Demaj Perliński Kol
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Nowoczesny Kampus W Trzebnicy Miejsca Pracy
NR 18 (61)/2014 data wydania 17.10.2014 Będą nowe Nowoczesny kampus w Trzebnicy miejsca pracy Wiosną ruszy budowa fabryki FM GROUP w Trzebnicy. Str. 4. Uroczyste otwarcia W Ujeźdźcu Wielkim, Masłowie, Świątnikach i Przedszkolu nr 2 w Trzebnicy. Str. 8,9 i 11 a ostatnim spotkaniu Sto- stowarzyszenie chce wybudować czeniem głównie na zgrupowania budowany prze ul. 3-go Maja – warzyszenia Gmin i Po- w kilku miejscach Dolnego Ślą- i obozy treningowe. Znajdzie się przy niecce, w której przed wojną N wiatów Aglomeracji Wro- ska. Jedna z lokalizacji przypa- w nich także wydzielone miej- znajdował się staw. Jest to loka- BUdUj cławskiej, którego członkiem jest da w naszym mieście. Czym są sce dla kierowców, opiekunów lizacja w bezpośrednim sąsiedz- z nami również Gmina Trzebnica, zapa- wspomniane kampusy? To no- oraz osobne moduły dla rodzin, twie orlika i planowanej obok dła decyzja o lokalizacji kampu- woczesne i komfortowe internaty a także miejsca parkingowe dla Szkoły Podstawowej nr 2 hali sów dla dzieci i młodzieży, które dla dzieci i młodzieży, z przezna- autobusów. Kampus zostanie wy- widowiskowo-sportowej. Str. 7. Str. 9 expertom nie ufaj pseudo proline zaufaj profesjonalistom w 2 SUBIEKTYWNYM Trzy kroki do przodu... okiem gospodarza Tak właśnie by się stało, gdy- cje przeznaczano maksymalnie jomych, ale dla mieszkańców, by kilka lat temu nie pojawił się 10 procent. Dziś jest to nie do dla mojej Ojczyzny, w której się wej, ale z pomysł budowy nowej szkoły. pomyślenia. urodziłem, wychowałem, w któ- perspekty- Wówczas był mocno krytykowa- Dziś trudno sobie wyobrazić rej dorastałem. Chciałbym, by Blisko 210 milionów zło- wy wyglądu ny, głównie ze strony opozycji i Trzebnicę bez deptaka, basenu, było tu coraz piękniej, by żyło się tych przeznaczono na różnego Trzebnicy i okolicznych sołectw, osób z nimi związanych. -
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. -
NO RETREAT NO SURRENDER 3 (1990): Producer: Ng See Yuen
NO RETREAT NO SURRENDER 3 (1990): Producer: Ng See Yuen Director: Lucas Lowe Co-Producer/Writer: Keith W. Strandberg Cast: Keith Vitali, Loren Avedon Locations: Tampa Bay Area, Florida Original Title: Blood Brothers Review courtesy of www.kungfucinema.com “Producer Ng See-Yuen reunites with screenwriter Keith W. Strandberg and tae kwon do expert Loren Avedon in this tale that takes a page from Ng's first film with Seasonal Film Corporation, THE SECRET RIVALS.” To complete his U.S.-Hong Kong crossover trilogy, launching Jean-Claude Van Damme in 1985 and Loren Avedon in 1987, producer Ng See-Yuen reunites with screenwriter Keith W. Strandberg and tae kwon do expert Loren Avedon in this tale that takes a page from Ng's first film with Seasonal Film Corporation, THE SECRET RIVALS. Only instead of North and South styles as the "rivals", we have two brothers whose political views gets the best of them until the death of their father brings them together. C.I.A. agent Casey Alexander (Keith Vitali) has a reputation as being one of the most respected agents in the company. Martial arts instructor Will Alexander (Loren Avedon), Casey's brother, doesn't believe in the entire federal agent shtick and as a result, the two brothers have a serious falling out that starts out at a hunting trip and culminates at the 65th birthday party of their retired agent father John (Joseph Campanella). When John becomes the target of Colombian terrorist Antonio "Franco" Franconi (Rion Hunter), the result of a job in which Franco's son was killed, John is brutally beaten and then ultimately killed by Franco. -
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. -
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. -
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. -
ZYCIE BYTOMSKIE PEC: Najpierw Wycena, a Potem Sprzedaż?
977023929460030 > Na jakim domu Kontrowersje wokół elektrociepłowni siedzi smok? Czytaj str. 3 7702392946 ZYCIE BYTOMSKIE Ukazuje się od 1956r. w Bytomiu i Radzionkowie • 30 (3082) • 25.07.2016 wydanie elektroniczne PL ISSN 0239-2941 • NR INDEKSU 385050 • ROK LX • NAKŁAD: 9.000 (udokumentowany) dostępne na eprasa.pl Czytaj str. 13 Cena 2 z ł (w tym 8%vat ) www.zyciebytomskie.pl PEC: najpierw wycena, a potem sprzedaż? Byli u nas młodzi pielgrzymi Małgorzatka: w tym Czytaj str. 12 miejscu zaczął się Bytom 1 ■ V Ten ranking nie zaskakuje: jeste ś my biednym miastem Czytaj str. 2 ŻYCIE BYTOMSKIE ktroniczne eprasa.pl 2 25.07.2016 Zycie miasta te od końca. Niżej (o jedno oczko) a także Zabrzu - 3.491 zł. Mocno skalę różnego rodzaju problemów byliśmy jedynie sześć lat temu. pod względem finansowym uciekł społecznych, czy ilość pozyska Bytomska bieda Potem awansowaliśmy o siedem nam inny sąsiad, a więc Chorzów nych inwestorów oraz pieniędzy lokat, by w następnych zestawie - 3.841 zł. O Gliwicach nawet nie zewnętrznych - nasze miasto wy niach systematycznie spadać. Jak wspominajmy - 5.125 zł dochodu pada źle lub nawet bardzo źle. Ocenili nasze dochody. Ukazał się kolejny ogólnopolski obliczyli autorzy zestawienia, do na głowę robi ogromne wrażenie. Można rzecz jasna twierdzić, że ranking nisko plasujący Bytom. Tym razem wyszło na to, że chód per capita na głowę bytomia- Na czele rankingu znalazła się zestawienia to tylko statystyka, nina wynosi 3.240 złotych. N ie zna rzecz jasna Warszawa, mogąca ale i bez nich mamy chyba pełną jesteśmy miastem biednym, mającym niskie dochody. Zdzi czy to, że tyle średnio każdy z nas się pochwalić niebotycznym z na świadomość, iż sytuacja gospo wiony pewnie nikt nie jest. -
2006 October Kung Fu Schedule
OCTOBER 2006 PROGRAMMING SCHEDULE KUNG FU Time 09/25/06 - Mon 09/26/06 - Tue 09/27/06 - Wed 09/28/06 - Thu 09/29/06 - Fri 09/30/06 - Sat 10/01/06 - Sun Time CHINESE GHOST STORY II 6:00 AM CONT'D (4:25 AM) 6:00 AM TV-14-V 6:30 AM A CHINESE GHOST STORY III 6:30 AM 1:05 PM 7:00 AM 7:00 AM 7:30 AM 7:30 AM 8:00 AM PG-13 8:00 AM TWIN DRAGONS 8:30 AM 8:05 AM 8:30 AM 9:00 AM 9:00 AM 9:30 AM TV-14-V 9:30 AM A CHINESE GHOST STORY 10:00 AM 9:40 AM 10:00 AM 10:30 AM 10:30 AM 11:00 AM 11:00 AM TV-14-V A CHINESE GHOST STORY 11:30 AM PART II 11:30 AM 11:20 AM 12:00 PM 12:00 PM 12:30 PM 12:30 PM 1:00 PM TV-14-V 1:00 PM A CHINESE GHOST STORY III 1:30 PM 1:05 PM 1:30 PM 2:00 PM 2:00 PM 2:30 PM 2:30 PM 3:00 PM TV-14-V 3:00 PM A CHINESE GHOST STORY 3:30 PM 3:00 PM 3:30 PM 4:00 PM 4:00 PM 4:30 PM TV-14-V 4:30 PM A CHINESE GHOST STORY PART II 5:00 PM 4:40 PM 5:00 PM 5:30 PM 5:30 PM 6:00 PM 6:00 PM TV-14-LV 6:30 PM YES, MADAM! 6:30 PM 6:25 PM 7:00 PM 7:00 PM 7:30 PM 7:30 PM 8:00 PM TV-14-DLV 8:00 PM BEAST COP (AKA: BEAST COPS) 8:30 PM 8:00 PM 8:30 PM Satelliteguys.us 9:00 PM 9:00 PM 9:30 PM 9:30 PM R FIST OF FURY 10:00 PM (AKA: CHINESE CONNECTION) 10:00 PM 9:50 PM 10:30 PM 10:30 PM 11:00 PM 11:00 PM 11:30 PM TV-PG-V 11:30 PM RASHOMON 12:00 AM 11:40 PM 12:00 AM 12:30 AM 12:30 AM 1:00 AM TV-14-LV 1:00 AM YES, MADAM! 1:30 AM 1:10 AM 1:30 AM 2:00 AM 2:00 AM 2:30 AM 2:30 AM TV-14-DLV BEAST COP 3:00 AM (AKA: BEAST COPS) 3:00 AM 2:45 AM 3:30 AM 3:30 AM 4:00 AM 4:00 AM 4:30 AM R 4:30 AM FIST OF FURY (AKA: CHINESE CONNECTION) 5:00 AM 4:40 AM 5:00 AM 5:30 AM 5:30 AM -
Ang Lee, Dir. Crouching Tiger, Hidden Dragon (Wòhǔ Cánglóng, 臥虎藏龍
Filmography Ang Lee, dir. Crouching Tiger, Hidden Dragon (Wòhǔ Cánglóng, 臥虎藏龍). 2000. Corey Yuen, dir. Legend (Fang Shi Yu, 方世玉). 1993. Corey Yuen, dir. Legend II (Fang Shi Yu: xu ji, 方世玉: 續集). 1995. Feng Xiaogang, dir. The Banquet (Yè Yàn, 夜宴). 2006. Kaige Chen, dir. The Promise (Wújí, 無極). 2005. Tsui Hark, dir. Once Upon a Time in China (Huang Fei Hong, 黃飛鴻). 1991. Tsui Hark, dir. Once Upon a Time in China II (Huang Fei Hong: nan er dang zi qiang, 男兒當自強). 1992. Yuen Wooping, dir. Twin Warriors (Tai Ji: zhan san feng,太極﹕張三風). 1993. Zhang Xinyan, dir. Shaolin Temple (Shaolin Si, 少林寺). 1982. Zhang Xinyan, dir. Kids from Shaolin (Shao Lin xiao zi, 少林小子). 1984. Zhang Xinyan, dir. Yellow River Fighter (Huang he da xia, 黃河大俠). 1988. Zhang Yimou, dir. Curse of the Golden Flower (Mǎnchéng Jìndài Huángjīnjiǎ, 滿城盡帶黃金). 2006. Zhang Yimou, dir. Hero (Yīngxióng, 英雄). 2002. Zhang Yimou, dir. House of Flying Daggers (Shí Miàn Mái Fú, 十面埋伏). 2004. Works Cited ABA Rule of Law Initiative, “China Project.” China Asia Law Initiative. American Bar Association. Jan 24, 2007 http://www.abanet.org/aba-asia/projects/china.shtml, Accessed: 11/2/07. Andrew D. Morris. Marrow of the Nation: A History of Sport and Physical Culture in Republican China. Berkeley: University of California Press (2004). Ang Lee. Eds. Linda Sunshine, James Schamus, Richard Corliss, and David Bordwell. Crouching Tiger, Hidden Dragon: A Portrait of Ang Lee's Epic Film. 1st ed. New York: Newmarket Press (2001). Ann Huss and Jianmei Liu. The Jin Yong Phenonmenon: Chinese Martial Arts Fiction and Modern Chinese Literary History. -
Warrior Women
1 Hong Kong –Hollywood Connections Part I: Industrial Collaborations and Divergences Hollywood constitutes the only truly global cinema system. David Bor- dwell defines a global cinema as one that occupies “significant space” in the global film market that extends beyond a single picture or cycle of films (82). For 40 years, Hollywood has saturated the international film market with its products and has enjoyed some of the largest box-office returns. With a high demand for its films, Hollywood threatens other film industries by dominating their markets with generic English-language films often devoid of local/indigenous content and themes. While Hol- lywood might not be the most prolific film industry in the world, it is the most moneyed (Denison 105). In light of Hollywood’s domination of worldwide screens since 1980, aided by the rise of the Hollywood block- buster, Hollywood has become the leader in global film culture (Desser, “Hong” 214). In the wake of Hollywood’s increasing global dominance, Hong Kong was one of the few cinemas to thrive, entering its own golden age of filmmaking from the mid-1980s to the early 1990s; during this time, Hong Kong was second only to Hollywood in terms of its total overseas exports. These films, however, were almost exclusively screened throughout East and Southeast Asia1 and brought in only a fraction of Hollywood’s interna- tional box-office returns2 (Bordwell 82). In light of its regional influence, Hong Kong can be considered a transnational cinema whose production, distribution, and exhibition -
Martial Arts and the Globalization of US and Asian Film Industries
07 klein (ds) 12/8/04 1:14 pm Page 360 Article Comparative American Studies An International Journal Copyright © 2004 SAGE Publications (London, Thousand Oaks, CA and New Delhi) www.sagepublications.com Vol 2(3): 360–384 DOI: 10.1177/1477570004046776 Martial arts and the globalization of US and Asian film industries Christina Klein Massachusetts Institute of Technology, USA Abstract This article investigates how globalization is affecting film industries in the USA and Asia. It argues that these industries are becoming more closely integrated with one another both materially and aesthetically, and that this in turn is leading to the denationalization of individual films and film industries on both sides of the Pacific. The article explores how globalization is experienced differently by different film industries – and by different sectors within individual industries – and how it entails both losses and opportunities for Asian film makers. Taking the contemporary Hollywood and East Asian martial arts film as an exemplary cultural style of globalization, it also looks at how integration involves both cultural homogenization and the production of difference. Specific topics discussed include the growth of Hollywood’s Asian markets, Jackie Chan and the flow of Hong Kong talent into Hollywood, Hollywood remakes of South Korean movies, the resurgence of Asian film industries, Hollywood’s local-language film production and Zhang Yimou’s Hero. Keywords Asian cinema ● Chinese cinema ● Columbia Pictures Film Production Asia ● globalization ● Hero ● Hollywood ● Hong Kong cinema ● Jackie Chan ● Korean cinema ● martial arts Introduction Hollywood today is fascinated with martial arts to an extent unseen since the heyday of Bruce Lee in the early 1970s. -
14 Martial Arts Movies Every Guy Should See Ip
Best Martial Art Movie 14 Martial Arts Movies Every Guy Should See Share F O L L O W C M Disable wpStickies on this image Few things are as delectably enjoyable as martial arts films. You can turn most on half way through and still get glued to your couch. You coast along with the plot (as awful as it can be at times) eagerly anticipating the next fight scene. Great martial arts flicks, however, combine awesome combat with a story that actually makes it worth the down time between roundhouse kicks. Here are 14 every guys should see. Ip Man The fight scenes in Ip Man are so devastatingly awesome, you’ll want to start training in Wing Chun as soon as the credits roll. Bruce Lee’s mentor, as played by Donnie Yen, is soft-spoken, kind, and insanely badass when it comes to combat. Ip Man is not just a watch-worthy flick because of the great fight scenes, but it’s also an interesting historical look at the world Ip Man lived in and what life was like in 1930’s Southern China. Plus, any dude who trained Bruce Lee must be pretty decent, right? Amazon Instant iTunes Netflix Instant Netflix DVD Hero For as awesome as Jet Li is, a lot of his films fall short for us. Hero is one major exception (along with Once Upon a Time in China). The first thing you’ll notice about Hero is the sheer beauty of it. Not just the choreographed fight scenes, but just the overall look.