DUMPLINGS Panorama Special DUMPLINGS DUMPLINGS DUMPLINGS Regie: Fruit Chan
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Wendy Gan Hong Kong University Press the University of Hong Kong Pokfulam Road Hong Kong
Wendy Gan Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2005 Hong Kong University Press ISBN 978-962-209-743-8 All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Pre-Press Limited in Hong Kong, China Contents Series Preface vii Acknowledgments xi 1 Introduction 1 2 Contexts: Independent Filmmaking and Hong Kong 11 Cinema 3 Contexts: Social Realism in Hong Kong Cinema 25 4 The Representation of the Mainland Chinese Woman 43 in Durian Durian 5 Durian Adrift: The Contiguities of Identity in Durian 59 Durian ● vi CONTENTS 6 The Prostitute Trilogy So Far 81 7 Conclusion 91 Notes 97 Filmography 103 Bibliography 107 ●1 Introduction Durian Durian is not the film one immediately thinks of when the name of Hong Kong film director Fruit Chan is brought up. The stunning success, both locally and internationally, of his low-budget debut as an independent director, Made in Hong Kong, has ensured that Chan’s reputation will always be tied to that film. Yet Durian Durian has much to offer the lover of Hong Kong cinema and the admirer of Fruit Chan’s work. A post-1997 film set both in Hong Kong and mainland China, with mainland Chinese protagonists, the film is a fine example of a Hong Kong tradition of socially sensitive realist films focused on the low-caste outsider, and is the result of a maturing director’s attempt to articulate the new, often still contradictory, realities of ‘one country, two systems’ in action. -
Chapter One Introduction My Attempt in This Thesis Stresses on Fruit
Yang 1 Chapter One Introduction My attempt in this thesis stresses on Fruit Chan’s consistent uses of fecal matters in his films. This scatological gimmick is greatly elaborated in his film Public Toilet, which has thus helped us to pinpoint the significance of fecal matters in his previous works. In line with Jacques Lacan’s split subject and Julia Kristeva’s concept of abjection, my argument centers on the impossibility of a fixed Hong Kong identity and Fruit Chan’s emphasis on creating a new Hong Kong allegory from a more complex and mobile individual experiences. 1.1 Fruit Chan’s New Trilogy on the Subject-in-Process1 Chan is best noted for his “Hong Kong 1997 Trilogy,” Made in Hong Kong, The Longest Summer and Little Cheung. The subjects of the stories shift from the juveniles, middle-aged Chinese soldiers retiring from the British garrison, to the children in Little Cheung. Their responses to Hong Kong’s return to mainland China in 1997 form an overall anxiety among the lower class in Hong Kong society. Problematic identification becomes evident in these Hong Kong episodes. Together they give rise to a unique national allegory through Chan’s independent filmmaking. 1 Julia Kristeva makes a clear explanation of the term “the subject in process” in her article collected in The Tel Quel Reader (133-78). Yang 2 According to Ka-fai Yau, this is how the new cinema interacts with the new geo-historical situations, since the three films all deal with the changing moment of Hong Kong’s handover (545).2 However, this thesis, instead of referring to “Hong Kong 1997 Trilogy,” aims at Fruit Chan’s repetitive application of fecal matters to further create a whole new trilogy related to the formation of the subject, rather than an identity, in the psychoanalytic perspective. -
Yeo, Su-Anne. 2016. Transnational Screens and Asia Pacific Public
Yeo, Su-Anne. 2016. Transnational Screens and Asia Pacific Public Cultures: Vancouver, Toronto, and Hong Kong, 1997-2007. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/18872/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] 1 Transnational Screens and Asia Pacific Public Cultures: Vancouver, Toronto, and Hong Kong, 1997-2007 Su-Anne YEO Thesis submitted to Goldsmiths, University of London for the Degree of Doctor of Philosophy July 2016 2 Declaration I declare that the work presented in this thesis is my own. Name: Su-Anne Yeo Signature: __________________________________ Date: __________________________________ 3 Acknowledgements This thesis would not have been possible with the generosity of several organizations and many individuals both in the UK and overseas. First, I would like to acknowledge the contribution of the many people who agreed to participate in this study by being interviewed or by sharing archival materials. Their assistance has been invaluable. For financial support, I thank the Overseas Research Student Award (ORSAS), the University of London Central Research Fund, and the Daiwa Charitable Foundation of Hong Kong. I am forever indebted to my thesis supervisor, Chris Berry, who taught by example, read closely and critically, and never lost faith in my abilities, especially when I doubted myself. -
Killing Time: the Handover and Its Afterlives
Hong Kong Studies, Vol. 1, No. 1 (Spring 2018), 100–115 Killing Time: The Handover and ,ts Afterlives Copyrighted Material of The Chinese University Press | AllCarlos Rights ReservedRojas Abstract This essay uses an analysis of Fruit Chan’s 2016 film Kill Time to reflect on the legacy of the Handover, and on the significance of its upcoming twentieth—and, later, fiftieth—anniversaries. Although Chan’s film is set in contemporary Beijing, is based on a novel by a Painland Chinese author, and at first glance appears to have little to do with Hong Kong, this essay argues that if we look beyond the film’s surface narrative, we find that the work explores a set of concerns relevant to the Handover and its legacies. Of particular interest is the sense of anticipation and anxiety that the Handover has generated, as well as the sense of potentiality and foreboding contained in the 1984 Sino-British Joint Declaration’s guarantee that Hong Kong would enjoy a post-Handover moratorium of “fifty years without change.” At the same time, [the Handover] also should not become a black hole that we pretend doesn’t exist so that we don’t need to approach it or touch it. Therefore, in 1997 I resolved to write not about its present, but rather about its past while at the same time writing about its future. From a future vantage point I sought to reconstruct the past; and from a past vantage point I sought to project the future. From this deliberate interweaving of past and future, I hope that a present that is more full of possibility might gradually emerge. -
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. -
China on Screen
Chris Berry and Mary Farquhar China on Screen CINEMA AND NATION ~ll!"<i\tl:K!iii'" HONG KONG UNIVERSITY PRESS Hong Kong University Press 14/F Hing Wai Centre 7 Tin Wan Praya Road Aberdeen Hong Kong Copyright© Christopher Berry and Mary Farqhuar 2006 fSBN-rr 978-962-209-806-0 ISBN-ro: 962-209-806-1 This edition published by Hong Kong University Press is available in East and Sollth-East Asia. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, withollt prior written permission from the publisher. Printed and bound in the United St.ates. Cover and title page photo: From Hero (2002 / 2004), directed by Zhang Yimoll, visual effects by Animal Logic © EDKO Film. Used with permission. Special thanks to /et Li, Elite Group Enterprises, and Animal Logic. Contents List of Illustrations vii Acknowledgments ix A Note on Translation and Romanization xiii 1 Introduction: Cinema and the National r 2 Time and the National: History, Historiology, Haunting 17 3 Operatic Modes: Opera Film, Martial Arts, and Cultural Nationalism 47 4 Realist Modes: Melodrama, Modernity, and Home 75 5 How Should a Chinese Woman Look? Woman and Nation w8 6 How Should Chinese Men Act? Ordering the Nation 135 7 Where Do You Draw the Line? Ethnicity in Chinese Cinemas 169 8 The National in the Transnational 195 Chronology 223 Notes 233 European-language Bibliography 265 Chinese-language Bibliography 287 Film List 293 Index 301 List of Illustrations FIGURES 2.1 a-2.1d. -
I the Cartography of Hong Kong Urban Space: Living
The Cartography of Hong Kong Urban Space: Living and Walking in the Cinematic Cityscapes of Fruit Chan and Ann Hui by Huiqi Zhang Critical Asian Humanities Duke University Date:_______________________ Approved: ___________________________ Carlos Rojas, Advisor ___________________________ Eileen Chow ___________________________ Leo Ching Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Critical Asian Humanities in the Graduate School of Duke University 2021 i v ABSTRACT The Cartography of Hong Kong Urban Space: Living and Walking in the Cinematic Cityscapes of Fruit Chan and Ann Hui by Huiqi Zhang Critical Asian Humanities Duke University Date:_______________________ Approved: ___________________________ Carlos Rojas, Advisor ___________________________ Eileen Chow ___________________________ Leo Ching An abstract of a thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Critical Asian Humanities in the Graduate School of Duke University 2021 Copyright by Huiqi Zhang 2021 Abstract Hong Kong has long been ensnared in the problems of limited housing and soaring land prices, which renders its physical space one of the most visible criteria embodying its social inequalities. Regarding space as an overarching concern and framework, this thesis mainly focuses on the representations and portrayals of Hong Kong’s urban space in Fruit Chan and Ann Hui’s films and further examines how the directors engage with social spaces in reality through depicting various -
Made in Hong Kong
FRUIT CHAN’S Made in Hong Kong Esther M. K. Cheung Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2009 Hong Kong University Press ISBN 978-962-209-977-7 All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Pre-Press Ltd. in Hong Kong, China Table of Contents Series Preface ix Acknowledgements xiii 1 Introduction: History beyond the Death Trips 1 2 Authenticity and Independence: Fruit Chan and 21 Independent Filmmaking 3 There Are Many Ways to Be Realistic 39 4 The Art of Détournement 53 5 In Search of the Ghostly in Context 79 6 In Search of the Ghostly in Urban Spaces 101 7 Epilogue: Grassrooting Cinematic Practices 125 ● viii TABLE OF CONTENTS Appendix 1: Interview with Fruit Chan 129 Appendix 2: Funding Sources and Awards 145 Notes 151 Credits 167 Bibliography 171 ●1 Introduction: History beyond the Death Trips The imagination is always at the end of an era. — Frank Kermode1 A typical story of disaffected youth and the morbid trips they take, Made in Hong Kong (1997) narrates the tale of four youngsters coming from the lower sector of Hong Kong society. Moon (Zhongqiu/Chung-chau), Ping (Ping/Ping), Sylvester (Long/Lung), and Susan (Shan/San) are all subject to the cruel realities of life in a big city.2 Like many Hong Kong lower-class inhabitants, they reside in the public housing estates known for their dismal living conditions. -
Still Human Presskit Eng
Short Synopsis A paralyzed and hopeless man meets his new Filipino domestic helper who has put her dreams on hold to come to Hong Kong to earn a living. These two strangers live under the same roof, and they learn to face the different seasons of life. Detailed Synopsis A paralyzed and hopeless divorcé, Cheong-wing (Anthony Wong) is in need of a caretaker. He meets his new live-in Filipino domestic helper, Evelyn (Crisel Consunji), who has put her dream on hold to come to Hong Kong to earn a living. Living under the same roof, these two strangers develop an unlikely relationship. As they get to learn more about each other, they also rediscover themselves - Cheong-wing begins to reconnect with his estranged son; Evelyn reignites her dream of being a photographer. Together, they help each other through ups and downs, twists and turns, love and loss and experience the different sea- sons of life. Just when they think they have lost all hope, little do they know, life still has a lot to offer. Director’s Statement When I was shooting this film, a lot of friends asked me if this story is real or fictional. Even though this is not adapted from any real events, the more I think about it, the more I realize this original story is actually a collage of fragments from reality. When I was young, my mother injured her spine in an accident. She spent decades of her life sitting on a wheelchair, my elder sister had to give up her studies and take up the responsibility to be the care- taker of the family. -
The Midnight After
PANORAMA SPECIAL THE MIDNIGHT AFTER Fruit Chan Eine Nacht wie jede andere in den Straßen von Hongkong. Inmitten Hongkong, China 2014 des Gewusels aus Nachtschwärmern, Autos und fliegenden Händlern 124 Min. · DCP · Farbe besteigen Passagiere einen Minibus, der sie vom Stadtteil Mongkok nach Tai Po bringen soll. Sie stehen für die Diversität der Stadt: Ein Regie Fruit Chan junger Mann auf Drogen trifft auf ein streitendes Pärchen, eine Frau Buch Chan Fai-hung, Kong Ho-yan Kamera Lam Wah-tsuen mit Gebetskette auf eine frisch Verliebte. Hinterm Steuer sitzt der stetig Schnitt TinSupFat , ToTo quasselnde Fahrer. Als der Bus aus einem Tunnel herauskommt, wird Musik Ellen Loo, Veronica Lee es plötzlich still: Straßen und Gebäude sind leer, die Menschen schei- Sound Design Ricky Yip nen wie vom Erdboden verschluckt zu sein. Nur Millionen Neonlichter Ton Benny Chu Geboren 1959 in Guangzhou, China. 1973 blinken, als ob nichts wäre. Die ungleichen Fahrgäste suchen in einem Production Design Andrew Wong Umzug nach Hongkong. Nach der Highschool verlassenen Café Zuflucht und beraten, was zu tun ist. Sie machen eine Kostüm Phoebe Wong arbeitete er in einem Filmkulturzentrum. schreckliche Entdeckung … Nach seinem Film DUMPLINGS, der 2005 Maske Heidi Chun In den Achtzigerjahren Jobs bei im Panorama der Berlinale Premiere feierte, stellt der Independent- Regieassistenz Chan Wai-keung, Nikki Lau Filmproduktionen. 1991 Regiedebüt mit Produktionsleitung Eddie Wong FINALE IN BLOOD, der erst 1993 veröffentlicht Regisseur Fruit Chan mit THE MIDNIGHT AFTER, einer Verfilmung des Bestsellers „Lost on a Minibus from Mongkok to Taipo“ erneut das Hor- Produzentin Amy Chin wurde. Sein nächster Film, LONELY HEART Associate Producer Alex Dong rorgenre auf den Kopf. -
Where in the World Is Andy Lau? Putting the Popular
WHERE IN THE WORLD IS ANDY LAU? PUTTING THE POPULAR BACK INTO STUDIES OF HONG KONG POPULAR ENTERTAINMENT Joyleen Johanna Christensen BEc, BA (Hons 1), GDPTT, GDipArts A thesis submitted in fulfilment of the requirements of the degree of PhD (Film, Media & Cultural Studies) June 2013 University of Newcastle, Australia STATEMENT OF ORIGINALITY The thesis contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to the final version of my thesis being made available worldwide when deposited in the University’s Digital Repository**, subject to the provisions of the Copyright Act 1968. **Unless an Embargo has been approved for a determined period. 2 ACKNOWLEDGEMENTS I wish to begin by thanking Dr Hamish Ford and Associate Professor David Boyd for their time, patience, and sage advice. I have little doubt that I would still be struggling with this research if you both had not agreed to come on board as my supervisors when you did and I will be forever indebted to your significant contributions to this work. In addition to his input into this thesis, I will be eternally grateful to Associate Professor Boyd for introducing me to Film Studies and providing me with the opportunity to embark on a career that I love. I would also like to acknowledge what an exceptional source of inspiration and support Dr Ford has been since he took over the primary supervision of this thesis in 2010. -
Fracturing, Fixing and Healing Bodies in the Films of Fruit Chan
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. Fracturing, fixing and healing bodies in the films of Fruit Chan Liew, Kai Khiun 2008 Liew, K. K. (2008). Fracturing, Fixing and Healing Bodies in the films of Fruit Chan. New Cinemas: Journal of Contemporary Film, 6(3), 209‑225. https://hdl.handle.net/10356/90709 https://doi.org/10.1386/ncin.6.3.209_1 © 2008 Intellect. This is the author created version of a work that has been peer reviewed and accepted for publication by New Cinema: Journal of Contemporary Film, Intellect. It incorporates referee’s comments but changes resulting from the publishing process, such as copyediting, structural formatting, may not be reflected in this document. The published version is available at: http://dx.doi.org/10.1386/ncin.6.3.209_1. Downloaded on 28 Sep 2021 09:04:56 SGT Fracturing, fixing and healing bodies in the films of Fruit Chan Liew Kai Khiun Asia Research Institute, National University of Singapore Abstract This article explores the treatment of the issues of disability and healing in the films of Hong Kong’s independent filmmaker, Fruit Chan, between the years 1997 and 2004. These films include: Made in Hong Kong, Little Cheung, Longest Summer, Hollywood Hong-Kong, Durian Durian, Public Toilet and Dumplings. Distinguished by his efforts to forefront subaltern subjects in the city, Chan’s films highlight the complexities of the relationship between social marginality and disability, as well as the medical market and healing cultures. By contrasting diverse forms of healing in his highly hybridized and transnational vernacular medical marketplace, Chan’s films are instrumental in displaying the underlying tensions of bio-politics on screen.