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Newsletter 63 More English Translation
Hong Kong Film Archive e-Newsletter 63 More English translation Publisher: Hong Kong Film Archive © 2013 Hong Kong Film Archive All rights reserved. No part of the content of this document may be reproduced, distributed or exhibited in any form or by any electronic, mechanical, or other means, now known or hereafter invented, or in any information storage or retrieval system, without permission in writing from the publisher. Research Golden Harvest and the Generational Change in 1970s Hong Kong Cinema Po Fung The 1970s were a period of pivotal transitions in Hong Kong cinema. It was also the era of Golden Harvest, from its birth to becoming the main pillar of the film industry. In changing times, Golden Harvest had the flexibility to move with the times, but on the other hand its success came from it spearheading much of the change. Looking at the changes in the company itself, one can see some of significant movements in Hong Kong cinema back then. A New Crop of Homegrown Directors Founded in 1970, Golden Harvest released its debut production The Invincible Eight in 1971. Before The Big Boss hit the screens on 31 October, 1971, Golden Harvest’s productions and distributions include Lo Wei’s The Invincible Eight; Zatoichi and the One-Armed Swordsman, co-directed by Hsu Tseng-hung and Yasuda Kimiyoshi; Hsu Tseng-hung’s The Last Duel, Yip Wing-cho’s The Blade Spares None; Huang Feng’s The Angry River and The Fast Sword; Lo Wei’s The Comet Strikes; Wong Tin-lam’s The Chase; Hsu Tseng-hung’s The Invincible Sword and Law Chi’s Thunderbolt.1 On genre, these were all martial arts, or wuxia films from the ‘new wuxia era’ trend driven by the Shaw Brothers. -
Va.Orgjackie's MOVIES
Va.orgJACKIE'S MOVIES Jackie starred in his first movie at the age of eight and has been making movies ever since. Here's a list of Jackie's films: These are the films Jackie made as a child: ·Big and Little Wong Tin-Bar (1962) · The Lover Eternal (1963) · The Story of Qui Xiang Lin (1964) · Come Drink with Me (1966) · A Touch of Zen (1968) These are films where Jackie was a stuntman only: Fist of Fury (1971) Enter the Dragon (1973) The Himalayan (1975) Fantasy Mission Force (1982) Here is the complete list of all the rest of Jackie's movies: ·The Little Tiger of Canton (1971, also: Master with Cracked Fingers) · CAST : Jackie Chan (aka Chen Yuen Lung), Juan Hsao Ten, Shih Tien, Han Kyo Tsi · DIRECTOR : Chin Hsin · STUNT COORDINATOR : Chan Yuen Long, Se Fu Tsai · PRODUCER : Li Long Koon · The Heroine (1971, also: Kung Fu Girl) · CAST : Jackie Chan (aka Chen Yuen Lung), Cheng Pei-pei, James Tien, Jo Shishido · DIRECTOR : Lo Wei · STUNT COORDINATOR : Jackie Chan · Not Scared to Die (1973, also: Eagle's Shadow Fist) · CAST : Wang Qing, Lin Xiu, Jackie Chan (aka Chen Yuen Lung) · DIRECTOR : Zhu Wu · PRODUCER : Hoi Ling · WRITER : Su Lan · STUNT COORDINATOR : Jackie Chan · All in the Family (1975) · CAST : Linda Chu, Dean Shek, Samo Hung, Jackie Chan · DIRECTOR : Chan Mu · PRODUCER : Raymond Chow · WRITER : Ken Suma · Hand of Death (1976, also: Countdown in Kung Fu) · CAST : Dorian Tan, James Tien, Jackie Chan · DIRECTOR : John Woo · WRITER : John Woo · STUNT COORDINATOR : Samo Hung · New Fist of Fury (1976) · CAST : Jackie Chan, Nora Miao, Lo Wei, Han Ying Chieh, Chen King, Chan Sing · DIRECTOR : Lo Wei · STUNT COORDINATOR : Han Ying Chieh · Shaolin Wooden Men (1976) · CAST : Jackie Chan, Kam Kan, Simon Yuen, Lung Chung-erh · DIRECTOR : Lo Wei · WRITER : Chen Chi-hwa · STUNT COORDINATOR : Li Ming-wen, Jackie Chan · Killer Meteors (1977, also: Jackie Chan vs. -
A Different Brilliance—The D & B Story
1. Yes, Madam (1985): Michelle Yeoh 2. Love Unto Wastes (1986): (left) Elaine Jin; (right) Tony Leung Chiu-wai 3. An Autumn’s Tale (1987): (left) Chow Yun-fat; (right) Cherie Chung 4. Where’s Officer Tuba? (1986): Sammo Hung 5. Hong Kong 1941 (1984): (from left) Alex Man, Cecilia Yip, Chow Yun-fat 6. It’s a Mad, Mad, Mad World (1987): (front row from left) Loletta Lee, Elsie Chan, Pauline Kwan, Lydia Sum, Bill Tung; (back row) John Chiang 7. The Return of Pom Pom (1984): (left) John Sham; (right) Richard Ng 8. Heart to Hearts (1988): (from left) Dodo Cheng, George Lam, Vivian Chow Pic. 1-8 © 2010 Fortune Star Media Limited All Rights Reserved Contents 4 Foreword Kwok Ching-ling, Wong Ha-pak 〈Chapter I〉 Production • Cinema Circuits 10 D & B’s Development: From Production Company to Theatrical Distribution Po Fung Circuit 19 Retrospective on the Big Three: Dickson Poon and the Rise-and-Fall Story of the Wong Ha-pak D & B Cinema Circuit 29 An Unconventional Filmmaker—John Sham Eric Tsang Siu-wang 36 My Days at D & B Shu Kei In-Depth Portraits 46 John Sham Diversification Strategies of a Resolute Producer 54 Stephen Shin Targeting the Middle-Class Audience Demographic 61 Linda Kuk An Administrative Producer Who Embodies Both Strength and Gentleness 67 Norman Chan A Production Controller Who Changes the Game 73 Terence Chang Bringing Hong Kong Films to the International Stage 78 Otto Leong Cinema Circuit Management: Flexibility Is the Way to Go 〈Chapter II〉 Creative Minds 86 D & B: The Creative Trajectory of a Trailblazer Thomas Shin 92 From -
April 2019 Praying for What?
CHINAINSIGHT Fostering business and cultural harmony between China and the U.S. VOL. 18 NO. 4 April 2019 Praying for what? News, p. 3 History, p. 6 Science & Technology, p. 13 Love, happiness and financial stability? May be true for most of us but how about for this mother- daughter duo? Who are they? What are they up to and what else is going on in the Twin Cities April 4-20? (Page 15) Community XinXing Academy students meet Chinese athletes By Lin Niu, XinXing Academy, contributor On March 12, a group of Chinese They demonstrated their sports to the sisters). And they would like the athletes Olympic and National athletes from the students. The also shared their culture to visit again! ♦ China Champions Program in University of and stories with our students, and played Minnesota visited XinXing Academy. The fun games such as “athletic salad,” “kung Arts & Culture, p. 16 champions were Xia Liu (weightlifting), fu master,” and “greetings” with students Shijin Wang and Shiqi Xu (boxing), and from different grade levels, ranging from Chen Zhang (volleyball). kindergarten through fourth grade. The four athletes are on a one-year Min- XinXing students loved the visit and In This Issue nesota cultural exchange at the University visitors, whom they called “da jie,” (big of Minnesota School of Kinesiology. The purpose of visiting XinXing was to for Arts & Culture 8-9, 16 them to get a taste of American education Books 10-11 and sports. Community 12 Business & Economy 14 Entertainment 15 Events 15-16 Government & Politics 13 History 4 - 6 Language 7 News 3 Pronouncements 2 Science & Technology 13 Games with first-graders Lunch with second-graders Fond farewells PAGE 2 / April 2019 pronouncements www.chinainsight.info Publisher’s Pronouncements ferings. -
Networking for Strength and Survival Anne S
The Gees of Houston: Networking for Strength and Survival Anne S. Chao, Chris Chan Abstract: The Gee clan of Houston is the largest and most prominent network of Chinese Americans in Houston. Linked together by a commonly shared last name, Gee (朱), and not always by blood, it is remarkable in that its members actively work to keep the ties strong, especially the younger generation, whose cultural reference is thoroughly American. This article examines how the Gees parlayed the traditional Chinese affinity for associations based on the same surname or place of origin into a hybrid model adapted for maximum efficacy in the new world. Led by a small group of generous and resourceful elders who put down roots in the Bayou city, the Gees rose from humble beginnings, endured the Jim Crow restrictions on non-whites, and attained great social, financial, and political heights. A brief discussion on the migration and assimilation patterns of overseas Chinese offers a conceptual framework with which to understand the settlement process of this remarkable group of individuals. The following stories are derived from interviews in HAAA, and form the basis of a planned in-depth study of the Gee clan. I. Introduction Scholars of Chinese migration have referenced classical theories of international migration and created their own syncretic framework to conceptualize the movement of people outward from China. The narrative of classic migration theories begins with E. G. Ravenstein’s seminal “Laws of Migration,” first created to study British migration in 1885. His laws were applied to international migration four years later and inspired the use of neo-classical economic models to explain rural-urban migration.1 In 1966, Everett S. -
Richard NG Yiu-Hon 吳耀漢(B
Richard NG Yiu-hon 吳耀漢(b. 1939.12.17) Actor A native of Huiyang, Guangdong. Born and raised in Hong Kong. Ng attended secondary school in the UK, studied theatre afterwards and appeared in British television soaps and films. In 1970, he moved back to Hong Kong to run his own business, but also acted on television. A born comedian, he first made guest appearances in Michael Hui’s comedy show The Hui Brothers Show (1971-72) before hosting It’s Not So Simple (1976). His performance impressed the then-famous comic actor Michael Hui and thus was invited to act in Hui’s film, The Private Eyes (1976), playing a policeman. Ng founded Advance Films Ltd. in 1975 and performed in his own production The Yellow Panther (1977), which achieved considerable success in the box office. Following this he co-starred with Ricky Hui in Golden Harvest’s The Pilferers’ Progress (1977), directed by John Woo, which became the highest grosser of the year scoring over HK$5 million. He successfully established his iconic comedic image with his signature lantern-jaw face and funny acting. In the same year, he starred again in his own production, Winner Takes All, which ranked second in the box-office charts. Ng emerged as the best comedian after Michael Hui. Ng went on to star in Golden Harvest’s Itchy Fingers (1979), Murder Most Foul! (1979; self-directed) and Super Fool! (1981). In 1982, he co-starred with Dean Shek in the Cinema City production It Takes Two, which was again a high grosser at the box office taking in over HK$16 million. -
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. -
Pers Dossier
Overzicht 2017 Edito ................................................................................................................................... 4 BIFFF Fun Facts ................................................................................................................... 5 Programma ........................................................................................................................ 6 BIF Market .......................................................................................................................... 7 ArtBIFFF Expo ..................................................................................................................... 8 2de Internationale Kunstcompetitie ................................................................................... 9 Pimp My chair .................................................................................................................. 10 34ste Gezichtsmaquillagewedstrijd ................................................................................... 11 Gaming Madness day ....................................................................................................... 12 Pellicule uit de Poesta ...................................................................................................... 13 Tromarathon .................................................................................................................... 14 Panorama ........................................................................................................................ -
Ji Sor (1997): Self-Realization of Women in Cinema and in History Tong (Hilary) Lin Claremont Mckenna College
Claremont Colleges Scholarship @ Claremont CMC Senior Theses CMC Student Scholarship 2017 Ji Sor (1997): Self-Realization of Women in Cinema and in History Tong (Hilary) Lin Claremont McKenna College Recommended Citation Lin, Tong (Hilary), "Ji Sor (1997): Self-Realization of Women in Cinema and in History" (2017). CMC Senior Theses. 1671. http://scholarship.claremont.edu/cmc_theses/1671 This Open Access Senior Thesis is brought to you by Scholarship@Claremont. It has been accepted for inclusion in this collection by an authorized administrator. For more information, please contact [email protected]. Claremont McKenna College Ji Sor (1997): Self-Realization of Women in Cinema and in History submitted to Professor James Morrison by Tong (Hilary) Lin for Senior Thesis Spring 2017 April 24, 2017 2 3 Table of Contents Notes on Transliteration…………………………………………………………………4 Introduction………………………………………………………………………………5 Zishu and Zishunu……………………………………………………………………...10 The Patriarchal Family Structure and Marriage Customs………………………..10 Social Value of Women Under Rapid Social and Economic Change…………...12 Customs and Rituals of Zishu……………………………………………………16 Ji Sor (1997)……………………………………………………………………………..20 Sexual Identities Politics in Hong Kong Cinema……………………………………..29 1990s: A New Era for Hong Kong………………………………………………29 The Landscape of Gender Identities in Hong Kong Cinema…………………….32 Ji Sor: A Real Woman’s Movie………………………………………………….36 Conclusion………………………………………………………………………………41 Glossary…………………………………………………………………………………43 Bibliography…………………………………………………………………………….51 4 Notes on Transliteration Officially translated as Intimates, the name of the movie Ji Sor is pronounced as “Zi Shu” in Mandarin and “Ji Sor” in Cantonese. Throughout this thesis, I choose to keep its name as “Ji Sor,” which is how it is pronounced at where it was produced. For the purpose of distinguishing between the historical phenomena and the film itself, “Zishu” is used to refer to the historical phenomenon while “Ji Sor” only refers to the film. -
28. Internationales Forum 54 Des Jungen Films Berlin 1998 JSS
28. internationales forum 54 des jungen films berlin 1998 JSS ONCE UPON A TIME IN CHINA & AMERICA Synopsis Hwang Fei-hung, Aunt Yee (known as 13 - Yee actually Wong Fei-hung's Lion in the West (Literal) means Aunt in Chinese) and Club Foot (known as 7) make Wong Fei Hung Chi Sai Wik Hung Sze (Kantonesisch) their journey to the Old West of the 1800's where one of Huang Feihong Zhi Xiyu Xiongshi (Mandarin) Hwang's relatives (Ng) has opened a Po Chi Lam (medi• cal practice) of his own. Cowboys and Indians enter the Land: Hong Kong 1997. Produktion: Win's Entertainment Ltd. picture, and when Hwang's stage coach rolls over send• Regie: Sammo Hung. Buch: Sze Mei-yee, Sharon Hui, Szeto ing him down a stream without a paddle, he is knocked Cheuk-hon, So Man-sing. Kamera: Walter Gregg, Lam Fai-tai. unconscious and develops a mild case of amnesia. Schnitt: Mak Chi-sin, Angie Lam. Musik: Lowell Lo. Ausstattung: Hwang is revived by a group of good Indians who have Horace Ma. Art direction: Lam Hark-ming. Kostüme: William him believing that he is one of their own! To make mat• Fung, Mabel Kwan. Second Unit director: Lau Kar-wing. Action- ters worse, when Hwang is found by his followers, he is Regie: Hung. Ausführender Produzent: Tsui Hark. caught in a romantic triangle between Yee and an Indian Darsteller: Jet Li (Wong Fei-hung), Rosamund Kwan (Tante Thir• Princess (Bell). A group of villainous cowboys, led by teen), Xiong Xinxin (Seven), Chan Kwok-bong (So), Jeff Wolfe Bart (Saya), soon make trouble for Li and the other Chi• (Billy), joe Saya (Black Bart), Christa Belle Eucht (indianische Prin• nese people in the small town. -
Bruce Lee Filme“ Im Kino
BACHELORARBEIT Herr Benjamin Hauck Einfluss des Hongkongkinos auf den Hollywood-Actionfilm 2014 Fakultät Medien BACHELORARBEIT Einfluss des Hongkongkinos auf den Hollywood-Actionfilm Autor: Herr Benjamin Hauck Studiengang: Film und Fernsehen Seminargruppe: FF08s1-B Erstprüfer: Prof. Dr.-Ing. Robert Wierzbicki Zweitprüfer: BA-MA (Asian Studies / Sophia University Tokyo) Karin Maichel-Ritter Einreichung: Müncher, 19.06.2014 Faculty of Media BACHELOR THESIS Influence of Hongkong-movies on Hollywoods actionfilms author: Mr. Benjamin Hauck course of studies: Film und Fernsehen seminar group: FF08s1-B first examiner: Prof. Dr.-Ing. Robert Wierzbicki second examiner: BA-MA (Asian Studies / Sophia University Tokyo) Karin Maichel-Ritter submission: Munich, 19.06.2014 IV Bibliografische Angaben: Nachname, Vorname: Benjamin Hauck Thema der Bachelorarbeit: Einfluss des Hongkongkinos auf den Hollywood-Actionfilm Topic of thesis: Influence of Hongkongmovies on Hollywoods actionfilms 2014 - 55 Seiten Mittweida, Hochschule Mittweida (FH), University of Applied Sciences, Fakultät Medien, Bachelorarbeit, 2014 V Inhaltsverzeichnis Abbildungsverzeichnis...........................................................................................VII 1 Zielsetzung..............................................................................................................1 2 Der Ursprung des Martial Arts Films.....................................................................3 2.1 Wuxia Film........................................................................................................3 -
The Pilferers' Progress
The Pilferers’ Progress (aka Money Crazy) (12A) 發錢寒 MON 15 FEB, 18:20 Dir John Woo/1977 HK/92 mins/ Richard Ng, Ricky Hui, Angie ChiuIn Cantonese with English and Chinese subtitles John Woo's name is often at the tip of our tongues when we think of Hong Kong cinema. His films A Better Tomorrow (1986), The Killer (1989) and Hard Boiled (1992) brought many new viewers to Hong Kong cinema in the '80s and '90s. Images of actor Chow Yun-fat, smoking cigars and wrecking teahouses in effortlessly cool slow motion continue to be some of the region's most iconic and they had an obvious impact worldwide, most famously on the Wachowskis and The Matrix (1999). Though internationally famous for these “heroic bloodshed” films of the 1980s, John Woo began his career long before then in the local television industry and was directing films for 10 years before developing his trademark style. Fans may be surprised with this early film, The Pilferers’ Progress, and its 92 minutes of slapstick comedy, bad magic tricks, and dodgy make-up. The Pilferers’ Progress was Woo's first film as both writer and director. It was produced by Golden Harvest, a production studio formed in the 1970s to compete with the Shaw Brothers – the studio responsible for the iconic martial arts films of the '60s and '70s. The film enlists the help of two comedy heavyweights for its leading roles: Ricky Hui (playing Poison) and Richard Ng (Dragon). Ricky was one of the Hui Brothers, who as a group reinvigorated Hong Kong's entertainment industries through their appearances in television, films and popular music in the 1970s.