recorded in the soundtracks of the films, but these actors or actresses did not turn to start their second career as a singer. In addition, those Hollywood films featuring hit singers like Britney Spears or the Spice Girls often ended in failure, while in Japan the individual members of the pop groups like Smap or V6 have been frequently featured in TV drama, instead of in film. Therefore, it is a special phenomenon for Hong Kong to have a large number of films featuring pop singers as film actors and actresses who are 4 Crossover of Pop Singers into Films 44

successful in both careers.

Hong Kong Pop Singers as Film Actor/Actress or Vice Versa As mentioned above, there are many pop singers who are successful in their second career - Actor/Actress in films. The late Leslie Cheung ( 1956-2003 ) started his career by joining a singing contest held by Rediffusion Television Limited 麗的電視（Predecessor of Asia Television Ltd.) in 1977，and he continued to be a top singer from the 1980s until his death in 2003. He started acting in a 1980 TV drama of Radio Television Hong Kong and his first formal film was Encore 喝采 in 1980. He was nominated for the "Best Actor" award for the film A Better Tomorrow II 英雄本色 II and for the "Best Film Song" award for the film A Chinese Ghost Story 倩女幽魂 in 1988. He received several nominations for the ‘‘Best Actor" and the "Best Film Song" awards. He finally won the "Best Actor" award for the film Days of Being Wild 阿飛正傳 in 1991 and the "Best Film Song" award for the film He's A Woman, She's A Man 金枝玉葉 in the 1995 Hong Kong Film Awards. Andy Lau was an actor in TVB (Television Broadcast Company )who then acted in his first movie Boat People 投奔怒海 in 1982. In the 1990s, he became one of the "Four Heavenly Kings”四大天王，an honorary title given to the four top hit male singers at that time. The other three were included Jacky Cheung, Aaron Kwok 郭富城 and Leon Lai 黎明 who are also famous actors. Andy Lau was nominated for the "Best Actor" award for films in 1989’ 1992’ 1996, 2001，2002, and 2003. He has also received nominations for the "Best Film Song" awards over the years, for films such as Casino Raiders II 至尊無上 II 永霸天下 and Shaolin Soccer 少林足球 in 2002. Eventually, he won the "Best Actor" award for the films Running Out Of Time 暗戰 in 2000 and Running On Karma 大隻佬 in 2004 4 Crossover of Pop Singers into Films 45

and the "Best Original Film Song" award in 2003, for the title song from Infernal Affairs, sung by the two main actors in the film: Andy Lau and Tony Leung. Jacky Cheung was honored by the media as the "God of Singing"歌神’ a title first give to Sam Hui. He was the champion of the 18 Districts Singing Competition 全港十八區業餘歌唱比賽 organized by Radio Television Hong Kong ( RTHK ) in 1984 and had his first album Smile released in the next year. Immediately afterwards, his first film Soul 老娘夠|蚤 came out in 1986 and he received his first film award - the "Best Supporting Actor" award in 1989 for the film A5 Tears Go By 旺角卡門.He has had numerous nominations for the "Best Actor" or the "Best Supporting Actor" awards over the years, for films such as Bullet In The Head 碟血街頭 and Golden Chicken 2 in 2004. However, despite his great success in singing, he was only nominated once for the "Best Film Song" award for the film The Private Eye Blues 非常偵探 in 1995. Leon Lai had his debut as a singer by joining the singing contest organized by TVB in 1986 and started acting in TV drama in the same year. He became one of the "Four Heavenly Kings" in the 1990s and his film career also flourished during that period. He was first nominated for the “ Best Actor" award in 1997 for the film Comrades, Almost A Love Story 甜蜜蜜 and won the "Best Film Song" award for the film City of Glass 玻璃之城 in the 1999 Hong Kong Film Awards. His acting was credited in the film Three: Going Home 三更之回家 for which he won the “Best Actor" award in the 2003 Taipei Golden Horse Festival. In his most recent film Leaving Me, Loving 大：^/J�事’ he acted with Faye Wong, another Hong Kong pop singer, and sang the theme song of the film. The late Anita Mui ( 1963- 2003 ) was the outstanding representative of a female singer who crossed over to become an actress. She started her singing career in her childhood and was a superstar since the 1980s. Her film career began 4 Crossover of Pop Singers into Films 46

in the early 1980s and her career as an actress and a singer were both credited with her winning of the "Best Actress" award for the film Rouge in 1989, the "Best Supporting Actress" award for the film Eighteen Springs 半生緣 in 1998, and the "Best Film Song" award in 1989，1992，and 1994. Two other examples of singers crossing over to successful acting careers are Faye Wong 王菲 and Sammi Cheng 奠[5秀文.Faye Wong started her career as a singer in Hong Kong in the late 1980s. In the early 1990s, she began to act in several TV dramas and finally crossed over into films. Her film production was not rich in quantity but she did receive nominations for both her acting and singing. She was nominated for the "Best Actress" award for the films Chung King Express 重慶森林 in 1995 and Chinese Odyssey 2002 in 2003 and for the "Best Original Film Song" for the film Hero 英雄 in 2003. In 2004, her recent films were Leaving You, Loving Me and 2046. Sammi Cheng started her career by joining the singing contest organized by TVB in 1988 and began to act in TV drama in the early 1990s. Her acting in the first film The Best of The Best 飛虎精英之人間有情 was nominated for the "Best New Performer" in 1993 and she received another nomination for the "Best Original Film Song" for the film Feel 100%.•.Once More 百分百線 feel in 1997. Her career as an actress flourished in the 2000s as she was nominated for the "Best Actress" award and "Best Original Film Song" award for the film Needing You 孤男寡女 in 2001. In the following year, she was nominated again for the "Best Actress" Award for three films simultaneously: Fighting For Love 同居蜜友，Love On A Diet 瘦身男女，and Wu Yen 鍾無艷，and she finally won the "Best Original Film Song" award for the second film. In recent years, there are also actresses who cross over into singing. Cecilia Cheung began her career acting in a commercial and soon made her first film. 4 Crossover of Pop Singers into Films 47

She debuted in film acting in 1999，and was nominated for "Best Actress" for the film Fly Me To Polaris, and won the "Best New Performer" and "Best Original Film Song" in 2000 for the same film. In 2004’ she won the "Best Actress" award and was nominated for the "Best Original Film Song" award for the film Lost In Time 忘不了. Karena Lam 林嘉欣 began her career as a singer in Taiwan but became 男人四十 famous for her acting in the film July Rhapsody in 2002. She won the "Best Supporting Actress" and "Best New Performer" awards in 2002 for this film and was nominated for "Best Actress" for the films Inner Senses and The Floating Landscape 戀之風景 in the following two years. As she becomes famous in Hong Kong, she has taken up her career as a singer again. Name Debut career Other career Leslie Cheung Singer Actor Andy Lau Actor Singer Jacky Cheung Singer Actor Leon Lai Singer Actor Anita Mui Singer Actress Faye Wong Singer Actress Sammi Cheng Singer Actress Cecilia Cheung Actress Singer Karen a Lam Singer Actress Figure 4.1 The Identity of Various Artists. 4 Crossover of Pop Singers into Films 48

Name Film Awards/ Film Year Film Song Awards Year Leslie Actor (Won) (Won) Cheung Days of Being Wild 1991 He's A Woman, She's A Man 1995 Actor (Nominated) (Nominated) A Better Tomorrow II 1988 A Chinese Ghost Story 1988 Rouge 1989 The Bride With White Hair 1994 He 's A Woman, She，s A Man 1995 The Phantom Lover 1996 Wwz Erotica 1996 Who 's The Woman, Who's the 1997 Happy Together 1998 Man (with Anita Mui) Inner Senses 2003 Andy Actor (Won) (Won) Lau Running Out Of Time 2000 Infernal Affairs 2003 Running On Karma 2004 (with Tony Leung) Infernal Affairs III (Taiwan) 2004 Actor (Nominated) (Nominated) As Tears Go By 1989 Casino Raiders II 1992 Lee Rock 1992 Tian Di 1995 Full Throttle 1996 Full Throttle 1996 A Fighter's Blues 2001 Island of Greed 1998 Love On A Diet 2002 A True Mob Story 1999 Infernal Affairs 2003 The Longest Summer 1999 Shaolin Soccer 2002 Jacky Supporting Actor (Won) (Nominated) Cheung A^ Tear Go By 1989 The Private Eye Blues 1995 Actor (Nominated ) Bullet In The Head 1991 To Live And Die In Tsim Sha Tsui 1995 July Rhapsody 2002 Golden Chicken 2 2004 - -— - Supporting Actor (Nominated) A Chinese Ghost Story II 1991 Swordsman 1991 Once Upon A Time In China 1992 Leon Actor (Won, Taiwan) (Won) Lai Three: Going Home 2003 City of Glass 1999 4 Crossover of Pop Singers into Films 49

Actor (Nominated) (Nominated) Comrades, Almost A Love Story 1997 Eighteen Springs 1998 City of Glass 1999 Three: Going Home 2003 Anita Actress (Won) (Won) Mui Rouge 1989 Rouge 1989 Supporting Actress (won) The Twin Bracelets 1992 Eighteen Springs 1998 The Heroic Trio 1994 Actress (Nominated) (Nominated) Aw Revoir, Mon Amour 1992 Au Revoir, Mori Amour 1992 Justice, My Foot! 1993 Who's The Woman, Who's 1997 Rumble In The Bronx 1996 The Man (with Leslie Cheung) Faye Actress (Nominated) (Nominated) Wong Chung King Express 1995 Hero 2003 Chinese Odyssey 2002 2003 Sammi New Performer (Nominated) (Won) Cheng The Best of The Best 1993 Love On A Diet 2002 Actress (Nominated ) (Nominated) Needing You 2001 Feel 100%....Once More 1997 Fighting For Love 2002 Needing You 2001 Love On A Diet 2002 Wu Yen 2002 Cecilia New Performer (Won) (Won) cheung Fly Me To Polaris 2000 Fly Me To Polaris 2000 New Performer (Nominated) King Of Comedy 2000 Actress (Nominated) Fly Me To Polaris 2000 Actress (Won) (Nominated) Lost In Time 2004 Lost In Time 2004 Karena Supporting Actress (Won) Lam New Performer (Won) July Rhapsody 2002 Actress (Nominated) Inner Senses 2003 The Floating Landscape 2004 Figure 4.2 The Nominations and Awards for Various Artists. 4 Crossover of Pop Singers into Films 50

No matter whether they are female or male artists, many performers in Hong Kong have crossed over to other careers as singers or actors and have had great success in both careers. Many of them have won the "Best Actor" or "Best Actress" award and the "Best (Original) Film Song" award for the same film in the Hong Kong or Taiwan Films Awards. Some films have featured hit pop singers

such as Twins, Boyz, Kelly Chen90, or Miriam Yeung 楊千_，so as to make use of their fame to attract their fans into the cinema. In the films that feature pop singers, their songs are used in the opening and ending credits and even in the film scenes as both diegetic and non-diegetic music.

Diegetic and Non-Diegetic Music Before discussing the possibility of association between the identity of actors in a scene and their songs in a film, it is necessary to review some ideas of how music is used in a scene. Diegetic music means music contained within the action, such as a band playing music in a nightclub or an actor/actress playing a CD. Non-diegetic music functions more or less as background music. Diegetic music can also suggest the spatial relationship in a scene,91 such as when the volume of the music decreases when heard from a car that is driving away. Diegetic music may come from scenes which feature in our daily life, such as playing a CD or video tape. In the film July Rhapsody, there was a scene which featured the actor Jacky Cheung playing a video tape that introduced the scenery of the Changjiang 長江[Yangzi River ] and the background music on the tape was Gao shan liu shui 高山流水[High Mountain And Flowing Water ]. The film

90 Kelly Chen was nominated for "Best New Performer" and "Best Original Film Song" in 1996 for the film Whatever Will Be, Will Be 仙樂飄飄 and Lavender 薰衣草 in 2001. She won the award for the film Lost And Found 天涯海角 in 1997 91 Cooke 2001: 806. 4 Crossover of Pop Singers into Films 51

music composer did not compose this background music/diegetic music, which was

really the music contained within the video tape.92 The following scene featured the characters listening to the piece Jiang he shui 江河水[River Water ] from a CD. According to the composer Tommy Wai, the original music for this scene as written in the script was Er quan ying yue 二泉映月[The Moon Reflected on the

Second Springs ]. It was the composer's idea to replace it with Jiang he shui,93 the melody of which was reused and developed into an orchestral version which played over the film's ending credits. Although the diegetic music was not written by the composer himself, he still had the creative freedom to select the music and incorporate it into his composition of other music. This helps to associate the memory of the audience with that scene and to smoothly link up all the music in the film. As previously mentioned, diegetic music can also suggest the spatial and temporal relationships in a scene. In the film Golden Chicken, one of the actors, Felix Wong 黃日華，who played a Malaysian Chinese in the United States, sang the song When A Child Is Born with Chinese lyrics in the nightclub where the actress worked. The choice of the song was made before the film music composition.94 In the scene, the actor was accompanied by a live band, which was common in the nightclubs in the 1980s, and the echo of the band music also suggests the grand size of these places. The melody of the song appeared whenever the actress mentioned her baby who was adopted by Wong. The music appeared again as diegetic music coming from a toy keyboard or music box and also as non-diegetic music - background music. The repetitive appearance of the same melody as both diegetic and non-diegetic music helped the audience to associate it with different scenes and

92 Wai 2003. 93 Ibid., 94 Kam 2004. 4 Crossover of Pop Singers into Films 52

thus deepened their memory of the story line. To associate the memory of the audience with a certain mood, a composer will also make use of an excerpt from a song in the film as non-diegetic background music. For example, a phrase of Cantonese opera sung by the female character was selected as background/character music for the 2002 film Demi-Haunted. The musical phrase "Gajim syn sai 家嚴選婿” [My father chooses his son-in-law ] would sound whenever the character appeared. The composer claimed that the phrase was extremely sad and shrill, which fit the character's identity as a ghost,95 and thus the sounding of the musical phrase would function as advance notice of terrifying events. Non-diegetic music is usually composed by the film music composer himself. As mentioned in part three, there are several formulas for composing music for typical scenes. In some cases, non-diegetic music may be used to refer to a popular song of the singer/actor. An accordion was used in Demi-Haunted to represent the friendship of the male and female characters and to refer to one of the pre-existing songs of the male actor which was popular at that time. The same instrument was used in that popular song and the composer believed that adding accordion into the non-diegetic music in scenes would unify the music.96 One can notice that the composition of non-diegetic music might be related to the promotion of popular songs, and this phenomenon will be further discussed in the following section. In other instances, it is difficult to classify film music into the categories of diegetic or non-diegetic music. In the film Fly Me To Polaris, the actress heard a saxophone playing outside her room but she could not find the source. So, can

95 Wai 2004 96 Ibid., 4 Crossover of Pop Singers into Films 53

we regard this music as diegetic in this scene? In a later scene, the actress heard the saxophone playing again, and eventually discovered that it was the supporting

actor William So who performed the music. This time we can count it as diegetic music. However, this example is tricky in that William So only pretended to play the music, while it was the actor Richie Jen who performed saxophone in the background. The scene featured the performance of William So as the source of music while the real source ( Richie Jen ) was absent. How can we categorize this music excerpt? Perhaps this is what Anahid Kassabian has called "source scoring"-

music that lies between diegetic and non-diegetic music.97

Popular Song in Film and Film Theme Song Popular songs of the singers acting in a film are often used in their films as the opening or closing song or as music video interludes - songs played as background music when the dialogue stops and the singer and other actors/actresses are performing some humorous or romantic scenes. This is done at the request of

the singer's record company.98 For example, in the 1999 film Fly Me To Polaris, the actor Richie Jen, who is a Taiwanese singer, had his songs appear over the opening credits and in some scenes. The supporting actor William So 蘇永康 who is a Hong Kong singer, had his song appear in one scene as music interlude, while the actress Cecilia Cheung sang the theme song which was heard over the closing credits. The film music composer Peter Kam wrote only the theme song, while the other songs sang by Jen or So were pre-existing popular songs which had nothing to do with the film music. One can notice that the usage of pop songs in a film is not only determined by the film composer and director, but also involves the record

97 Kassabian 2001: 43-45. 98 Kam 2003 & Wai 2004. 4 Crossover of Pop Singers into Films 54

company of the singers. Obviously, the record company aims at promoting their singers by adding their songs to the film. Another film, Summer Holiday 夏日的麼麼茶,featured Sammi Cheng and Richie Jen. Many of their pop songs were played in the film as both diegetic music and music interludes and thus there were even critiques that the film was indeed mainly a music video of the two singers. But, except for the theme song which is supposed to be composed for the film, these songs do not help much to promote the film itself. The theme song of a film may or may not be composed by the film music composer. Peter Kam, who is also a producer of records by popular singers, composed the theme songs for the two films Fly Me to Polaris and Lost In Time, for which he was also the film music composer. In fact, these ideas came from the directors, as they were not willing to use other popular songs but preferred the melody of the non-diegetic music in the film. So, Kam had to develop the thematic materials from the film music into a complete song." These theme songs would make it easier to link up the audience's memory with the film since they were developed from the film music.

The Crossover of Popular Music Composers into Film Music However, not every film music composer also writes the theme song himself/herself, and we can count many reasons for this phenomenon. Two common reasons are the tight schedule for the film music production, so that the composer does not have time to compose the theme song, and the record companies' choice of their own preference for a composer. Punk Chan has been a composer and producer of popular song recordings and had composed the theme song for the

99 Kam 2003 & 2004. 4 Crossover of Pop Singers into Films 55

Youn8 — Dangerous 古惑仔 film series featuring Ekin Cheng 鄭伊健 in the late 1990s. Simultaneously, he began to compose music for the films of director Andrew Lau 劉偉強，which mostly featured Ekin Cheng and for which the theme songs sung by Cheng were mostly composed by Punk Chan. However, due to the tight schedule, the theme songs for the three parts of the Infernal Affairs film series in 2002-2003, for which Punk composed the film music, were written by Ronald Ng

伍樂城，Beyond,100 and Andy Lau. From the above information, one can notice that (1) the composer of the theme song of the film may not be the film music composer; (2) the choice of the same composer for writing the theme song and film music may due to the preferences of either the record company or the singers themselves. Punk Chan and Ken Chan are examples of popular music composers who have crossed over into films. They compose popular songs for popular singers such as Joey Yung, Kelly Chen and Ekin Cheng, etc. and also write music for commercials. In addition to the crossover of popular music composer into films, a few serious composers in Hong Kong, such as Law Wing Fai 羅永暉 and Chan Wing Wah 陳永華’ have also composed film music. Law started composing film music in the 1980s and Chan wrote music for a recent Christian film. However, film music composers do not always set their feet in other types of popular music production. Tommy Wai composed music for TV dramas of Radio Television Hong Kong，while Raymond Wong composed music for video games. Peter Kam, although he started his career with arranging popular song, was credited for his film music in numerous film awards. He claimed that the "antenna" for popular music

100 A Famous Hong Kong band. 4 Crossover of Pop Singers into Films 65

and film music is different. Film music is a kind of functional music which serves the scene, while popular music is judged on its own merit, with a melody that enters one's ear easily. A theme song for a film could serve both interests, with fewer pop

music elements.101 Therefore, his composition of theme songs for films is more attention-getting than his popular songs composition. One can notice that Hong Kong film music composers are not always also popular music composers. No matter whether the composers of the theme song and the film music are the same or different, the theme song can help to promote the film as long as it is composed for the film and has a similar Chinese title, such as the theme song Forget The Unforgettable ,忘了忘不了 from the film Lay?忘不了 and Infernal Affairs 無間道 from the film Infernal Affairs I. Whenever the singer performs the song in public, the melody and the lyrics, which possibly describe the film story, will help to promote the film. Furthermore, excerpts from the film will be edited into the singer's music video and thus became another channel for promotion.

Pop Songs and Listening Experience The phenomenon of frequent crossover of pop singers has led to the application of popular songs into film. Although the usage of popular songs is determined by the film music composer, director, and record company, the audiences are already familiar with this film music before the film due to their listen listening experience of those pop songs in daily life. Furthermore, the practice of including pop songs in films featuring singers, is accepted by the audience and becomes another kind of listening experience or habit. Thus, having popular songs in films acted by pop singers becomes a "must，，or a new "tradition".

101 Kam 2003.

. 4 Crossover of Pop Singers into Films 57

Film Music Director Composer / \ / Crossover of Pop ^ Use of Pop Songs 一 Audience's Listening Practice of Adding Pop Singers into films/ in Film\s Experience Songs in Films Record Company Audience's Listening Experience of Pop Songs before Film Figure 4.3 Relationship of Audience's Listening Experience and Pop Songs in Film In addition, popular songs which are not sung by the featured singers are also used in films, so as to associate the audience's listening experience to those songs. Anahid Kassabian has stated that a “Compiled Score means music/songs that existed before the film, and the audience would associate their listening experience of those music/songs with film and thus provide affiliating

identification."102 The function of affiliating identification through popular song is quite effective in Hong Kong, as is strongly proven in the 2002 film Golden Chicken. In this film, the usage of a large number of Hong Kong popular songs was designed to present different time periods and are associated with the contents of a particular scene throughout the whole film. They were performed by singers ranging from Teresa Teng 鄧麗君 to Danny Chan 陳百強，Roman Tam 羅文 and Sally Yeh 葉蒲文，on up to the recently disbanded rap group LMF.

102Kassabian, pp2-3. 4 Crossover of Pop Singers into Films 58

Sin8er Song Time Period

Sam Hui Youjiujin zhao zui 有酒今朝醉 198化 [Drunk Today] Roman Tarn Zui yan kan shiJie 醉眼看世界 1980s [View the World by Drunken Eyes] Shi zi shan xiaW^T 1980S-2000S [Under the Lion Rock]

Danny Chan Zhaixing [Pick Stars] 1980s P— pian xi huan ni 偏偏喜歡你 19g0s [You Are the Only One] Yi sheng he qiu —生何求丨980s [Ask For Nothing] 恥“加明晚風 Sally Yeh [Evening Wind] 1990s

Lam Tsz Cheong Qian zhi zhenS ci zhai xin 千枝針剌在心 19g0s [Deep Pain] 林子祥 Zhe yi ge ye 這一個夜[Tonight] ^^

扮叩詠春拳 LMF Qwa/i [Wing Chun] 2000s Lazy Family 大懶堂 2000s

0h! Children Choir from Christmas Tree 2000s Animation McDull Figure 4.4 The Hong Kong Popular Songs Used in the film Golden Chicken.

A special case can be seen in the song shi zi shan xia [Under the Lion Rock], which was originally a popular television theme song from 1980s Hong Kong. However, during the economic depression in Hong Kong since 1998，Antony Leung Kam-chung，the financial secretary of the Hong Kong Special Administrative Region，once quoted the last few phrases of the song during his report of financial estimation, in order to encourage Hong Kong citizens to overcome any difficulty. From then on, the song has become a symbol of unification for Hong Kong citizens. 4 Crossover of Pop Singers into Films 59

Another song, Lazy Family, describes the feelings of Hong Konger towards their real lives in the 2000s. The film music composer makes use of the messages carried in these popular songs into film to associate the audience's listening experience. The meanings of these songs are understood only by Hong Kong audiences.

Change in the Practice 一 Problems of Overlapping Identities In some cases, an excerpt from the theme song will be used as non-diegetic music in the film. In the 1999 film Fly Me to Polaris, when the actress was acting in scenes, her voice was singing in the background. It was the idea of the director to put the excerpt of the theme song into that particular scene. As mentioned previously, using the voice may be a formula for a sad scene. But in this case, not only the voice but also the lyrics of the excerpt from the theme song were used as a sort of heartfelt wish of the character at that moment. This non-diegetic music functioned much like the diegetic music (the singing of the actress). Was her identity at that moment an actress or a singer? The singer as an actor/actress performing the role of a singer in the film further complicates the issue. For example, Charlene Choi 蔡卓妍’ a member of the Hong Kong pop group Twins, acted in the 2003 film Diva. Ah Hey 下一站天后’ which was like a biography of herself. She played a young singer and sang the theme song in several scenes. The theme song also had another version sung by the Twins, which could be treated independently as a popular song. When Choi sang the song in the film, was her role that of a singer, an actress, or both? As the appearance of a popular song by the singers/actor/actress in the film confuses the identity of the singer as actor/actress or vice versa, the overlapping identities become a problem for successful and professional acting. When the 4 Crossover of Pop Singers into Films 60

actor/actress tries to convince the audience that he/she is the character in the film story, his/her identity as singer suddenly emerges with the appearance of his/her popular songs in a scene, and thus lowers the credibility of their portrayal of the character. In the past few years, not every film that features singers will have their songs in the film. In the 1999 film July Rhapsody, the two main roles were played by Jacky Cheung and Anita Mui. Although they are both great singers, none of their songs appeared in the film, and even the theme song did not appear over the opening or closing credits as is the usual practice. Their identities and roles solely as actor and actress were very clear. Similarly, in the 2003 film Lost In Time, for which Cecilia Cheung won the prize of the Best Actress at The Hong Kong Film Awards in 2004, no popular song sung by the main actress appears until the ending credits. In the film series Infernal Affairs (2002-2003), no popular songs sung by the main actors appeared in the films. Both the main characters Andy Lau and Tony Leung (who was once a singer in the 1980s ) are solely identified as actors in the film, with the theme song sung by them appearing only at the ending credits. In the end, their identities as actors were recognized, as they won the Best Actor awards offered by the Hong Kong Film Awards and Taipei Golden Horse Awards. Thus, the practice of frequent crossover of singers into films and vice versa is still common in Hong Kong, no matter whether their popular songs are being used in films or not. To associate the listening experience and musical preferences of the audiences, the addition of songs by their idols is expected by the fans. However, in regarding to a professional actor/actress, singers have to give up their overlapping identities and their songs become less and less frequently employed in films, except during the opening or ending credits. The phenomenon . . 4 Crossover of Pop Singers into Films 61

of crossover has remained, but the related practice of film music is undergoing .. -•. . . • • • , changes.

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• 5 Conclusion : Musically Illiterate in Pop but Fluent in Chinese? 62

Chapter Five Conclusion: Musically Illiterate in Pop but Fluent in Chinese?

The practice of Hong Kong film music, from as early as the 1950s to the present, changed much during years. From Cantonese operatic film, Song and Dance film to Huang Mei Diao film, the originality and creativity in film music composition varied from total transplantation of music to imitative composition. Originality was being ignored when the usage of canned music was popular in the 1960s to 1970s, but the repeated use of canned music led to an awareness of the need to revive original scoring and similar practices which were carried out in the 1980s. It was not until the 1990s that "Original Scoring" came to be regarded as the essential and significant pre-requisite for film music writing. From then on, the practice of writing film music for individual scenes in a particular film has been established. Film music helps to interpret, adds meaning to scenes, and helps to aid the memory. To enhance the atmosphere of certain scenes, musical instruments are used formulaicly. The re-occurrence of such formulaic uses of instruments and music also helps to aid the memory as it can associate the listening experiences of the audiences towards previous scenes in this and other film. 5 Conclusion : Musically Illiterate in Pop but Fluent in Chinese? 63

The Hong Konger is Musically Not Chinese Imagined scoring of Chinese music is common in the practice of Hong Kong film music, Chinese music from before the Qing Dynasty is rarely heard nowadays and therefore film music for ancient Chinese scenes can be created by the composer and so as to shape the listening experience of the audience towards those scenes. Western orchestration with Chinese instruments and melodies in pentatonic scale are common elements in such imagined scoring. Although Hong Kong audiences are Chinese in ethnicity, most of them are not familiar with Chinese music, and audiences have long accepted phenomena such as .. the wrong sound coming out from a Chinese instrument.

The Hong Kong Audience is Authenticity in the Scene? Musically Not Chinese ^ Wrong Sounds and Inappropriate Instruments I I Imagined Scoring of ^ Pentatoni c Scale z Listening Experience of the Audience Chinese Music Western Orchestration + Created by Film Composer Chinese Instruments

Figure 5.1 The Process of Imagined Scoring of Chinese Music in Hong Kong Film

Music for Cantonese music scene in films is reserved in a much more authentic way, as live Cantonese opera performance is still common in Hong Kong and the listening experiences of the audiences are formed in their daily lives. The film music composer, do not have much creativity in music scenes, and they stereotype it as the listening preference of the elders in Hong Kong. Finally, only Hong Kong audiences can understand the impression or messages associated with these listening experiences. 5 Conclusion : Musically Illiterate in Pop but Fluent in Chinese? 64

Listening Experience of More Authentic Scenes the Hong Kong Audience • More Authentic Music is formed in Daily Life ^^

Scoring of Cantonese Further 1stereotype d as z New message affiliated with Operatic Performance Scenes Elders' music preference the new listening experience

Figure 5.2 The Process of Scoring Cantonese Music Scene in film

The Hong Konger is Musically Fluent in Pop

A special phenomenon in Hong Kong film music is the frequent crossover of pop singers into film or vice versa. This crossover has also led to the usage of pop songs in films, and Hong Kong audiences accept the practice as they are musically "pop-literate". However, some pop songs which are not sung by the singers featured in the film are also inserted into Hong Kong film music. Composers make use of the previous listening experiences of the audience to express certain ideas, and such messages could only be understood by Hong Kongers. Therefore, we can conclude that Hong Kong film music is closely influenced by the musical preferences of the audiences who are musically not Chinese but pop-literate. However, the musical preferences that have accumulated from previous listening experiences may have been created by the film music composers themselves. Local cultural elements like Cantonese opera and the ideas in Hong Kong popular songs mean something special and exclusive to Hong Kong audiences. Finally, the changes made by the film music composers in adding of these musical genres into film have further created another new listening experience for the audience which is also meaningful only to Hong Kongers.

Questions for Further Study All the composers interviewed agree that film music should not be noticed in the 5 Conclusion : Musically Illiterate in Pop but Fluent in Chinese? 65

scenes, and most film music composers in Hong Kong remain unknown to the public. In Hollywood, many film music composers such as John Williams, Hans Zimmer and James Horner are well known to the public and even to Hong Kong audiences. Chinese composers such as Tan Dun 譚盾 and Zhao Jiping 趙季平 are also well-known, but Hong Kong film music composers like Teddy Robin and Frankie Chan have been known for their acting or singing rather than their film music careers. The lack of celebrity status for Hong Kong film music composers shows the neglect of film music by both Hong Kong audiences and the film industry. In addition, there is a clear-cut distinction in Hong Kong between film music and serious music. In Hollywood films, there are composers such as Philip Glass and Aaron Copland who have crossed over to both categories, but in Hong Kong, serious composers have seldom done so. What reasons can account for the deep division between the two careers? Finally, the close connections between popular music, film music, and music for commercials in Hong Kong are still subjects for further discussion. Some popular music composers cross over to films, while other composers cross over to all three categories. The functions of and the differences in composition of the music for the three categories are also in need of further research. Appendix 1 Wong Fook Ling 66 Appendix 1 Wong Fook Ling Year Film Title Chinese Director Film Company Genre Contributions to Title Film Music 1 1952 The Dividing —板之隔/ Zhu Shilin Dragon Horse Comedy Music Assisstant: Wall/The 同居樂朱石麟 Films Wong Fook Ling Happiness of 之— 龍馬影片 Music: Living Together, Li Hou Sheng, 1st episode Ye Chun Zhi 2 The Show Must 江湖兒女 Zhu Shilin Dragon Horse Realistic Music Assisstant: Go On Qi Wen Shao Films Art film Wong Fook Ling 齊聞韶 Music: Li Hou Sheng, Ye Chun Zhi 3 1953 The Lost 風華絕代 Yen You Xiang Yi Hua Films Fantasy Composition: Generation 嚴幼祥藝華影業 Li Hou Sheng, Wong Fook Ling 4 Rainbow As You 彩虫工曲 Griffin Yue Xin Hua Song and Actor: Wish/ Feng 岳楓， Films Dance Wong Fook Ling, Rainbow Rhythms Tao Qin陶秦新華影業 Comedy No music information 5 1957 Love Fiesta 春色無邊 ~Wong HoHai Yin Films x Composition: 王豪海燕影業 Wong Fook Ling, Li Yi Zhi; Lyrics: Li Qing, Pan Liu Dai 6 Duo Qing He 多情河 LuoWei Jin Qiao金橋，Comedy Composition: 羅維 Da Han大漢 Wong Fook Ling, Yao Min; Lyrics: Li Jun Qing 7 Wild Fire 野火 Helen Li Mei Bei Dou Art~ Composition: 李湄 Films Tragedy Wong Fook Ling, Chang Cheh 北斗影業 Chang Cheh M 8 1958 A Perfect Match 龍鳳姻緣/ Yang Shi Qing Qi Lin Films Drama M^ 千里尋夫楊世慶麒麟影業 Wong Fook Ling 9 1960 Shang Nue Duo湘女多情Luo ZhenQin Lin Films x Music: Qing 羅臻 Wong Fook Ling; Lyrics: Li Jun Qing 10 1961 Love Without End 不了情 Tao Qin Shaws Drama Music: Wong Fook Ling, Composition : Joseph Koo, Wong Fook Ling; Lyrics: Tao Qin; Playback singer for Lin Dai: Gu Mei 11 The Fair Sex 神仙，老虎’ Wang Yue Ting Shaws Love M^ 渔王月汀 Comedy Wong Fook Ling 12 1962 Mid-Nightmare 夜半歌聲 Yuan Qiu Feng ~~Shaws Tbnw M^ 袁秋楓 Composition: Wong Fook Ling; Lyrics: Li Jun Qing 13 Madam White 白蛇傳 Griffin Yueh 一"Sh^~s Music: Snake Feng Mythic Wong Fook Ling Film 14 1963 Love Parade 花團錦簇—~Tao Qin ShawsSong and Music: Joseph Koo, Dance Wong Fook Ling, __L_J Li Du; Appendix 1 Wong Fook Ling 67

Singer: Gu Mei 15 The Adulteress 楊乃武與 Li Han-hsiang Shaws x Composition,~ 小白菜李翰祥 Music: He Meng Hua Wong Fook Ling 何夢華 16 1964 The Amorous 潘金蓮 Zhou Shi Lu Shaws x Composition:~~ Lotus Pan 周詩祿 Wong Fook Ling ； Lyrics: Chang Cheh; OrchestratedMusic: Wang Ju Ren 17 The Shehperd Girl 山歌戀 LuoZhen Shaws x Composition, Music: Wong Fook Ling; Lyrics: Li Yue Yun 18 Beyond The Great 王昭君Li Han-hsiang Shaws x Music: Wall Wong Fook Ling, Composition: Wang Chun; OrchestratedMusic: Wang Chi Ren 19 The Last Woman 妲己 Griffin Yue Shaws Huang Music: of Shang Feng Mei Diao Akira Ifukube, Wong Fook Ling; • Lyrics: Chen Die Yi 20 1965 Temple of the Red 江湖奇俠 Xu Zeng Hong Shaws Knights- Composition: Wong Lotus 徐增宏 errant Fook Ling; Music: Wang Ju Ren; Lyrics: Chang Cheh 21 The Lotus Lamp 寶蓮燈 Griffin Yueh Shaws x Composition: Feng Wong Fook Ling 22 Vermilion Door 紅伶淚 LuoZhen Shaws Drama Music: Wong Fook Ling, Wang Ju Ren 23 The Mermaid 魚美人 Gao Li Shaws Mythic Composition: 高立 Song Wong Fook Ling; Lyrics: Chang Cheh; Music:Wang Ju Ren 24 1966 Princess Iron Fan 鐵扇公主 He Meng Hua Shaws Drama Composition: Wong Fook Ling ； Lyrics: Chow Kei; Music: Wang Ju Ren 25 The Magnificent 邊城三俠 Chang Cheh Shaws Knights- Music: Trio errant Wong Fook Ling 26 The Monkey Goes 西遊言己 He Meng Hua Shaws Drama Music: West Wong Fook Ling; Lyrics: Li Jun Qing; OrchestratedMusic: Wang Chi Ren 27 The Knight of 文素臣 ~Xue Qun ShawsKnights- ~Composition:~~ Knights 薛詩 errant Wong Fook Ling; Lyrics: Chang Che; Music: |_ Wang Ju Ren Appendix 1 Wong Fook Ling 68

28] The Blue And 藍與黑Tao Qin~~ShawsDrama M^ The B lack Wong Fook Ling, Wang Ju Ren; Lyrics: Tao Qin; Composition: Wong Fook Ling 29 The Blue And 藍與黑 Tao Qin Shaws Drama Music: The Black 2 續集 Wong Fook Ling, Wang Ju Ren; Lyrics: Tao Qin; Composition: Wong Fook Ling 30 1967 Too Late For 烽火 Luo Zhen Shaws Drama Music: Love 萬里情 Wong Fook Ling, Wang Ju Ren; Lyrics: Mang Fei; Composition: Wong Fook Ling 31 King Cat 七俠五義 XuZengHong Shaws" x Composition: Wong Fook Ling; Lyrics: Guo Quan; 32 The Cave of 盤絲洞 He Meng Hua ~~Shaws Drama Music, Silken Web Composition: Wong Fook Ling; Lyrics: Wong Cheong Chi 33 The Trail of The 斷腸劍 Chang Cheh Shaws~~ Knights- Composition: Broken Blade errant Wong Fook Ling; Lyrics: Chang Cheh; Music: Wang Ju Ren 34 One-Armed 獨臂刀 Chang Cheh Shaws x Music: Swordsman Wong Fook Ling 35 My Dreamboat 船 Tao Qin Shaws x Composition:~ Wong Fook Ling; Music: Wong Fook Ling, Wang Ju Ren; Lyrics: Shen Hua 36 1968 When The Clouds 雲泥 Tao Qin Sh^i Drama Music, Roll By Composition: Wong Fook Ling 37 Killer Darts 追魂鏢 He Meng Hua Shaws Fight Music: Wong Fook Ling 38 The Silver Fox 玉面飛狐 Xu Zeng Hong Shaws Fight Lyrics: Wong Fook Ling, Xiao Huang; Music: Wang Chi Ren 39 The Sword of 神刀 Cheng Gang Shaws x Music: Swords Wong Fook Ling 40 Divorce Hong 色不迷人 WuJiaxiang Shaws Comedy Music: Kong Style 人自迷吳家驟 Wong Fook Ling 41 1969 The Three Smiles 三笑 Griffin Yue Shaws Huang Music Feng Mei Diao Composition: Wong Fook Ling; Lyrics: — L Guo Rui Fen Appendix 1 Wong Fook Ling 69

42] Have Sword, Will ~~Chang Cheh ~~Shaws~~ Knights- Music: Travel errant Wong Fook Ling 43 Dead End 死角 Chang Cheh Shaws x Music: Wong Fook Ling 44 The Millionaire 釣金龜 Inoue Shaws Comedy Music Chase Umetsugu Composition: 井上梅次 Wong Fook Ling; Lyrics: Xiao Huang 45 Farewell My Love 春蠶 QinJian ~~~Shaws Drama Music: 秦僉lj Wong Fook Ling; Composition: Joseph Koo; Lyrics: Kam Kin; Singer of Theme Song: Mona Fong Yat Wa 46 Torrent of Desire 慾談狂流 LuoZhen Shaws Drama Music: ---. - Wong Fook Ling; Lyrics: Shi Wei 47 1970 Love Song Over 海外情歌 EMI x~~~ Composition: The Sea Wong Fook Ling 48 The Price of Love 愛 1 青的代 Wu Jiaxiang Shaws Drama Music: 價 Wong Fook Ling; Composition: Wong Fook Ling, Teddy Robin; Lyrics: Yee Fang 49 The Heroic Ones 十三太保 Chang Cheh Shaws Knights- Music: errant Wong Fook Ling 50 The Twelve Gold 十二金牌 Cheng Gang Shaws Knights- Music: Medallions errant Wong Fook Ling 51 Young Lovers 青春戀 Inoue Shaws Song and Music: Umetsugu Dance Wong Fook Ling; Composition: Joseph Koo; Lyrics: Shan Mei 52 Vengeance! 幸g仇 Chang Cheh Shaws Kung Fu Music: Wong Fook Ling 53 The Venus' Tear 鑽石艷盜 Inoue ~~Shaws Song and ~Composition: Diamond Umetsugu Dance Wong Fook Ling; Lyrics: Shan Mei; Music: Zhou Fu Liang 54 The Duel 大決鬥 Chang Cheh Shaws x M^ Wong Fook Ling 55 The Big Boss 唐山大兄 Luo Wei Shaws x Music: Wong Fook Ling 56 The Lady Hermit 鍾馗娘子 He Meng Hua Shaws x Music, Composition: Wong Fook Ling; Lyrics: Hoh Mung Wa 57 We Love 我愛 Inoue Shaws Song and Composition: Millionaires 金龜婿 Umetsugu Dance Wong Fook Ling; Lyrics: Shan Mei; Music: — Zhou Fu Liang Appendix 1 Wong Fook Ling 70

58 1974 Heroes Two~~ 方世玉與 Chang Cheh Shaws~~ Kung Fu M^ 洪熙官 Wong Fook Ling 59 1977 Soundtrack of 邵氏原聲 EMI x Composition: Hong Lou meng 帶紅樓夢 Wong Fook Ling 60 1979 A Man of Wealth 發達之人/ DuLing Chao Yi x M^ 紳士爺千杜寧 Films Wong Fook Ling 金小姐 611984 Silent Romance 伊人再見 Frankie Chan Yong Jia x Composition: 陳勳奇 Films Wong Fook Ling; 永佳影業， Lyrics: Peter Lai; Jin Gong Zhu Singer: 金公主 Frankie Chan; Music: Chan Fei Lap 62 1988 The Good, The 鬼馬保鑣 Frankie Chan,Yong Jia, x~~ Original Composed Bad& 賊美人/賊 Lam Chin Wai Media Asia Music: The Beauty 美人林展偉 Films Wong Fook Ling \ 寰亞電影 63 1989 Burning Ambition 育直之爭霸 Frankie Chan Long Shong x Music: Pictures Ltd Wong Fook Ling 龍祥影業 64 1994 I Have A Date我和春天Producer: Curb x Composition: With Spring 有個約會 Le Hon Gam Records. Inc., Wong Fook Ling, 李漢金 EMI Chung Chi Wing, Yao Min, Lau Ka Cheong, Hupfeld Herman 65 2002 Chinese Odyssey 天下無雙 Jeff Lau Block 2 x~ Composition: 2002 Chun-Wai Music, Wong Fook Ling, 劉鎭偉 EMI Hong Frankie Chan; Kong Original Scoring: Frankie Chan, Tao Yi Mo, Roel A. Garica 66 - Mei Mei Wo Ai 妹妹 Tian Shi x Composition: ^ 我愛你 Records Wong Fook Ling 67 - Yu Nue Qin Qing 玉女親情 EMI x Composition:~ Wong Fook Ling 68 - The Hand 手 Luo Zhen Ming De x Music: Films Wong Fook Ling 69 - Bride For Rent 租妻記 Luo Zhen ~~Shaws x Composition: Wong Fook Ling 70 冷暖人間 ~~Yu CongTai Ping Yang x Composition: Films Wong Fook Ling 71 1971 Happiness And 歡天喜地 ~~Du Ling Wan Zhong x MusicComposition: Joy Films Wong Fook Ling; L J Lyrics: Sun Yi Appendix 2 Frankie Chan 71 Appendix 2 Frankie Chan Year Film Title Chinese Title Director~~~~Film~~ Genre Contributions to Company Film Music 1 1971 Duel of Fists 拳搫 Chang Cheh Shaws Action, Music: Adventrue Chan Wing Yuk ( Frankie Chan ) 2 The 無名英雄 Chang Cheh Shaws Kungfu Music: Anonymous Chan Wing Yuk Heroes ( Frankie Chan ) 3 Sunset 夕陽戀人 Inoue Umetsugu Shaws Drama Music: Chan Wing Yuk (Frankie Chan) 4 1972 The Boxer 馬永貞 Chang Cheh, Shaws Kungfu Music: from Bao Xue Li Chan Wing Yuk Shantung (Frankie Chan ) 5 The Lizard 壁虎 Chu Yuan Shaws Kungfu Music: 楚原 Chan Wing Yuk ( Frankie Chan ) 6 The Water 水滸傳 ~Bao Xue Li Shaws Knights- Music: Margin 鮑學禮， errant Chan Wing Yuk Feng Wu Ma ( Frankie Chan ) ‘馬^F'馬 Zheng Che 7 The Merry 娃娃夫人 JinZhuRong Shaws Comedy Music: Wife 金洙容 Chan Wing Yuk (Frankie Chan ) 8 1973 The Kiss of 毒女 He Meng Hua Shaws Horror Music: Death Chan Wing Yuk ( Frankie Chan ) 9 The Police Zheng Che, Shaws Action Music: Force Cai Yang Ming Chan Wing Yuk 蔡揚名 ( Frankie Chan ) 10 The Happiest —樂也 Li Han-hsiang Shaws Comedy Music:~ Moment Chan Wing Yuk (Frankie Chan ) 11 The House of 七十二家房 Chu Yuan Shaws Comedy Music: 72 tenants 客 Chan Wing Yuk ( Frankie Chan ) 12 The 憤怒青年 Chang Cheh, Shaws Aoi^ M^ Delinquent Gui Zhi Hong Chan Wing Yuk 桂治洪 ( Frankie Chan ) 13 Illicit Desire 風流韻事 Li Han-hsiang Shaws Porno- Music: graphy Chan Wing Yuk (Frankie Chan), Wong Wai 14 The Blood 朿丨馬J Chang Cheh Shaws Kungfu Music: Brothers Chan Wing Yuk ( Frankie Chan ) 15 The Young 小老虎 Wu Ma Nan Hai Music: Tiger Films Chan Wing Yuk ( Frankie Chan ) 16 Iron 大刀王五 Chang Cheh，Shaws Actopm Music: Bodyguard Bao Xue Li Chan Wing Yuk (Frankie Chan ) 17 Heroes of 龍虎會風雲 Shen Jiang ~Shaws Knights- M^^ic: Sun§ errant Chan Wing Yuk _J ( Frankie Chan ) Appendix 2 Frankie Chan 72

18 119741 The Killer 蛇殺手~~ Gui Zhi Hong ShawsHorror M^ Snakes Chan Wing Yuk ( Frankie Chan ) 19 Every Day is 天天幸g喜 Xiao Rong Li Jun Films Song, Orchestrated~~ Sunday 蕭榮 Comedy Music: Frankie Chan; Music: Joseph Koo; Composition: James Wong 20 Na Cha the 5¾ Chang Cheh Shaws Knights- Music: Great errant Chan Wing Yuk (Frankie Chan ) 21 The Two 小孩與狗’愛 Lin Guo Xiang Shaws Music: Faces of Love 林國翔 Chan Wing Yuk ( Frankie Chan ) 22 The Golden 金癒雙ffi Li Han-hsiang Shaws Porno- Music: Lotus graphy Chan Wing Yuk ( Frankie Chan ) 23 Kidnap 天網 Cheng Gang Shaws Drama Music: Chan Wing Yuk ( Frankie Chan ) "24~ 1975 Old Master 老夫子 Li Tie 李鐵， Jin Shan Music: "Q" Hui Qiang 許強 Films Frankie Chan 25 Two Con 扭計祖宗陳 Wang Feng Shaws Comedy Music: Men 夢吉王風 Chan Wing Yuk (Frankie Chan ) 26 The Empress f頃國f頃城 Li Han-hsiang Shaws Drama Music: Dowager Chan Wing Yuk ( Frankie Chan ) "27 The Kung Fu 出家人 Shi Tian Xiong Di Music: Monks 石天 Films Chan Wing Yuk ( Frankie Chan) 28 Bald-Headed 社女 Zhang Sen Goldig Music: Betty 張森 Films Frankie Chan 29 Big Brother 大哥成 Gui Zhi Hong Shaws Action, Music: Cheng Adventrue Chan Wing Yuk ( Frankie Chan ) 30 All Men are 蕩寇誌~~ Chang Cheh, Shaws Knights- Music: Brothers Wu Ma errant Chan Wing Yuk ( Frankie Chan) ~ 1976 Elmo Takes a 阿茂正傳 Zhu Mu Golden Music: Bride 朱牧 Harvest Frankie Chan 32 The Last 瀛台泣[fn Li Han-hsiang Shaws Drama Music: Tempest Chan Wing Yuk ( Frankie Chan ) "33 New Fist of新精武門 Luo Wei Luo Wei Music: Fury Films Frankie Chan 34 Shaolin 少林寺 Chang Cheh, Chang Gong Kungfu Music: Temple Wu Ma Films, Chan Wing Yuk Shaws ( Frankie Chan ) 35 Seven-Man 八道樓子 Chang Cheh, Shaws Music: Army Wu Ma, Chan Wing Yuk Xiong Ting Wu ( Frankie Chan ) 熊廷武 36 Oily Maniac 油鬼子 He Meng Hua Shaws Horror Music: Chan Wing Yuk ___1____J ( Frankie Chan ) Appendix 2 Frankie Chan 73

37 Spiritual Fists 神拳三壯士一"Cheng CheIChang Gongl Music: Films, Chan Wing Yuk Shaws ( Frankie Chan ) 38 The Magic 天涯’明月’ ChuYuan ~Shaws Knights- Music: Blade 刀 errant Chan Wing Yuk ( Frankie Chan ) 39 Killer Clans 流星蝴蝶劍 Chu Yuan Shaws Knights- M^ errant Chan Wing Yuk ( Frankie Chan ) 40 1977 Hot Blood AW Yang Quan Goldig M^ Films Frankie Chan 41 The Pilferers' ~~發錢寒 John Woo Golden M^ Progress 吳宇森 Harvest Frankie Chan ~42 Th^ 三德和尙與Sammo Hung Golden Music: Iron-Fisted 舂米六洪金寶 Harvest Frankie Chan Monk "43 The Dragon 李三腳威震Luo Qi 羅棋 Goldig M^ Lives Again 地獄門 Films Frankie Chan 44 The Mighty 猩猩王 He Meng Hua Shaws Fantasy Music: Peking Man Chan Wing Yuk ( Frankie Chan ) 45 Clans of 楚留香 ~~Chu Yuan Shaws Knights- Music: Intrigue errant Chan Wing Yuk ( Frankie Chan ) 46 1978 Soul of the Hua Shan 華山Shaws Music: Sword Chan Wing Yuk ( Frankie Chan ) 47 Legend of the 楚留香之二 Chu Yuan Shaws Knights- Music: Bat 蝙蝠傳奇 errant Chan Wing Yuk (Frankie Chan ) 48 Miss "O" O女/迷女 Zhang Sen Goldig M^ Films Frankie Chan 49 Dirty Tiger,~~老虎田雞 Karl Maka 麥嘉 Jia Bo Films Music: Crazy Frog! Frankie Chan 50 The 36' 少林 Liu Jia Liang Shaws Kungfu Music: Chamber 三十六房劉家良 Chan Wing Yuk of Shaolin ( Frankie Chan ) 51 Invincible 南少林與 Chang Cheh Shaws Knights- Music: Shaolin 北少林 errant Chan Wing Yuk (Frankie Chan ) "52 Warriors Two 贊先生與找Sammo Hung Goldig Music: 錢華 Films Frankie Chan 53 The Voyage 乾隆下揚州 Li Han-hsiang Shaws Comedy Music: of Emperor Chan Wing Yuk Chien Lung ( Frankie Chan ) 54 The Five 五毒 Chang Cheh Shaws Knights- Music: Venoms errant Frankie Chan 55 Their Private 愛慾狂潮 Yang Quan Goldig “ Music: Lives Films Frankie Chan 56 The Crazy 偷食搶食~Chan Hung Gai Delta Mac Music: World 搵飯食陳鴻楷 Frankie Chan 57 Spiritual Luo Wei Luo Wei Music: Kung Fu Frankie Chan 58 Follow the 大煞星與 John Woo Golden Music: Star 4�妹頭 Harvest Frankie Chan 59 Fox and 醉貓師傅/ Zhang Sen Xue Ying Music: Hounds 盲頭烏蠅起 Films Frankie Chan Appendix 2 Frankie Chan 74

""lj I 尾注 I 60 1979 The Shadow 茅山•拳Li uJia Liang Sh^Fs K^ki M^ Boxing Chan Wing Yuk Frankie Chan ) 61 Knockabout 雜家小子 Sammo Hung Golden M^ Harvest Frankie Chan 62 Ki 殘酷姦殺案 mnNotg Does WaYatWangHeng Seng M^ Pay 華一泓 Films Frankie Chan I Poisoandn th Rose e 毒玫瑰與大 Yang Quan Xing Fa M^ 保鑣 Films Frankie Chan Bodyguard Crystal Fist 奇招 Wa Yat WangHeng Seng~~Action Music: Frankie ____|___J Films Comedy Chan "65| Big Boss of 上海灘大亨 ChenGuanT^aiLuo Wei M^ Shanghai 陳觀泰 Films Frankie Chan Odd Couple 搏命單刀奪 Lau Kar Wing Jia Bo Films Action Music: __J_J 劉家榮 Comedy Frankie Chan The Butterfly Tsui Hark 徐克 See YuenKnights- M^ Murders Films errant Frankie Chan Itchy Fingers 神偷妙探手Leung Po Chi Golden M^ _J__J 梁普智 Harvest Frankie Chan "69| The Utmost 大鬥大 Wong Tin Lam Tarn's M^ Greatness 王天林 Chan Wing Yuk (Frankie Chan ) 70 Money Trip 各師各法 Tsui Tai Chuen Wei Feng M^ _I_J 徐大川 Films Frankie Chan The 林世榮 Yuen Wo Ping Golden M^ Magnificent 袁和平 Harvest Frankie Chan Butcher "72I Dance of the南北醉拳 Yuen Wo PingSee Yuen M^ _ Drunk Mantis Films Frankie Chan 73 I Last Hurrah 豪俠 John Woo Golden Knights- Music: for Chivalry Harvest errant Frankie Chan Crazy Partner 新貼錯門神 Wong ^uen San Fen Dou M^ * 元申， Films Composition: Raymond Wong Frankie Chan Pak Ming 11 黃百鳴 75| Dragon Fist 龍拳 Luo Wei Luo Wei Mlsic: Films Frankie Chan 76 1980 The Victim 身不由己 Sammo Hung Jia Feng Kungfu Music: Films Frankie Chan 77 The 籠裏雞 Wong Hei Dak Jia Feng M^ Desperados 王希特 Films Frankie Chan "TBI Half a Loaf of 點止功夫 Chan Chi WahLuo Wei M^ Ku"gpu 咁簡單陳誌華 Frankie Chan "791 Crazy Crooks 瘋狂大老千 ~Karl Maka Fen DouComedy M^ Films Frankie Chan; Theme Song: Michael Lai 80 The Story of 阿燦正傳 Chiu Jan Keung Goldig M^ a Refiigee 招振強 Films Frankie Chan "SH We’ re Going 地獄無門 Tsui Hark See Yuen M^ _I I to Eat Yon Films Frankie Chan Appendix 2 Frankie Chan 75

82 The Young 師弟出馬 | Jackie Chan Golden Kungfu M^： Master Harvest Comedy Frankie Chan 83 Encounter of 鬼打鬼 Sammo Hung Golden Music: the Harvest Frankie Chan Spooky Kind 84 Laughing 滑稽時代 John Woo Xiang Yi M^ Sheng Films Frankie Chan 85 From Riches 錢作怪 John Woo Golden M^ t0 Rags Harvest Frankie Chan 86 The 雍正與 Fong Cheung Jin Gong Music: Rebellious 年羹堯方翔 Zhu Frankie Chan Reign 87 See Bar 師爸/ Dennis Yu Ming Wai M^ 上海灘兄弟余允抗 Films Frankie Chan 88 The Buddha 佛掌皇爺 Dong Kam Woo Fu Mao M^ Assassinator 董今狐 Films Frankie Chan 89 By Hook or_魚番生 Karl Maka Jia Bo M^ ㈣ Crook Films, Fen Frankie Chan Dou Films 90 The Luckiest 阿福與土佬/ Hu Peng 胡鵬，Xiang Feng M^ Trio 糊塗英雄 Liang Zhuo Films Frankie Chan 梁焯，Luo Qi 91 Two Fists 雙辣 Chan Chuen See Yuen M^ Against 陳全 Films Frankie Chan the Law 92 1981 Crazy Nuts連環大鬥法 Lam Kuen 林權 Jin Gong M^ Zhu Frankie Chan 93 Super Fool 龍咁威 Leung Po Chi Jia Feng M^ Films Frankie Chan 94 Tower of 死亡塔 Ng See Yuen Jia Feng Music；吳思遠 Films Frankie Chan 95 Dreadnaught 勇者無懼 Yuen Wo Ping Golden M^ Harvest Frankie Chan 96 Beware of 歡樂神仙窩 Wu Ma XinYi M^ Pickpockets Sheng Films Frankie Chan; Composition, Arrangement: Joseph Koo 97 The Prodigal 敗家仔 Sammo Hung Golden Music: Son Harvest Frankie Chan, Chan Fei Lap; Arrangement: Chan Fei Lap 98 1982 Once Upon a 細圈仔 Jiang Long Li Ren Music: Mira§e 江龍 99 Films Frankie Chan Can7� n 提防小手 Sammo Hung Yong Jia Orchestrated Pickpocket Films Music: Frankie Chan, Chan Fei Lap; Arrangement: Chan Fei Lap 100 New York 血洗唐人街/ Xiao Rong Da Rong Music: China Town 竹升 FUms Frankie Chan Appendix 2 Frankie Chan 76

Toll The Perfect 佳人有約 Frankie Chan YongJia Music: Match Films Frankie Chan 102 Dragon Lord 龍少爺 Jackie Chan Golden Music Harvest, Composition: Luo Wei Frankie Chan; Arrangement, Conductor: Chan Fei Lap T03 1983 Just for Fun空心大少爺Frankie Chan YongJia No music Films information 104 Give Me 小生作反 Wan Siu Kuen Li Ren Music: Frankie Back 溫兆權 Films Chan 105 Oh! My 摩登衙門 Danny Lee YongJia Producer: Cops! 李修賢 Films Frankie Chan; Composition: Chan Fei Lap; Lyrics: Peter Lai; Singer: Pang Kin Sun 106 Winners & 奇謀妙計五 Sammo Hung Golden Comedy Music: Sinners 福星/五福星 Harvest Frankie Chan, Chris Babida "107 1984 Silent 伊人再見 Frankie Chan YongJia Music: Romance Films Chan Fei Lap; Composition: Wong Fook Ling; Singer: Frankie Chan "108 The Other 君子好逑 Ringo Lam Yong Jia Producer: Side 林嶺東 Films Frankie Chan; of Gentleman Music, Composition: Chan Fei Lap; Interlude: Teddy Robin; Singer: Alan Tam 109 Law with 公僕 Danny Lee Yong Jia Producer: Two Phases Films Frankie Chan; Music: Wai Lam 110 1985 The 龍鳳智多星 Guy Lai 黎應就 YongJia Producer: Intellectual Films Frankie Chan; Trio Music: Tang Siu Lam;Composition :Chan Fei Lap; Singer: Leslie Cheung TIT Modern 摩登神探 Luo Lie 羅烈 Luo Wei Music: Detective Films Frankie Chan

TH Chase a 吉人天相 Liu Wai Hung Yong Jia Producer: fortune 廖偉雄 Films Frankie Chan; Music: Kwok Siu Lam; Composition: ___L___| Choi Kwok Hung Appendix 2 Frankie Chan 77

113 Unforgettable 小狐仙 Frankie Chan, Yong Jia Producer: Fantasy Law Man Films Frankie Chan; Original Composed Music: Chan Fei Lap 114 1986 Goodbye My Frankie Chan Yong Jia Script: Love Films Frankie Chan, ;Wong Ka Wai; Original Composed Music: Chan Fei Lap 115 Who's the 冒牌大賊 Guy Lai Yong Jia Producer: Crook Films Frankie Chan; Music: Chan Fei Lap 116 The Law 皇家飯 Danny Lee Yong Jia Producer: Enforcer Films Frankie Chan; Original Composed Music: Chan Fei Lap 117 Sweet Sixteen 甜蜜十六歲 Kenneth Siu Yong Jia Producer: 蕭偉強 Films Frankie Chan; Music: Tang Siu Lam TlS Sweet 我愛金龜婿Frankie Chan Yong Jia Script: Surrender Films Frankie Chan, Wong Ka Wai, Producer: Frankie Chan; No Music Information 119 Parking 代客泊車 Angela Mak Yong Jia Producer: Service 麥靈芝 Films Frankie Chan; Original Composed Music: Chan Fei Lap 120 1988 The Good,鬼馬保鑣賊 Frankie Chan,Yong Jia Producer, Script: The Bad 美人 Lam Chin Wai Films Frankie Chan; and The Original Beauty Composed Music: Wong Fook Ling 121 The Criminal 龍虎智多星Frankie Chan Luo Wei Director: Hunter Films Frankie Chan; No Music Information 122 1989 ~Burning 龍之爭霸 Frankie Chan Long Shong Producer, Script: Ambition Pictures Ltd Frankie Chan; Music: Wong Fook Ling 123 Dream of 花心夢裏人一“O Sing-Pui Yong Jia Producer: Desire 柯星沛 Films Frankie Chan; Original Composed Music: Roel A. Garcia 124 1990 The Outlaw 最佳賊拍檔Frankie Chan Yi Neng Producer: Brothers Films Frankie Chan; Orchestrated Music: ___J___J Roel A. Garcia Appendix 2 Frankie Chan 78

~125\ The Fortune 富貴兵團 Kent Cheng Yi Neng Acto^ Code 鄭則仕 Films Frankie Chan; Music: Lo Sai Kit; Music Editing: Li Kwong Tim 126 1991 Armour of 飛魔計劃 Jackie Chan, Wei He Director: God II Chan Chi Wah, Films Frankie Chan; Operation Frankie Chan Music, Original Condor Composed: Chris Babida 127 1992 Fun and Fury 痴情快婿 Frankie Chan Yi Neng Director: Films Frankie Chan; Music: Roel A.Garcia 128 1993 A Warrior's邊城浪子/Frankie Chan Frankie Producer Tragedy/ 仁者無敵 Chan Films Frankie Chan; The Original Invincible Composed Music: Power of Roel A. Garcia Kindness 129 Come Fly the 反斗馬騮 EricTsang Yi Neng Action Director: Dragon 曾志偉 Films Frankie Chan, Blacky Ko; Original Composed Music: Richard Lo 130 C'est La Vie,新不了情 ~~Derek Yee Wu Xian Music Editing: Mon Cheri 爾冬陞 Films Frankie Chan; Music: Chris Babida; Chinese Music: William Hu 131 1994 Drunken 醉拳II Liu Jia Liang, Golden No music Master II Chan Chi Wah, Harvest Information Frankie Chan "132 Oh! Yes Sir!!神探POWER Frankie Chan Frankie Producer: 之問米追兇 Chan Films Frankie Chan, No Music Information 133 Ashes of 東邪西毒 Wong Ka Wai Ze Dong Music: Time Films Frankie Chan, Roel A. Garcia 134 The Wrath of 沉默的姑娘 Frankie Chan N^ Producer, Script: Silence Standard Frankie Chan; Films Original Composed Music: Roel A. Garcia 135 Chung King 重慶森林 Wong Ka Wai Ze Dong Music: Express Films Frankie Chan, Roel A. Garcia 136 1995 Don't Give A 無面俾/ Sammo Hung Long Shong Music: Damn 冇面俾 Pictures Ltd Frankie Chan 137 Full Throttle烈火戰車/ Derek YeeYong Sheng M^ 暴走戰士 Films Frankie Chan, Richard Yuen, Roel A Garcia 138 Fallen Angels 墮落天使 Wong Ka WaiZe Dong Music: Films Frankie Chan, __L___J Roel. A. Garcia Appendix 2 Frankie Chan 79

"i39j ~Tragic~~ 沒有老公的 Frankie Chan, ShawsOriginal Commitment 日子 Zuo Chong Sing Composed Music: 左頌聲 Roel A. Garcia 140 1996 Dr. Wai in 冒險王 Tony Ching Yong Sheng Original ‘‘the Scripture 程小東 Films Composed Music: with No Frankie Chan Words" 141 How to Meet 運財五福星Frankie Chan, Wan Li Original the Lucky Ricky Lau Films Composed Music: Stars 劉觀偉 Roel A. Garcia 142 2000 IQ Dudettes辣椒教室 Frankie Chan Golde^ Scri^ Harvest Frankie Chan; Original Film Song: Mark Lui Original Scoring: Mak Jan Hung, Lee Han Man 143 2002 Chinese 天下無雙 Jeff Lau Ze Dong Original Scoring: Odyssey 2002 Films Frankie Chan, Tao Yi Mo, Roel A. Garcia 144 一 Evidence 鐵証 Zhang Yang Music: 張揚 Frankie Chan 145 1977 The Blazing 火燒少林寺Joseph Kuo Hong Hua M^ 台灣 Temple 郭南宏 Films Frankie Chan 146 1980 Elephand 輕魔女 Lin Yi Xiu Jin Yang M^ Wife 林奕秀； Films Frankie Chan; Jin Rong 金翁 Composition: (Hui Qiang) Xu Qiang; Singer: Kang Ya Nan 147 1983 The 天鱷王子戰 ~Jin Rong Jin Shan Music: Crocodile 群妖（Hui Qiang) Films Frankie Chan; Men Composition: Zuo Hong Yuan; Singer: Qiu Yuan Zhu, Gao Yi Tai 148 1984 Two for the 台北吾愛/ Ho Fan 何藩See Yuen M^ Road 姻緣道 Films Frankie Chan; Composition, Lyrics:Liang Hong Zhi; Singer: Tsai Chin 149 1992 Cheung Po 海盜張保仔 ~~Guan Zhen Tian WangBoxing Music: Chai Liang 關正良 Films Frankie Chan 150 - Tiger Love 人虎戀 Lin Yi Xiu; Music: Jin Rong Chan Wing Yuk (Hui Qiang) ( Frankie Chan ) 151 — Dare You 誰敢動我 Liu Hong Sheng Xin Yuan Action Music: Touch Me 劉洪生 Films Frankie Chan Appendix 3 List of United States, Taiwan and Hong Kong Film Music Awards 8〇

Appendix 3 List of United States, Taiwan and Hong Kong Film Music Awards. OscarAwards(US) IGolden Horse Awards(Taiwan) iHong Kong Film Awards 1930-40 Music (Original Score) 1940-60 Music (Scoring of a iMusic (Music Score of a ~ — Musical Picture) Dramatic or Comedy Picture) 1960-70 Music Music (Scoring of Music - Music (Non Musical /Dance ~ (Original Music Score) Adaptation or Treatment) Picture )非歌虜U(舞)片音樂 - 1970-80 Music Music (Scoring: Music (Dramatic Picture) (Original Score) Adaptation and Original 劇情片音樂/ Song Score) Matching Music 配樂 1980-90 Music Music Original Composed Music for Best Film Music iBest Film Song (Original Score) (Original Song Score) Dramatic Picture 最佳電影配樂/ 最佳電影歌曲劇情片原作音樂/ 最佳音樂 Original Composed Music 原作音樂 1990- Music (Original Musical Music (Original Dramatic Best Film Music Best Original Film Best Original Film Song 2000 or Comedy Score) Score/ Original Score) 電影音樂 Score 最佳原創電影歌曲最佳原創音樂 Appendix 4 Hong Kong Film Titles 81

Appendix 4 Hong Kong Film Titles The English titles of films are arranged in alphabetical order and the official titles are derived from the database of the Hong Kong Film Archive, which recorded from the published information of films. A Better Tomorrow II 英雄本色 II A Chinese Ghost Story 倩女幽魂 A Chinese Ghost Story II 倩女幽魂 II 人間道 A Fighter's Blues 阿虎 A True Mob Story 龍在江湖 Aces Go Places 最佳拍檔 As Tears Go By 旺角卡門 Au Revoir, Mon Amour 何日君再來 Beastcops 野獸幵[J警 Boat People 投奔怒海 Bullet In The Head 喋血街頭 C'est La Vie, Mon Cheri 新不了情 Casino Raiders II 至尊無上II永霸天下 Cat And Mouse 老鼠愛上貓 Chinese Odyssey 2002 天下無雙 Chung King Express 重慶森林 City Of Glass 玻璃之城 Comrades, Almost A Love Story 甜蜜蜜 Cops And Robbers 點指兵兵 Days of Being Wild 阿飛正傳 Deadful Melody 六指琴魔 Demi-Haunted 魂魄唔齊 Diva. Ah Hey 下一站天后 Eighteen Springs 半生緣 Encore 喝采 Feel 100% Once More 百分百球Feel Fighting For Love 同居蜜友 Fly Me To Polaris 星原頁 Appendix 4 Hong Kong Film Titles 82

Full Throttle 烈火戰車 Golden Chicken 金雞 Happy Together 春光乍洩 He's A Woman, She's A Man 金枝玉葉 Heat Team 重案黐孖Gun Hero 英雄 Heroic Duo 雙雄 Hu Du Men 虎度門 Illicit Desire 風流韻事 In The Mood For Love 花樣年華 Incredible Rumor 驚星動 Infernal Affairs I 無間道 I Infernal Affairs II 無間道 II Infernal Affairs III 無間道 III 終極無間. Inner Senses 異度空間 Island Of Greed 黑金 Joy To The World 歡樂滿人間 July Rhapsody 男人四十 Justice, My Foot! 審死官 King Of Comedy 喜劇之王 Kung Fu Hustle 功夫 Lavender 薰衣草 Leaving Me, Loving You 大城小事 Lee Rock 五億探長雷洛傳（雷老虎） Little Skylark 小雲雀 Lost And Found 天涯海角 Lost In Time 忘不了 Love On A Diet 痩身男女 Madam Butterfly 蝴蝶夫人 May & August 五月八月 McDull 麥兜故事 Needing You 孤男寡女 New Police Story 新警察故事 Once Upon A Time In China 黃飛鴻 Purple Storm 紫雨風暴 Rhapsody 青春戀歌 Rouge 胭脂扣 Rumble In The Bronx 紅番區 Running On Karma 大隻倦 Running Out Of Time 暗戰 Shaolin Soccer 少林足球 Soul 老娘夠騷 Super Model 我要做 Model Swordsman 笑傲江湖 Appendix 4 Hong Kong Film Titles 83

Swordsman II 笑傲江湖II東方不敗 Temptation of A Monk 誘僧 The Best Of The Best 飛虎精英之人間有情 The Bride With White Hair 白髮魔女傳 The Bridegroom Is A Girl 女駙馬 The Floating Landscape 戀之風景 The Heavenly Match 天山酉f 己 The Heroic Trio 東方三俠 The Kingdom And The Beauty 江山美人 The Last Woman of Shang 妲己 The Longest Summer 去年煙花特別多 The Lovers 梁祝 The Phantom Lover 夜半歌聲 The Price of Love • 愛情的代價 The Private Eye Blues 非常偵探 The Three Smiles 三笑 The Twin Bracelets 雙鐲 The Wild, Wild Rose 野玫瑰之戀 Three: Going Home 三更之回家 Tian Di 天與地 To Live And Die In Tsim Sha Tsui 新邊緣人 Viva Erotica 色情男女 Walking Beside Me 心動 Whatever Will Be, Will Be 仙樂飄飄 Who's The Woman, Who's The Man 金枝玉葉 2 Wu Yen 鍾無艷 Young And Dangerous 古惑仔 Appendix 5 Directors, Composers, Lyricists, Actors/Actresses and Singers 84

Appendix 5 Directors, Composers’ Lyricists, Actors/Actresses and Singers All the names of the person, who are related to film music production, are listed in alphabetical order. Different romanizations are used according to their official signatures. Babida, Chris 鮑比達顧嘉輝， B°yz 顧嘉琿 Chan, Bo Chu Connie 陳寶珠 Kwan, Tak Hing 關德興 Chan，Danny 陳百強 Kwan,Teddy Robin 泰迪羅賓 Chan, Edison 陳冠希（關維鵬） Chan, Frankie 陳勳奇 Kwok, Aaron 郭富城 Chan, Kelly 陳慧琳 Lai，Leon 黎明 Chan, Ken 陳嘉業 Lai，Michael 黎小田 Chan, Peter 陳可辛 Lam, Ka Tung 林家棟 Chan, Punk 陳光榮 Lam, Karena 林嘉欣 Chan, Wing Wah 陳永華 Lam, Tsz Cheong 林子祥 Chen, Joan 陳沖 Lau, Andrew 劉偉強 Cheng, Ekin 鄭伊健 Lau, Andy 劉德華 Cheng, Sammi 鄭秀文 Lau, Tats 劉以達 Cheung, Cecilia 張柏芝 Law, Clara 羅卓瑤 Cheung, Jacky 張學友 Law, Wing Fai 羅永暉 Cheung，Leslie 張國榮 Leung, Tony 梁朝偉 Cheung, Maggie 張曼玉 Li，Tie 李鐵 Chiu, Yu 趙頌茹 LMF Choi, Charlene 蔡卓妍 Long，Tu 龍圖 Chow, Stephen 周星馳 Ma, Choh Shing Jingle 馬楚成 Galasso, Michael Mui, Anita 梅ifi芳 Hui’Ann 許鞍華 Ng，Ronald 伍樂城 Hui，Sam 許冠傑 Poon, Rebecca 潘迪華 Ifukube Akira 伊福部昭 Shigeru Umebayashi 梅林茂 Jen, Richie 任賢齊 Sin, Fong Fong Josephine 蕭芳芳 Kam, Peter 金培達 So, William 蘇永康 Koo, Joseph 顧家輝， Suzuki Seijun b木清順 Appendix 5 Directors, Composers, Lyricists, Actors/Actresses and Singers 85

Tam, Alan 譚詠麟 Tam, Roman 羅文 Tan, Dun 譚盾 Teng, Teresa 鄧麗君 To, Chapman 杜汶澤 Tsai, Chin 蔡琴 Tsang, Eric 曾志偉 Twins 雙生兒 Wai, Tommy 韋啓良 Wong, Anthony 黃秋生 Wong, Faye 王菲 Wong, Felix 黃日華 Wong, Fook Ling 王福齢 Wong, James 黃• Wong, Jonathan 王邦賢 Wong, Raymond 黃英華 Yeh，Sally -蘅文 Yeung, Miriam 楊千嬅 Yuen, Anita 袁詠儀 Zhao, Jiping 趙季平 Zhou, Xuan 周璇 References Cited 86

References Cited The bibliography is divided into English and Chinese parts with each arranged in alphabetical order. The filmgraphy is arranged chronologically. References in English Arnold, Alison E. 1996 Hindi FilmT git: On the History of Commercial Indian Popular Music. Ann Arbor, MI: UMI. Brown, Royal S. 1994 Overtones and Undertones: Reading Film Music. Berkeley and Los Angeles, CA: University of California Press. Buhler, James, Caryl Flinn and David, Neumeyer 2000 "Introduction" in Music and Cinema. Ed. David Neumeyer, Caryl Flinn and James Buhler, 1-29. Hanover, NH : University Press of New England. Cohen, Annabel J. 2000 "Film Music: Perspectives from Cognitive Psychology" in Music and Cinema. Ed. David Neumeyer, Caryl Flinn and James Buhler, 360-377. Hanover, NH: University Press of New England. Desai, Jigna 丄. 2004 Beyond Bollywood: the Cultural Politics of South Asian Diasporic Film. New York: Routledge.

Cooke, Mervyn. 2001 "Film Music." In The New Grove Dictionary of Music and Musicians. 2nd ed., edited by Stanley Sadie, vol 8: 797-810. New York: Grove. Flinn, Caryl 2000 “ Strategies of Remembrance: Music and History in the New German Cinema" in Music and Cinema. Ed. David Neumeyer, Caryl Flinn and James Buhler, 118-141. Hanover, NH : University Press of New England. References Cited 87 Ganti, Tejaswini. 2004 Bollywood: a Guidebook to Popular Hindi Cinema. New York : Routledge.

Gorbman, Claudia. 1987 Unheard Melodies: Narrative Film Music. Bloomington and Indianapolis: Indiana University Press. 2000 "Scoring the Indian: Music In The Liberal Western" in Western Music And Its Others: Difference, Representation, And Appropriation In Music. Ed, Georgina Born and David Hesmondhalgh, 234-253. Berkeley: University of Californica Press. Kassabian, Anahid. 2001 Hearing Film : Tracking Identifications in Contemporary Hollywood Film Music. New York: Routledge. Shohat, Ella and Stam, Robert, ed. 2003 Multiculturalism, Postcoloniality, and Transnational Media. New Brunswick, N.J. : Rutgers University Press. Skelton,Tracey and Allen, Tim. 1999 Culture and Global Change. London : Routledge. Torgovnik, Jonathan. 2003 Bollywood Dreams : an Exploration of the Motion Picture Industry and its Culture in India. London ； New York : Phaidon. Vinnels, David and Skelly;Brent 2002 Bollywood Showplaces : Cinema Theatres in India. Cambridge : E & E Plumridge in collaboration with Decorum Books. Zhang, Yingjin 1999 Cinema and Urban Culture in Shanghai, 1922-1943. California: Standford University Press. References in Chinese

(Tang) Duan An Jie (唐）段安節 1957 Yuefuzalu 樂in Zhong guo wen xue chan kao zi liao xiao chong shu. 中國文學參考資料小叢書 vol. 1. Shanghai: Shanghai gu dian wen xue chu ban she.

Chan，N.S.H洛楓（陳少紅） 1995 The Decadent City世紀末城市-香港的流行文化.Hong Kong: Oxford University Press. 2001 City On The Edge ofTime盛世邊緣-香港電影的性別、特技與九 References Cited 88

七政、冶.Hong Kong: Oxford University Press. Chu, Yiu Wai 朱耀偉 2001 Tin yue gan yan - Xianggang “ zhong wen ge yun dong “ yan jiu WMWi 言-香港「中文歌運動」硏究[Dare To Speak Music-Research on Hong Kong Chinese Song Movement ]. Hong Kong: The Infolink Publishing Ltd. Lan Zu Wei藍祖蔚 2002 Film Music Composers聲與影：二十位作曲家談華語電影音樂創作. Taipei: Rye Field Publishing Co. Law, Angela 羅展鳳 2003 Yinghua Xyinyue 映畫 X 音樂[Film and Music]. Hong Kong: Joint Publishing (Hong Kong) Company Limited. Law, Kar 羅卡，Ng，Ho 吳昊 and Cheuk, Pak Tong 卓伯棠 1996 Xianggang dian ying lei xing lun 香港電影類型論[Theory of Hong Kong Film Genre ]. Hong Kong: Oxford University Press. Urban Council 市政局 1993 Mandarin Films and Popular Songs 國語片與時代曲. Hong Kong: Urbane Council 香港市政局. Wang, Zhaoqian 王兆乾 ed. 1988 Huang mei xi yi shu 黃梅戲藝術[Arts of Huang Mei Xi]. Anhui: Huang mei xi yi shu za zhi she. Wong, Chi-wah 黃志華 1989 Forty Years of Cantonese Popular Music 粵語流行曲四十年. Hong Kong: Joint Publishing Company Limited. Wong, Jonathan 黃邦賢 2004 "The Dolby Era of Hong Kong Film Music"香港電影音樂的杜比 Dolby 時代 in Cashflow. Issue 40: 18:21. Hong Kong: Composers and Authors Society of Hong Kong Ltd. Wong, Kee Chee 黃奇智 1978 Shi dai qu zong lun 日寺代曲f宗言命[Discussions on Period Song ]. Hong Kong: School of Continuing Studies The Chinese University of Hong Kong. Yu, Mo-wan余慕雲 1997 A Historical Narrative of Hong Kong Film 香港電影史話.Vol.l. Hong Kong: Subculture Press. Yu, Siu-wah 余少華 References Cited 89

2005 "Cong yin yuejiao du kan 'xiao aojiang hu"從音樂角度看《笑傲江湖》 [Viewing Swordsman from a Musical Angle ] in Du Shu 言賣書 [Reading ] 12: 72-74. Beijing: Sanluen shu dian. 2006 "Xianggang de zhong guo yin yue"香港的中國音樂[Chinese Music In Hong Kong ] in Zhu, Ruibing 朱瑞}水 ed. Xianggang yin yue fa zhan gai lun 香港音樂發展槪論[Introduction to the Development of Music in Hong Kong ] :201-360. Hong Kong: Joint Publishing Company Limited. 2007 "Xianggang dian ying yin yue - li shi yu zheng zhi zai Xianggang dian ying"香港電影音樂-歷史與政治在香港電影[Hong Kong Film Music 一 History and Politics in Hong Kong Film] in Out of Chaos and. Coincidence: Hong Kong Music Culture樂在顛錯中：香港雅俗音樂文化.Hong Kong: Oxford University Press. 2008 "The Music Used in Some Shaw Brother's Mandarin Movies: the case of The Little Lark'"電影《小雲雀》中的音樂 in Shao shi ying shi di guo: wen hua zhong guo de xiang刀叩邵氏影視帝國：文化中國的想像 [The Kingdom of Shaw Films: Imagination of Cultural China ]: 322-338. Taipei: Rye Field Publishing Co. Interviews Chan, Ken 陳嘉業 on 27th August, 2003 and 9th June, 2004. Chan, Punk 陳光榮 on 9th June, 2004. Kam, Peter 金培達 on 28th August, 2003, 3rd May, 2004 and 27th May, 2004. Kwan, Teddy Robin 泰迪羅賓 on 3rd June, 2004. Tse, Winnie 謝穎霖 on 21st April, 2004. Wai,Tommy 韋啓良 on 27th May, 2003, 20th April, 2004 and 25th May, 2004. Wong, Raymond 黃英華 on 28th May, 2004. Yu, Sin Wah 余少華 on 29th April, 2004.

Video Recording Diao guang huan ying 光iQI乡[Illusion of Electricity and Light ], Vol. 2, 7th episode - Ge wu xi qu pian 歌舞戲曲片[Song and Dance Film and Operatic Film]. 28th September, 1984 Radio Television Hong Kong. Collected by Hong Kong Film Archive. References Cited

Websites Hong Kong Film Award香港電影金像獎 http://www.hkfaa.com/historv/home.html Golden Bauhinia Awards 香港金紫荆獎 http://www.hkfca.org/GBA/list historvQl.html HKFCS Awards香港電影評論學會大獎 http://www.filmcritics.org.hk/index.php?mod=iZine&zID=3 Taipei Golden Horse Film Festival 台灣金馬獎/影展 http://www.goldenhorse.org.tw/ Top Ten Chinese Gold Song ceremony of Radio Television Hong Kong 香港電台十大中文金曲 http://www.rthk.org.hk/special/goldsong2002/25historv Qlalllists.htm Academy Awards of Motion Picture Arts and Science 奧斯卡金像獎 http://www.oscars.org/academvawards/ Hong Kong Film Archive香港電影資料館 http://www.lcsd.gov.hk/CE/CulturalService/HKFA/chinese/cindex.html Composers And Authors Society of Hong Kong Ltd.香港作曲家及作詞家協會 http://www.cash.org.hk/index.asp?lang=big5 Hong Kong Radio Television “I Love Dream Factory" "Back To Dream Factory" series香港電台電視製作「我愛夢工場」「回到夢工場」系列 http://www.rthk.org.hk/special/dreamfactorvQ2/ Chris Babida's Homepage http://www.chrisbabida.com/big5.htm References Cited 91

List of Films Discussed in the Thesis Swordsman 笑傲江湖 1990 Swordsman II 笑傲江湖II東方不敗 1992 C'est La Vie, Mon Cheri 新不了情 1993 Temptation of A Monk 誘僧 1993 Hu Du Men 虎度門 1996 Beastcops 野獸刑警 1998 Purple Storm 紫雨風暴 1998 Fly Me To Polaris 星願 1999 In the Mood For Love 花樣年華 2000 Shaolin Soccer 少林足球 2001 Chinese Odyssey 2002 天下無雙 2002 Demi-Haunted 魂魄唔齊 2002 Infernal Affairs I 無間道 1 2002 Golden Chicken 金雞 2002 July Rhapsody 男人四十 2002 Cat And Mouse 老鼠愛上貓 2003 Heroic Duo 雙雄 2003 Infernal Affairs II 無間道 2 2003 Infernal Affairs III 無間道 3 終極無間 2003 Lost In Time 忘不了 2003 Heat Team 重案黐孖 Gun 2004 Kung Fu Hustle 功夫 2004 New Police Story 新警察故事 2004 Super Model 我要做 Model 2004 Glossary 92

Glossary In this glossary, various Chinese terms that translated into English in the thesis are listed in the alphabetical order. Different romanizations are used for the sake of the origins of the terms and names in Hong Kong, Taiwan and China. 18 Districts Singing Competition 全港十八區業餘歌唱比賽 7 Day Freshness 七日鮮 Asian Philharmonic Orchestra 亞洲愛樂管弦樂團 Bei yi wang de shi guang [The Days Being Forgotten]被遺忘的時光 Best Film Music 最佳電影配樂/最佳音樂 Best Film Song 最佳電影歌曲 Best Original Film Score 最佳原創音樂 Best Original Film Song 最佳原創電影歌曲 Bianzhong 編鐘 Bili 膂篥 Buyu 卜魚 Canned Music 罐頭音樂 Cantonese Operatic Film 戲曲片 Changjiang [Yangzi River] 長江 Chinese Artists Association of Hong Kong 香港八禾口會館 Director's Cut 導演剪接版 Dizi/Di 笛子/笛 Dongxiao/xiao 洞簫 / 蕭 Duan Anjie 段安節 Erhu 二胡 Er quan ying yue [The Moon Reflected on the Second 二泉映月 Springs] Fangxiang 方響 Four Heavenly Kings 四大天王 Gajim syn sai 家嚴選婿 Gao shan liu shui 高山流水 Gaohu 高胡 Gongs 鑼 Gouluo 勾鑼 Guqin/qin 古琴 / 琴 Guzheng/zheng 古寧 / 箏 Glossary 93 Hai tao [Ocean Waves] 海濤 Hong Kong Film Awards J港驟金像獎 Hua yang de nian hua [Flower Ages] 花樣的年華 Huang Mei Diao 黃梅調 Huang Mei Xi 黃梅戲 Huqin 胡琴 Jiang he shui [River Water] 江河水 Jiegu 竭鼓 Jiou 擊甌 Judge Bao 包公/包青天 Konghou 箜篌 Lazy Family 大懶堂 Matching Scene with Music 配樂 Nanyin 南音 Oh! Christmas Tree 噢!聖誕樹 Original Scoring 原創音樂 Paipan 拍板 Pian pian xi huan ni [You Are the Only One] 偏偏喜歡你 Pipa 琵琶 Qian zhi zheng ci zhai xin [Deep Pain] 千枝針刺在心 Qin/Guqin 琴 / 古琴 Qing Dynasty 清代 Radio Television Hong Kong 香港電台 Rediffiision Television Limited 麗的電視 Ruanxian 阮咸 Sanxian 三弦 Shade 沙的 Shaw Brothers Film Company 召K氏 Sheng 笙 Shenzhen Symphony Orchestra 深圳交響樂團 Shi zi shan xia [Under the Lion Rock] ®{子山下 Song and Dance Film 歌舞片 Specially Extended Version 特別加長版 Suona 噴n內 Taipei Golden Horse Film Festival 台北金馬影展 Tang Dynasty 唐代 Temple Street 廟街 Wan feng [Evening Wind] 晚風 Western Regions 西域 Wuxian 五絃 Xiao/dongxiao 蕭 / 洞蕭 Xiaobo 小鈸 Xun 墳 Yangqin 揚琴/洋琴 94 Glossary

Y1 sheng he qiu [Ask For Nothing] 二生f可求 Yong chuan quan [Wing Chun] 詠春拳 You jiu jin zhao zui [Drunk Today] 有酒今朝醉 Yuefiizalu 樂 f 雜錄 Zhai xing [Pick Stars] 摘星 Zhanzhao —昭 Zhe yi ge ye [Tonight] 這一個夜 Zheng/Guzheng 箏/古箏 Zui yan kan shi jie [View the World by Drunken Eyes]醉眼看世界

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