DOCSLIB.ORG

Chinese Foodscape in Films by Yan-Ho Siu and June Lam

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chinese Foodscape in Films by Yan-Ho Siu and June Lam Chinese Foodscape in Films by Yan-ho Siu and June Lam (for ‘Cultural Exchange between Switzerland and Hong Kong Artists/ Writers’ Film Screening on December 4, 2008 at Bethanie Campus of APA) Ang Lee (李安) (born October 23, 1954) is an Academy Award-winning film director from Taiwan (Best Director for Brokeback Mountain, 2005) Lee studied in the National Tainan First Senior High School where his father was a former principal. He was expected to pass the annual Joint College/University Entrance Examination, the only route to a university education in Taiwan. But after failing the Exam twice, to the disappointment of his father, he entered a three-year college, National Arts School and graduated in 1975. His father had wanted him to become a professor, but he had become interested in drama and the arts at college. After finishing the Republic of China's mandatory military service, Lee went to the U.S. in 1979 to study at the University of Illinois at Urbana- Champaign, where he completed his bachelor's degree in theater in 1980. Thereupon, he enrolled at the Tisch School of the Arts of New York University, where he received his MFA. Lee's NYU thesis drew attention from the William Morris Agency, the famous talent and literary agency that later represented Lee. At first, though, WMA found Lee few opportunities, and Lee remained unemployed for six years. During this time, he was a full-time house- husband, while his wife Jane Lin (林惠嘉), a molecular biologist, was the sole breadwinner for the family of four. This arrangement, usually an embarrassment in Taiwanese culture, put enormous pressure on the couple, but with Lin's support and understanding, Lee did not abandon his career in films but continued to generate new ideas from movies and performances. He also wrote several screenplays during this time. In 1990, Lee submitted two screenplays, Pushing Hands (推手) and The Wedding Banquet (喜宴), to a competition sponsored by the Republic of China's Government Information Office, and they came in first and second respectively. The winning screenplays brought Lee to the attention of Li-Kong Hsu (徐立功), a recently promoted senior manager in a major studio who had strong interests in Lee's unique style and freshness. Hsu, a first-time producer, invited Lee to direct Pushing Hands, a full-length feature that debuted in 1991. Lee's first two movies were based on stories of Taiwanese Americans, and both were filmed in the US. In 1995, Hsu invited Lee to return to Taiwan to make Eat Drink Man Woman (飲 食男女), a film that depicts traditional values, modern relationships, and family conflicts in Taipei. The film was once again a box office hit and was critically acclaimed. For a second consecutive year, Lee's film received the Best Foreign Language Film nomination in both the Golden Globe and Academy Awards, as well as in the British Academy Award. Eat Drink Man Woman won five awards in Taiwan and internationally, including the Best Director from Independent Spirit. Hollywood optioned the film rights and remade it into Tortilla Soup (2001, dir. María Ripoll). This is one of the rare occasions in which a Taiwanese film was remade outside the country. In 2003, Lee directed Hulk, his first big-budget Hollywood movie. Reception from critics and audiences was lukewarm, and the film ultimately failed to meet Universal's financial expectations. After the setback, Lee considered retiring early, but his father encouraged him to continue making movies… P.1 Filmography 1992 Pushing Hands 推手 1993 The Wedding Banquet 喜宴 1994 Eat Drink Man Woman 飲食男女 1995 Sense and Sensibility 1997 The Ice Storm 1999 Ride with the Devil 2000 Crouching Tiger, Hidden Dragon 臥虎藏龍 2002 The Hire 2003 Hulk 2005 Brokeback Mountain 2007 Lust, Caution 色，戒 Film Foodscape 飲食男女（1994） Various Eat Drink Man Woman Film Outdoor Foodscape 細路祥（1950） 燒鵝 Roasted goose The Kid 苦海明燈（1953） 大包 Large steamed bun A Son is Born 油條 Chinese twist cruller 父母心（1955） 餛飩麵 Wonton noodles Parents' Hearts 叉燒包 Steamed barbecued pork bun 雨過天青（1959） 燒鵝 Roasted goose For Better......for Worse 叉燒包 Steamed barbecued pork bun 糯米雞 Glutinous rice wrapped in lotus leaf 蝦餃 Steamed fresh prawn dumpling (Ha-gau) 燒賣 Steamed stuffed dumpling with shrimp (Siu-mai) 南北一家親（1962） 蠔油鮑魚 Abalone with oyster sauce The Greatest Wedding on 小籠包 Steamed Shanghai-style dumpling (Siu-lung bun） Earth 蟹 Crab 半斤八兩（1976） 燒鵝 Roasted goose The Private Eyes 橫財三千萬（1987） 大排檔 Dai Pai Dong food stall (the large license stall) The Thirty Million Rush 與龍共舞（1991） 燒味併盤 Mixed grill dish Dance with the Dragon 春卷 Spring roll 馬拉糕 Steamed sweet bun of Malaysia（Mai-lai cake） 豪門夜宴（1991） 臭豆腐 Stinky tofu The Banquet 鳳爪 Steamed chicken feet with black bean sauce 雞扎 Steamed bean curd sheet roll with chicken 叉燒包 Steamed barbecued pork bun 蓮蓉包 Steamed lotus seed paste bun 大排檔 Dai Pai Dong food stall (the large license stall) P.2 食神（1996） 車仔麵 Assorted noodle The God of Cookery 叉燒飯 Barbecued pork rice 牛丸 Beef ball 無間道 II （2003） 火鍋 Hot pot Infernal Affairs II 千杯不醉（2005） 火鍋 Hot pot Drink Drank Drunk Film Indoor Foodscape 危樓春曉（1953） 魚蛋 Fish ball In the Face of Demolition 炒粉麵 Fried rice noodles and noodles 父母心（1955） 用柴煮飯 Cooking rice with firewood Parents' Hearts 同床異夢（1960） 燉雞湯 Simmered chicken soup The Bedside Story 可憐天下父母心（1960） 腐乳 Fermented bean curd The Great Devotion 叉燒 Barbecued pork 咸蛋 Salted duck egg 桃李爭春（1962） 餃子 Dumplings It's Always Spring 南北一家親（1962） 蒸與煎蘿蔔糕 The Greatest Wedding on Steamed and fried radish cake Earth 小兒女（1963） 蟹 Crab Father Takes a Bride 合家歡（1989） 腐乳 Fermented bean curd Mr. Coconut 豉油雞 Soy sauce chicken 豪門夜宴（1991） 咸魚 Salted fish The Banquet Siu Yan-ho is a post-graduate student in the Chinese Department of Lingnan University. His research area is ancient Chinese writings. He was a student of Chinese Cuisine Training Institute in the past. Also, he learnt cooking by working in a western restaurant for a year. June Lam Pui-wah got her PhD from the Comparative Literature Department in the University of Hong Kong, with the research area of two French philosophers, Deleuze and Guattari. At present, she works in the Centre for Humanities Researches in Lingnan University, engaging in projects related to humanities and cultures of Hong Kong. P.3 .
Load more

Recommended publications
  • In English C Writing U
    U Writing C in nglish -VolumeE - XV/2016 U Writing C English -Volume XV/2016~ Preface to the Poetry Section “We don’t read and write poetry because it’s cute. We read and write This collection contains part of the fruits of our learning. Here you will poetry because we are members of the human race. And the human find the languages of simplicity and relative sophistication; throbbing race is filled with passion. And medicine, law, business, engineering, tales of love, loss, joy, rage, remorse, and so on; most importantly, you these are noble pursuits and necessary to sustain life. But poetry, will hear the rhythms of thirty beating hearts. However different they beauty, romance, love, these are what we stay alive for.” sound, they are the same in the sense that they hope those outpourings —John Keating, ‘Dead Poets Society’ of the soul might, at certain points, perhaps help prove how poetry keeps us alive. Similarly, we appreciate and attempt to write poetry not only for aesthetic pleasure or intellectual fireworks; we love poetry because it Thank you. shows us the breadth and depth of humanity. Poetry awakens the most innate human qualities in us, distils our human essence, and shows us Carren Wong, Gabrielle Tsui, Liz Wan what it truly means to be human. Editors Of course, being merely students, we are far from being able to demonstrate the divine qualities of poetry; rather, through learning to write poems, we have gained insight into the beauty and magic of acclaimed poetry, and by engaging with those masterpieces, we have found more and better ways to express ourselves.
    [Show full text]
  • Written & Directed by and Starring Stephen Chow
    CJ7 Written & Directed by and Starring Stephen Chow East Coast Publicity West Coast Publicity Distributor IHOP Public Relations Block Korenbrot PR Sony Pictures Classics Jeff Hill Melody Korenbrot Carmelo Pirrone Jessica Uzzan Judy Chang Leila Guenancia 853 7th Ave, 3C 110 S. Fairfax Ave, #310 550 Madison Ave New York, NY 10019 Los Angeles, CA 90036 New York, NY 10022 212-265-4373 tel 323-634-7001 tel 212-833-8833 tel 212-247-2948 fax 323-634-7030 fax 212-833-8844 fax 1 Short Synopsis: From Stephen Chow, the director and star of Kung Fu Hustle, comes CJ7, a new comedy featuring Chow’s trademark slapstick antics. Ti (Stephen Chow) is a poor father who works all day, everyday at a construction site to make sure his son Dicky Chow (Xu Jian) can attend an elite private school. Despite his father’s good intentions to give his son the opportunities he never had, Dicky, with his dirty and tattered clothes and none of the “cool” toys stands out from his schoolmates like a sore thumb. Ti can’t afford to buy Dicky any expensive toys and goes to the best place he knows to get new stuff for Dicky – the junk yard! While out “shopping” for a new toy for his son, Ti finds a mysterious orb and brings it home for Dicky to play with. To his surprise and disbelief, the orb reveals itself to Dicky as a bizarre “pet” with extraordinary powers. Armed with his “CJ7” Dicky seizes this chance to overcome his poor background and shabby clothes and impress his fellow schoolmates for the first time in his life.
    [Show full text]
  • Bamcinématek Presents Stephen Chow: the King of Comedy, Oct 6—12
    BAMcinématek presents Stephen Chow: The King of Comedy, Oct 6—12 “The reigning king of Hong Kong comedy.”—J. Hoberman Co-presented with the Hong Kong Economic and Trade Office in New York. The Wall Street Journal is the title sponsor for BAM Rose Cinemas and BAMcinématek. Brooklyn, NY/Sep 8, 2014—From Monday, October 6 through Sunday, October 12, BAMcinématek presents Stephen Chow: The King of Comedy, an eight-film retrospective of the Hong Kong actor, writer, and director. Chow’s audaciously anarchic comedies combine surreal sight gags, non sequiturs, extensive pop culture quoting, and gravity-defying martial arts to sublimely silly effect. Endlessly inventive, the reigning king of Hong Kong mo lei tau (―nonsense comedy‖) yields unfiltered cinematic pleasure. Initially prominent as a children’s television star, Chow became synonymous with mo lei tau, a style of film comedy in which traditional melodramas and kung fu tales are peppered with rapid- fire, fourth-wall-breaking slapstick bits and corny puns. A bigger box-office draw in his homeland than Jackie Chan or Jet Li, Chow—who cites Spielberg and Kubrick, along with Jim Carrey, as influences—has used his clout in recent years to fashion himself as an auteur, scripting, editing, and directing a series of high-budget, homage-filled blockbusters. Typical of Chow’s earliest hits, Johnnie To’s Justice, My Foot! (1992—Oct 8) casts the actor as a fast-talking lawyer whose mouth gets him into trouble, and whose kung fu-fighting wife gets him out of it—one of many tough, smart heroines Chow uses as foils for his feckless alter egos.
    [Show full text]
  • Miramax's Asian Experiment: Creating a Model for Crossover Hits Lisa Dombrowski , Wesleyan University, US
    Miramax's Asian Experiment: Creating a Model for Crossover Hits Lisa Dombrowski , Wesleyan University, US Prior to 1996, no commercial Chinese-language film had scored a breakout hit in the United States since the end of the 1970s kung fu craze. In the intervening period, the dominant distribution model for Asian films in America involved showcasing subtitled, auteur-driven art cinema in a handful of theaters in New York and Los Angeles, then building to ever more screens in a platform fashion, targeting college towns and urban theaters near affluent, older audiences. With the American fan base for Hong Kong action films steadily growing through video and specialized exhibition during the 1980s, Miramax chieftain Harvey Weinstein recognized the opportunity to market more commercial Chinese-language films to a wider audience outside the art cinema model as a means of generating crossover hits. Beginning in 1995, Weinstein positioned Miramax to become the primary distributor of Hong Kong action films in the United States. Miramax's acquisition and distribution strategy for Hong Kong action films was grounded in a specific set of assumptions regarding how to appeal to mass-market American tastes. The company targeted action-oriented films featuring recognizable genre conventions and brand- name stars, considering such titles both favorites of hardcore Hong Kong film fans and accessible enough to attract new viewers. Rather than booking its Hong Kong theatrical acquisitions into art cinemas, Miramax favored wide releases to multiplexes accompanied by marketing campaigns designed to highlight the action and hide the "foreignness" of the films. Miramax initially adopted a strategy of dubbing, re-scoring, re-editing, and often re-titling its Hong Kong theatrical and video/DVD releases in order to make them more appealing to mainstream American audiences.
    [Show full text]
  • University of Southampton Research Repository Eprints Soton
    University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Film Studies Hong Kong Cinema Since 1997: The Response of Filmmakers Following the Political Handover from Britain to the People’s Republic of China by Sherry Xiaorui Xu Thesis for the degree of Doctor of Philosophy December 2012 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Film Studies Doctor of Philosophy HONG KONG CINEMA SINCE 1997: THE RESPONSE OF FILMMAKERS FOLLOWING THE POLITICAL HANDOVER FROM BRITAIN TO THE PEOPLE’S REPUBLIC OF CHINA by Sherry Xiaorui Xu This thesis was instigated through a consideration of the views held by many film scholars who predicted that the political handover that took place on the July 1 1997, whereby Hong Kong was returned to the sovereignty of the People’s Republic of China (PRC) from British colonial rule, would result in the “end” of Hong Kong cinema.
    [Show full text]
  • Images of Older Persons in Hong Kong Popular Films
    Lingnan University Digital Commons @ Lingnan University Theses & Dissertations Department of Sociology and Social Policy 10-2003 Images of older persons in Hong Kong popular films Nga Man WONG Follow this and additional works at: https://commons.ln.edu.hk/soc_etd Part of the Gerontology Commons Recommended Citation Wong, N. M. (2003). Images of older persons in Hong Kong popular films (Master's thesis, Lingnan University, Hong Kong). Retrieved from http://dx.doi.org/10.14793/soc_etd.25 This Thesis is brought to you for free and open access by the Department of Sociology and Social Policy at Digital Commons @ Lingnan University. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of Digital Commons @ Lingnan University. Terms of Use The copyright of this thesis is owned by its author. Any reproduction, adaptation, distribution or dissemination of this thesis without express authorization is strictly prohibited. All rights reserved. IMAGES OF OLDER PERSONS IN HONG KONG POPULAR FILMS WONG NGA MAN MPHIL LINGNAN UNIVERSITY OCTOBER 2003 IMAGES OF OLDER PERSONS IN HONG KONG POPULAR FILMS by WONG Nga Man A thesis submitted in partial fulfillment of the requirements for the Degree of Master of Philosophy Lingnan University October 2003 ABSTRACT Images of Older Persons in Hong Kong Popular Films by WONG Nga Man Master of Philosophy Film watching is a popular leisure activity in modern society. Films, as a medium, provide powerful tools to deliver social messages and to create images of particular social groups. The cinematic images portrayed by films toward a particular social group may consequently shape our social perceptions and expectations of that social group.
    [Show full text]
  • Chinese, Hong Kong Chinese, Hongkonger?
    Chinese, Hong Kong Chinese, Hongkonger? The Construction of National Identity in light of the Anti-Moral and National Education Movement and the Umbrella Movement in Post-1997 Hong Kong A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2020 Chung Yan Priscilla Kam Department of Sociology School of Social Sciences List of Contents List of Tables 6 Abstract 7 Declaration 8 Copyright Statement 9 Acknowledgements 10 Chapter 1. Introduction 11 1.1. Introduction 11 1.2. The Main Arguments and Significance of this Thesis 12 1.3. A Historical Account of Hong Kong Identity 18 1.4. Significance of Scholarism, the Anti-MNE Movement and the Umbrella Movement 26 1.4.1. Significance of Scholarism 26 1.4.2. Significance of the Anti-MNE Movement 30 1.4.3. Significance of the Umbrella Movement 32 1.5. Methodological Approach 36 1.6. Clarifications of Terminology 38 1.7. Structure of the Thesis 38 1.8. Conclusion 42 Chapter 2. Literature Review: Theories of National Belonging in Hong Kong Context 43 2.1. Introduction 43 2.2. National Identity 43 2.2.1. The Emotional and Cognitive Components of National Identity 45 2.2.2. National Identity as a Social Identity 50 2 2.3. Ethnic and Civic National Identity 55 2.4. The Hong Kong Ethos 59 2.5. Conclusion 63 Chapter 3. Methodology 66 3.1. Introduction 66 3.2. Qualitative Study 66 3.3. Data Collection 68 3.3.1. Research Participants 69 3.3.2. Semi-structured Individual Interviews 73 3.3.3.
    [Show full text]
  • Download October 2014 Movie Schedule
    Movie Museum OCTOBER 2014 COMING ATTRACTIONS THURSDAY FRIDAY SATURDAY SUNDAY MONDAY 2 Hawaii Premieres! CHEF THE RABBI'S CAT Hawaii Premiere! A TALE OF SAMURAI FORT McCOY (2014-US) (2011-France) THREE STARS COOKING (2011-US) in widescreen in widescreen French w/Eng subtitles, ws (2010-Germany) (2013-Japan) with Eric Stoltz Jon Favreau, John Leguizamo voiced by François Morel. German/Eng/French subs ws Japanese w/Eng subtitles ws 12:00, 3:30 & 7:00pm 12:00, 4:15 & 8:30pm 12:00, 3:30 & 7:00pm Doc on Michelin 3 star restos. 12, 4 & 8pm ------------------------------------ ------------------------------------ ------------------------------------ 12:00 & 3:45pm ------------------------------------ THE GOD OF COOKERY A TALE OF SAMURAI Hawaii Premiere! ------------------------------------ Hawaii Premiere! (1996-Hong Kong) COOKING: FORT McCOY CHEF THREE STARS Cantonese w/subtitles, ws A TRUE LOVE STORY (2011-US) in widescreen (2014-US) in widescreen (2010-Germany) Directed by Stephen Chow (2013-Japan) Japn w/subtitles with Eric Stoltz Jon Favreau, John Leguizamo. German/Eng/French subs ws 1:45, 5:15 & 8:45pm 2 2:00 & 6:15pm 3 1:45, 5:15 & 8:45pm 45 1:45, 5:30 & 7:30pm 2:15 & 6:15pm 6 Hawaii Premiere! Discoverers' Day A COFFEE IN BERLIN THE GOD OF COOKERY EDGE OF TOMORROW A COFFEE IN BERLIN 2 Hawaii Premieres! (2012-German) (1996-Hong Kong) (2014-US/Australia) (2012-German) MAGNIFICA PRESENZA German/Eng w/ subtitles ws Cantonese w/subtitles, ws in widescreen German/Eng w/ subtitles ws (2012-Italy) 12, 4 & 8pm Directed by Stephen Chow 12:00, 3:45 & 7:30pm Italian w/Eng subtitles ws ------------------------------------ 12:00, 4:15 & 8:30pm with Tom Cruise, ------------------------------------ 12:00, 3:45 & 7:30pm A TALE OF SAMURAI ------------------------------------ Emily Blunt, Bill Paxton, Hawaii Premiere! ------------------------------------ COOKING: A GHOST OF A CHANCE Brendan Gleeson.
    [Show full text]
  • University De Macau
    UNIVERSITY DE MACAU UNIVERSITY OF MACAU FACULTY OF SOCIAL SCIENCES AND HUMANITIES DEPARTMENT OF COMMUNICATION Stephen Chow — the King of Comedy in Hong Kong “Laughter in Disguise” and “Seeing beyond Believing” By Shen Chen (Ives) M-A9-5506-0 Supervisor: Prof. Tan See Kam A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at the University of Macau August 2011 DECLARATION I declare that this thesis represents my own work, including where due acknowledgments are made, and that it has not been previously included in a thesis, dissertation or monograph submitted to this university or to any other institutions for a degree, diploma or other qualifications. Signature _ ii Acknowledgments The conceptualization of this thesis, the refinement of its content, and its eventual production have benefited from the contribution of numerous people. I would like to avail myself of this opportunity to extend my sincerest appreciation to each and every one of them. Biggest and broadest thanks must go first to my supervisor Prof. Tan See Kam whose motto “flexibility in thoughts and creativity in deeds” have and will be inspiring and influencing me for good. He enthused me with the study of movies, deflated, deflected and sharpened my ideas, and assisted me in a number of inquiries at the heart of the research explored in this thesis with his healthy skepticism, his illuminating criticism, his shrewd advice, his extreme attention to detail and his commitment to seeing the thesis through. I am also deeply in debt to Prof. Chen Huailin, whose rigid, but rigorous inculcation of knowledge imparted nerves of steel and immunity to trials and tribulations to me; Prof.
    [Show full text]
  • A Study of Popular Hong Kong Cinema from 2001 to 2004 As Resource for a Contextual Approach to Expressions of Christian Faith
    A Study of Popular Hong Kong Cinema from 2001 to 2004 as Resource for a Contextual Approach to Expressions of Christian Faith in the Public Realm after the Reversion to Chinese Sovereignty in 1997 YAM Chi-Keung Doctor of Philosophy The University of Edinburgh July 2008 ABSTRACT In this thesis I study popular Hong Kong cinema through analysing specific films produced between 2001 and 2004. They are Shaolin Soccer (2001), The Infernal Affairs Trilogy (2002-2003), and Kung Fu Hustle (2004). My aim is to identify insights from these films in order both to interrogate and to inform the public expressions of faith by local Christians in the period after the reversion to Chinese sovereignty in 1997. In this thesis, these expressions of faith are represented by local Christian productions released in cinemas also between 2001 and 2004. Being the first detailed study of Chinese language film in the developing field of theology- religion and film, this thesis serves to extend the geo-cultural scope of this area of research. Throughout this study I adopt a tripolar approach to theology which is simultaneously practical, contextual, and cultural. It starts with practical concerns and aims at informing Christian praxis; it is concerned with local issues and reflects on local practices; it regards the cinema as a cultural text and as resource for local theology. My film analysis draws upon a cultural studies approach which combines textual and contextual studies, and is enriched by extensive references to writings by local critics and audience members. Using this multi-layered approach, I scrutinise the top grossing local film of each year from 2001 to 2004 within its original sociocultural context of production and reception.
    [Show full text]
  • Kung Fu Hustle
    Columbia Pictures Film Production Asia and Beijing Film Studio of China Film Group Corporation and The Star Overseas Ltd. present Kung Fu Hustle Written and Directed by and Starring Stephen Chow A Sony Pictures Classics Release EAST COAST: WEST COAST: EXHIBITOR CONTACTS: INT’L HOUSE OF PUBLICITY BLOCK-KORENBROT SONY PICTURES CLASSICS JEFF HILL MELODY KORENBROT CARMELO PIRRONE JESSICA UZZAN CHRIS SEATON 550 MADISON AVENUE 853 SEVENTH AVENUE #3C 8271 MELROSE AVENUE 8TH FLOOR NEW YORK NY 10019 SUITE 200 NEW YORK NY 10022 PHONE: (212) 265-4373 LOS ANGELES CA 90046 PHONE (212) 833-8833 FAX: (212) 247-2948 PHONE (323) 655-0593 FAX (212) 833-8844 FAX: (323) 655-7302 VISIT THE SONY PICTURES CLASSICS INTERNET SITE AT: http:/www.sonyclassics.com Kung Fu Hustle Synopsis Set amid the chaos of pre-revolutionary China, small time thief, Sing, aspires to be one of the sophisticated and ruthless Axe Gang whose underworld activities overshadow the city. Stumbling across a crowded apartment complex aptly known as “Pig Sty Alley ,” Sing attempts to extort money from one of the ordinary locals, but the neighbors are not what they appear. Sing’s comical attempts at intimidation inadvertently attract the Axe Gang into the fray, setting off a chain of events that brings the two disparate worlds face-to-face. As the inhabitants of the Pig Sty fight for their lives, the ensuing clash of kung fu titans unearths some legendary martial arts Masters. Sing, despite his futile attempts, lacks the soul of a killer, and must face his own mortality in order to discover the true nature of the kung fu master.
    [Show full text]
  • This Ebook Is Provided by Plenty Of
    E=mc 2 AThis eBook is provided by www.PlentyofeBooks.net Plenty of eBooks is a blog with an aim of helping∑ people, especially students, who cannot afford to buy some costly books from1 the market. For more Free eBooks and educational material visit www.PlentyofeBooks.net Uploaded By Bhavesh Pamecha (samsexy98) MUAY THAI—THE ART OF 8 LIMBS MUAY TIM—THE ART OF 8 TOOLS PUBLISHER’S DISCLAIMER The material in this book is for informational purposes only. Since each individual situation is unique, you should use proper discretion, in consultation with a health-care practitioner, before undertaking the diet and exercise techniques described in this book. The author and publisher expressly disclaim responsibility for any adverse effects that may result from the use or application of the information contained in this book. NOTICE ON FOOD HANDLING This book is about cooking; it’s not a food processing and handling manual. I strongly encourage you to read and follow the established safe food processing and handling guidelines available through the USDA, FDA, and Department of Health and Human Services, including: foodsafety.gov fsis.usda.gov fda.gov/food/foodsafety NOTICE ON INTERNET RESOURCES My full curriculum is within the covers of this book. For those of you who want to “go beyond” in your research, I have provided links to Internet resources. My team and I have worked to check that these links are accurate and point to resources available when this book was released for publication. But Internet resources change frequently, and other confounding variables beyond my control intervene.
    [Show full text]