Let the Bullets Fly Shaolin the Stool Pigeon Triple
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Sungkyun Journal of East Asian Studies
Sungkyun Journal of East Asian Studies On the Rooftop: A Study of Marginalized Youth Films in Hong Kong Cinema Xuelin ZHOU University of Auckland Sungkyun Journal of East Asian Studies. Vol. 8, No. 2 ⓒ 2008 Academy of East Asia Studies. pp.163-177 You may use content in the SJEAS back issues only for your personal, non-commercial use. Contents of each article do not represent opinions of SJEAS. Sungkyun Journal of East Asian Studies. Vol.8, No.2. � 2008 Academy of East Asian Studies. pp.163-177 On the Rooftop: A Study of Marginalized Youth Films in Hong Kong Cinema1 Xuelin ZHOU University of Auckland ABSTRACT Researchers of contemporary Hong Kong cinema have tended to concentrate on the monumental, metropolitan and/or historical works of such esteemed directors as Wong Kar-Wai, John Woo and Tsui Hark. This paper focuses instead on a number of low-budget films that circulated below the radar of Chinese as well as Western film scholars but were important to local young viewers, i.e. a cluster of films that feature deviant and marginalized youth as protagonists. They are very interesting as evidence of perceived social problems in contemporary Hong Kong. The paper aims to outline some main features of these marginalized youth films produced since the mid-1990s. Keywords: Hong Kong, cinema, youth culture, youth film, marginalized youth On the Rooftop A scene set on the rooftop of a skyscraper in central Hong Kong appears in New Police Story(2004), or Xin jingcha gushi, by the Hong Kong director Benny Chan, an action drama that features an aged local police officer struggling to fight a group of trouble-making, tech-savvy teenagers.2 The young people are using the rooftop for an “X-party,” an occasion for showing off their skills of skateboarding and cycling, by doing daredevil stunts along the edge of the building. -
Chinese Film Industry Visit to Uk 2015
CHINESE FILM INDUSTRY VISIT TO UK 2015 ALIBABA PICTURES WEI ZHANG Ms. Wei Zhang is President of Alibaba Pictures and Senior Vice President of Alibaba Group. She joined Alibaba Group in 2008 to lead the Group’s investment and acquisition activities. She has also worked in the Group’s strategy department and led Alibaba corporate social responsibility efforts. Currently she is in charge of Alibaba Pictures’ international business and investment and acquisition activities. From 2005 to 2008, Ms. Zhang was the Chief Operating Officer of News Corporation STAR China, responsible for managing China operations, revenue, new media, and business development. From 2002 to 2005, Ms. Zhang was Managing Director of CNBC China, a division of General Electric Company, overseeing CNBC’s operations in China. She worked at News Corporation China from 2000 to 2002 in the role of Director of Business Development. Prior to that, Ms. Zhang was a Strategic Consultant at Bain & Company, and a Finance Specialistat General Electric Company and GE Capital. Company Profile Alibaba Pictures Group’s mission is to create happiness. Alibaba Pictures’ core businesses have been categorized into four main segments: film and television production centred on IP (intellectual property); internet-based promotion and distribution combining internet technologies and traditional off-line distribution; the building and operation of e-commerce platforms for entertainment as an extension of the Alibaba Group ecosystem and international operations that consolidate global resources, technologies and talents in order to participate in the global entertainment industry. www.alibabagroup.com BONA FILM GROUP LIMITED JEFFREY CHAN Jeffrey is currently the COO and a board member of Bona Film Group (NASDAQ: BONA). -
Warriors As the Feminised Other
Warriors as the Feminised Other The study of male heroes in Chinese action cinema from 2000 to 2009 A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Chinese Studies at the University of Canterbury by Yunxiang Chen University of Canterbury 2011 i Abstract ―Flowery boys‖ (花样少年) – when this phrase is applied to attractive young men it is now often considered as a compliment. This research sets out to study the feminisation phenomena in the representation of warriors in Chinese language films from Hong Kong, Taiwan and Mainland China made in the first decade of the new millennium (2000-2009), as these three regions are now often packaged together as a pan-unity of the Chinese cultural realm. The foci of this study are on the investigations of the warriors as the feminised Other from two aspects: their bodies as spectacles and the manifestation of feminine characteristics in the male warriors. This study aims to detect what lies underneath the beautiful masquerade of the warriors as the Other through comprehensive analyses of the representations of feminised warriors and comparison with their female counterparts. It aims to test the hypothesis that gender identities are inventory categories transformed by and with changing historical context. Simultaneously, it is a project to study how Chinese traditional values and postmodern metrosexual culture interacted to formulate Chinese contemporary masculinity. It is also a project to search for a cultural nationalism presented in these films with the examination of gender politics hidden in these feminisation phenomena. With Laura Mulvey‘s theory of the gaze as a starting point, this research reconsiders the power relationship between the viewing subject and the spectacle to study the possibility of multiple gaze as well as the power of spectacle. -
Donnie Yen's Kung Fu Persona in Hypermedia
Studies in Media and Communication Vol. 4, No. 2; December 2016 ISSN 2325-8071 E-ISSN 2325-808X Published by Redfame Publishing URL: http://smc.redfame.com Remediating the Star Body: Donnie Yen’s Kung Fu Persona in Hypermedia Dorothy Wai-sim Lau1 113/F, Hong Kong Baptist University Shek Mun Campus, 8 On Muk Street, Shek Mun, Shatin, Hong Kong Correspondence: Dorothy Wai-sim Lau, 13/F, Hong Kong Baptist University Shek Mun Campus, 8 On Muk Street, Shek Mun, Shatin, Hong Kong. Received: September 18, 2016 Accepted: October 7, 2016 Online Published: October 24, 2016 doi:10.11114/smc.v4i2.1943 URL: http://dx.doi.org/10.11114/smc.v4i2.1943 Abstract Latest decades have witnessed the proliferation of digital media in Hong Kong action-based genre films, elevating the graphical display of screen action to new levels. While digital effects are tools to assist the action performance of non-kung fu actors, Dragon Tiger Gate (2006), a comic-turned movie, becomes a case-in-point that it applies digitality to Yen, a celebrated kung fu star who is famed by his genuine martial dexterity. In the framework of remediation, this essay will explore how the digital media intervene of the star construction of Donnie Yen. As Dragon Tiger Gate reveals, technological effects work to refashion and repurpose Yen’s persona by combining digital effects and the kung fu body. While the narrative of pain and injury reveals the attempt of visual immediacy, the hybridized bodily representation evokes awareness more to the act of representing kung fu than to the kung fu itself. -
7015 B Program P.Indd
From the Queen to the Chief Executive: May 4–6 Hong Kong Films 2007 10 Years After the Handover 香港電影縱橫﹕ 展與談 1 I am absolutely thrilled to welcome you to our fi rst Hong Kong fi lm Schedule at a glance festival, From the Queen to the Chief Executive: Hong Kong Films Ten Years After the Handover. This important event fi rst and foremost celebrates the friday, may 4 2:30 pm–4:15 pm achievements of Hong Kong fi lm and its impact on a new and ever- Banana Bruises; Royal Ontario Museum changing global culture. From the Queen to the Chief Executive also provides Dumplings Theatre, 100 Queen’s Park a forum to contemplate developments on Hong Kong since its historic 4:15 pm–5:15 pm 6:15 pm–7:15 pm return to China in 1997. Film is a lens through which to understand the Horror Panel VIP Reception dynamics of a changing society and the world around it. Film provides 5:15 pm–6:30 pm Royal Ontario Museum – an important platform, a medium, for telling peoples’ stories. In this Dinner Break Glass Room on the respect, fi lm is both critical and celebratory, it challenges and re- 4th Floor 6:30 pm–8:35 pm affi rms. Its impact is political, social, economic, cultural and often Venues 7:00 pm Eastbound; Welcome leaves legacies of historical import. Doors Open Lost in Time to the First 7:30 pm–7:40 pm 8:35 pm–9:00 pm The Asian Institute is an inter-disciplinary home to scholars working iiX iiX iiX iiX Break Waddg Waddg Welcoming Remarks University on Asia, comprising leading scholars in the humanities and social VkZcjZgY YZdch]^gZea 7:40 pm–9:30 pm 9:00 pm–11:00 pm sciences. -
Distribution Agreement in Presenting This
Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: _____________________________ ______________ Tianyi Yao Date Crime and History Intersect: Films of Murder in Contemporary Chinese Wenyi Cinema By Tianyi Yao Master of Arts Film and Media Studies _________________________________________ Matthew Bernstein Advisor _________________________________________ Tanine Allison Committee Member _________________________________________ Timothy Holland Committee Member _________________________________________ Michele Schreiber Committee Member Accepted: _________________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date Crime and History Intersect: Films of Murder in Contemporary Chinese Wenyi Cinema By Tianyi Yao B.A., Trinity College, 2015 Advisor: Matthew Bernstein, M.F.A., Ph.D. An abstract of -
The Birth of East Asia Cultural Regionalization Through Co-Production Strategies
Dal Yong Jin & Dong-Hoo Lee The Birth of East Asia Cultural Regionalization through Co-Production Strategies Introduction East Asian cultural producers have rapidly which we have that others have not.”4 As in many increased co-productions over the past several countries, television particularly remains primarily years. The Japanese, Chinese, Taiwanese, and a national phenomenon in East Asia, and the Korean cultural industries have produced cross- domestic state plays a significant role in shaping cultural outputs, including films, television national television systems.5 dramas, and music. Local cultural industries Producers in the region, however, have and producers in East Asia have begun pooling increasingly turned to international co- financial and cultural resources, which is a useful productions since the late 1990s, because the Pan- means to compete with cultural products from Asian co-production mode takes advantage of the other regions, particularly those from Hollywood, joint consumption cost structure. It entails jointly and have produced a few cross-cultural hits since developing and producing film and television the late 1990s.1 programs with attributes which make them Unlike in many other parts of the world, co- accessible to audiences in more than one national production strategies in East Asia are relatively market.6 Filmmakers and television networks, new phenomena. Until a few years ago, East Asia including independent producers, are now rapidly was viewed as a jumble of provincial cultural reaching beyond their local and national audiences markets. Cultural works in Japan, China, Korea, to attract regional and global viewers. Hong Kong, and Taiwan were made largely for This article examines the recent trends of domestic markets. -
DVD Drop: Happy Jessica Chastain Day! - 2
DVD Drop: Happy Jessica Chastain day! - 2 - http://entertainment.ca.msn.com/movies/features/dvd-drop-happy-jessica-... All MSN Hotmail Messenger MSN Home Make MSN your Homepage Français Page Options Sign In ENTERTAINMENT By Norman Wilner, December 5, 2011 DVD Drop: Happy Jessica Chastain day! Share Tweet 0 Like ARRIVING THIS WEEK Cowboys & Aliens: Jon Favreau's bloated sci-fi Western does indeed pit a bunch of cowboys -- led by enigmatic gunslinger Daniel Craig and cranky rancher Harrison Ford -- against a horde of froglike space invaders. What they can't defeat is the vapid script, which takes the slimmest of premises and turns it into a two-hour slog through action clichés. (The extended version adds 16 minutes, which do not help in the slightest.) The Hangover Part II: The Wolf Pack returns for a sequel that meticulously re-stages the events of the 2009 blockbuster -- but this time in Bangkok, with a monkey. Some critics were dismissive, but I kinda admire the stones on Bradley Cooper, Ed Helms, Zach Galifianakis and director Todd Phillips for subtly tweaking the expectations of the audience... and making it work. Life, Above All: A 12-year-old girl ( Khomotso Manyaka ) watches as her South African village is devastated by AIDS in the mid-1990s in Olivier Schmitz's adaptation of Canadian Bradley Cooper, Ed Helms and Zach Galifianakis in "The Hangover Part II" (Warner Bros.) author Allan Stratton's 2004 novel "Chanda's Secrets," which has clearly been made with the best of intentions but winds up the victim of its director's melodramatic inclinations. -
The Latest in Elective Surgery Will Relieve You of That Nagging Soul
16 發光的城市 A R O U N D T O W N FRIDAY, AUGUST 20, 2010 • TAIPEI TIMES FILM REVIEW ATCHPLAY C OF COURTESY PHOTO The latest in elective surgery will relieve you of that nagging soul Paul Giamatti plays Paul Giamatti in a film that should appeal to fans of Charlie Kaufman’s work BY MANOHLA DARGIS NY TIMES NEWS SERVICE, NEW YORK anyone looks as if he might be in the rehearsal. Uncle Vanya is, among other things, and bent head droop even further. And then chickpea-size) conclusion. And so, early on, possession of a troubled soul, it’s the about disappointed lives and thwarted desires he does something that every artist should be she introduces Paul’s narrative counterpart, If actor Paul Giamatti. With his doubting and the continuing performances we call our wary of: He listens to his agent. Nina (Dina Korzun), a beautiful melancholic eyes and gently defeated posture, he tends lives. In many respects the same holds true The agent points toward a possible who smuggles black-market Russian souls into to come across as a man carrying a burden, for Cold Souls, an ambitious, elegantly shot, solution to Paul’s woes: Soul Storage, a the US. Like Paul, Nina is a performer (she though one not necessarily or wholly of his tonally cool first feature written and directed COLD SOULS company that extracts and stores souls, and passes through immigration using counterfeit making. You can almost see the distress resting by Sophie Barthes that shows hints of Stanley on the conveniently close Roosevelt Island, fingerprints) and overburdened with soul, in heavy and hard on his sloped shoulders, Kubrick and Charlie Kaufman both. -
List of Action Films of the 2010S - Wikipedia, the Free Encyclopedia
List of action films of the 2010s - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/List_of_action_films_of_the_2010s List of action films of the 2010s From Wikipedia, the free encyclopedia This is an incomplete list, which may never be able to satisfy particular standards for completeness. You can help by expanding it (//en.wikipedia.org /w/index.php?title=List_of_action_films_of_the_2010s&action=edit) with reliably sourced entries. This is chronological list of action films originally released in the 2010s. Often there may be considerable overlap particularly between action and other genres (including, horror, comedy, and science fiction films); the list should attempt to document films which are more closely related to action, even if it bends genres. Title Director Cast Country Sub-Genre/Notes 2010 13 Assassins Takashi Miike Koji Yakusho, Takayuki Yamada, Yusuke Iseya Martial Arts[1] 14 Blades Daniel Lee Donnie Yen, Vicky Zhao, Wu Chun Martial Arts[2] The A-Team Joe Carnahan Liam Neeson, Bradley Cooper, Quinton Jackson [3] Alien vs Ninja Seiji Chiba Masanori Mimoto, Mika Hijii, Shuji Kashiwabara [4][5] Bad Blood Dennis Law Simon Yam, Bernice Liu, Andy On [6] Sorapong Chatree, Supaksorn Chaimongkol, Kiattisak Bangkok Knockout Panna Rittikrai, Morakot Kaewthanee [7] Udomnak Blades of Blood Lee Joon-ik Cha Seung-won, Hwang Jung-min, Baek Sung-hyun [8] The Book of Eli Albert Hughes, Allen Hughes Denzel Washington, Gary Oldman, Mila Kunis [9] The Bounty Hunter Andy Tennant Jennifer Aniston, Gerard Butler, Giovanni Perez Action comedy[10] The Butcher, the Chef and the Wuershan Masanobu Ando, Kitty Zhang, You Benchang [11] Swordsman Centurion Neil Marshall Michael Fassbender, Olga Kurylenko, Dominic West [12] City Under Siege Benny Chan [13] The Crazies Breck Eisner Timothy Olyphant, Radha Mitchell, Danielle Panabaker Action thriller[14] Date Night Shawn Levy Steve Carell, Tina Fey, Mark Wahlberg Action comedy[15] The Expendables Sylvester Stallone Sylvester Stallone, Jason Statham, Jet Li [16] Faster George Tillman, Jr. -
Martial Arts Cinema and Hong Kong Modernity
Martial Arts Cinema and Hong Kong Modernity Aesthetics, Representation, Circulation Man-Fung Yip Hong Kong University Press Th e University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2017 Hong Kong University Press ISBN 978-988-8390-71-7 (Hardback) All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any infor- mation storage or retrieval system, without prior permission in writing from the publisher. An earlier version of Chapter 2 “In the Realm of the Senses” was published as “In the Realm of the Senses: Sensory Realism, Speed, and Hong Kong Martial Arts Cinema,” Cinema Journal 53 (4): 76–97. Copyright © 2014 by the University of Texas Press. All rights reserved. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Paramount Printing Co., Ltd. in Hong Kong, China Contents Acknowledgments viii Notes on Transliteration x Introduction: Martial Arts Cinema and Hong Kong Modernity 1 1. Body Semiotics 24 2. In the Realm of the Senses 56 3. Myth and Masculinity 85 4. Th e Diffi culty of Diff erence 115 5. Marginal Cinema, Minor Transnationalism 145 Epilogue 186 Filmography 197 Bibliography 203 Index 215 Introduction Martial Arts Cinema and Hong Kong Modernity Made at a time when confi dence was dwindling in Hong Kong due to a battered economy and in the aft ermath of the SARS epidemic outbreak,1 Kung Fu Hustle (Gongfu, 2004), the highly acclaimed action comedy by Stephen Chow, can be seen as an attempt to revitalize the positive energy and tenacious resolve—what is commonly referred to as the “Hong Kong spirit” (Xianggang jingshen)—that has allegedly pro- pelled the city’s amazing socioeconomic growth. -
Martial Arts, Acting and Kung Fu Hero in Change
EnterText 6.1 SABRINA YU Can a Wuxia Star Act? Martial Arts, Acting, and Critical Responses to Jet Li’s Once Upon A Time In China Introduction It has been commonplace in western critical discourse to state that action stars can’t act. This seems particularly true when it comes to trans-bordering Chinese action stars like Jet Li. Criticism of his acting skills in his English-language films can be easily picked up from the press: Without the fight scenes, though, this film (Romeo Must Die) would be a bust… ‘Jet is our special effect,’ says Silver, summing up his star’s appeal neatly.1 Li’s martial arts skills are as brilliant as his acting skills aren’t.2 The action is fun and ultra-violent, the story is satisfactorily ridiculous and the acting is non-existent.3 “Good martial artist with limited acting ability” seems to represent a popular view of Chinese martial arts stars and indeed this is how they are often used in Hollywood films. Nevertheless, such a view also reveals a deep-rooted bias, i.e. the martial arts star is someone who knows less about acting than s/he does about fighting. On the other hand, it reflects a dominant idea about film performance, by privileging facial Sabrina Yu: Can a Wuxia Star Act? 134 EnterText 6.1 expression/psychology over body movement/physicality. Can’t a martial arts star act? Are fighting and acting always two split, conflicting elements within a Chinese wuxia star’s performance? In this paper, I would like to re-examine this stereotypical western critical consensus in the light of the contrasting Hong Kong critical response to Jet Li’s Chinese work Once Upon A Time In China (Tsui Hark, Hong Kong, 1991) (OUATIC hereinafter).