Engths to Progress Further

Total Page:16

File Type:pdf, Size:1020Kb

Engths to Progress Further Press Release Hong Kong filmmaker Mabel Cheung honours Zurich Film Festival For the third consecutive year, the Zurich Film Festival (ZFF) in Hong Kong Economic and Trade Office, Berlin Switzerland with the support of the Hong Kong Economic and Trade Office, Address: Berlin (HKETO Berlin) presents four Hong Kong productions to the Swiss Jaegerstrasse 33, 10117, Berlin audience. This year, Wong Chun’s drama Mad World, Herman Yau’s Telephone: +49 (0) 30 22 66 77 242 action film Shock Wave, Ho-Cheung Pang’s romantic comedy Love of the Cuff, and Kearen Pang’s tragicomedy 29+1 are screened in ZFF’s “Hong Fax: +49 (0) 30 22 66 77 288 Kong Window” – a special session in the festival dedicated for Hong Kong E-mail: productions. [email protected] Website: th th th www.hketoberlin.gov.hk At its 13 edition from September 28 to October 8 , ZFF is welcoming more than 90,000 guests and some of the most promising filmmakers from across the world. Renowned Hong Kong film director, author and producer Mabel Cheung was selected as a member of the international feature film jury to attend jury screenings as well as official meetings, media conferences and finally the award night on October 7 to present the treasured Golden Eye Awards to the winners. Mabel Cheung is one of Hong Kong’s leading filmmakers. She won the Hong Kong Film Award for Best Director with her feature debut The Illegal Immigrant (1985). Her list of award-winning films further includes An Autumn’s Tale (1987), The Soong Sisters (1997), City of Glass (1998) and Traces of a Dragon (2003). More recently, she completed the epic wartime drama A Tale of Three Cities (2015) based on the true story of Jackie Chan’s parents. On October 4, Ms Cheung joined the reception hosted by HKETO Berlin to celebrate the 20th anniversary of the Hong Kong Special Administrative Region (HKSAR). Ms Betty Ho, Director of the HKETO Berlin, referred in her welcome speech to Hong Kong’s outstanding performance in the past 20 years, from completion of new infrastructure projects to achievements in economic performance, academic and cultural pursuits. “These were made possible under ‘One Country, Two Systems’, which enables Hong Kong to fully utilise our strengths to progress further. We stay together; we have made progress; and we are ready for new opportunities”, Ms Ho concluded before introducing the guest of honour. “Hong Kong has one of the largest and most dynamic film entertainment industries in the world and Mabel Cheung is one of its shining stars and an important ambassador of Hong Kong’s creative industry.” After the reception, guests were invited to join the screening of Mad World. Zurich Film Festival is not the only European festival to have established a successful partnership with HKETO Berlin. Munich International Film Festival screened the German premiere of Johnnie To’s Three in late June; for the first time, the Jameson CineFest Miskolc International Film Festival in Hungary introduced Hong Kong cinema to its audience by screening the classics Infernal Affairs and Dream Home in mid-September; and the Vienna International Film Festival (October 19- November 2) in Austria as well as the Five Flavours Film Festival in Warsaw (November 15-22) have again agreed to feature Hong Kong productions. Furthermore, a Hong Kong film series was shown in Berlin in the second half of July with the support of Create Hong Kong, a dedicated agency set up under the Commerce and Economic Development Bureau of the HKSAR. About Hong Kong Economic and Trade Office, Berlin HKETO Berlin is the official HKSAR Government representative in commercial relations and other economic and trade matters in Switzerland as well as Austria, the Czech Republic, Germany, Hungary, Poland, the Slovak Republic and Slovenia. Photo caption 1. Hong Kong film director Mabel Cheung and Ms Betty Ho, Director of the HKETO Berlin, at the Zurich Film Festival on October 4. Contact Kilian Becker Head, Public Relations Hong Kong Economic and Trade Office, Berlin Tel: +49 (0) 30 22 66 77 24 2 Fax: +49 (0)30 22 66 77 28 8 E-mail: [email protected] HKETO Berlin 5 October 2017 Ends - 2 - .
Recommended publications
  • Finding Mr. Right”
    UC Santa Barbara Journal of Transnational American Studies Title “Blockbuster Dreams: Chimericanization in American Dreams in China and Finding Mr. Right” Permalink https://escholarship.org/uc/item/15n2v9c1 Journal Journal of Transnational American Studies, 10(2) Author Ford, Stacilee Publication Date 2019 DOI 10.5070/T8102046357 License https://creativecommons.org/licenses/by/4.0/ 4.0 eScholarship.org Powered by the California Digital Library University of California Journal of Transnational American Studies 10.2 (Winter/Spring 2019–20) Reprise The Power of Culture: Encounters between China and the United States Edited by Priscilla Roberts Journal of Transnational American Studies 10.2 (Winter/Spring 2019–20) Reprise The Power of Culture: Encounters between China and the United States Edited by Priscilla Roberts This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Priscilla Roberts and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-8588-6 ISBN (13): 978-1-4438-8588-1 Journal of Transnational American Studies 10.2 (Winter/Spring 2019–20) Reprise CHAPTER TWENTY-SIX BLOCKBUSTER DREAMS: CHIMERICANIZATION IN AMERICAN DREAMS IN CHINA AND FINDING MR. RIGHT STACILEE FORD This chapter links macro discussions of soft power in the cultural sphere to gendered performances of Chinese/transnational identities as they appear in one under-studied form of cultural production, the co- produced blockbuster film.
    [Show full text]
  • 3D423bbe0559a0c47624d24383
    BENDS straddles the Hong Kong- Shenzhen border and tells the story of ANNA, an affluent housewife and FAI, her chauffeur, and their unexpected friendship ABOUT as they each negotiate the pressures of Hong Kong life and the city’s increasingly complex relationship to mainland China. Fai is struggling to find a way to bring his THE pregnant wife and young daughter over the Hong Kong border from Shenzhen to give birth to their second child, even though he crosses the border easily every FILM day working as a chauffeur for Anna. Anna, in contrast, is struggling to keep up the facade of her ostentatious lifestyle into which she has married, after the sudden disappearance of her husband amid financial turmoil. Their two lives collide in a common space, the car. PRODUCTION NoteS SHOOT LOCATION: Hong Kong TIMELINE: Preproduction, July/August 2012 Principal Photography, September/October 2012 (23 days) Completion, Spring 2013 PREMIERE: Cannes Film Festival 2013, Un Certain Regard (Official Selection) LANGUAGE: Cantonese & Mandarin FORMAT: HD, Colour LENGTH: 92 minutes THE CaST ANNA - Lead Female Role Carina Lau 劉嘉玲 SelecTED FILMOGRAPHY: Detective Dee and the Mystery Phantom Flame Let the Bullets Fly 2046 Flowers of Shanghai Ashes of Time Days of Being Wild FAI - Lead Male Role Chen Kun 陳坤 SelecTED FILMOGRAPHY: Painted Skin I & II, Rest On Your Shoulder, Flying Swords of Dragon Gate 3D Let the Bullets Fly Balzac and the Little Chinese Seamstress Writer/Director Flora Lau 劉韻文 Cinematographer Christopher Doyle (H.K.S.C.) 杜可風 A Very Special Thanks To William Chang Suk Ping 張叔平 Flora was born and raised in Hong Kong.
    [Show full text]
  • UC Riverside Electronic Theses and Dissertations
    UC Riverside UC Riverside Electronic Theses and Dissertations Title Beyond New Waves: Gender and Sexuality in Sinophone Women's Cinema from the 1980s to the 2000s Permalink https://escholarship.org/uc/item/4h13x81f Author Kang, Kai Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Beyond New Waves: Gender and Sexuality in Sinophone Women‘s Cinema from the 1980s to the 2000s A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Comparative Literature by Kai Kang March 2015 Dissertation Committee: Dr. Marguerite Waller, Chairperson Dr. Lan Duong Dr. Tamara Ho Copyright by Kai Kang 2015 The Dissertation of Kai Kang is approved: Committee Chairperson University of California, Riverside Acknowledgements My deepest gratitude is to my chair, Dr. Marguerite Waller who gave me freedom to explore my interested areas. Her advice and feedback helped me overcome many difficulties during the writing process. I am grateful to Dr. Lan Duong, who not only offered me much valuable feedback to my dissertation but also shared her job hunting experience with me. I would like to thank Dr Tamara Ho for her useful comments on my work. Finally, I would like to thank Dr. Mustafa Bal, the editor-in-chief of The Human, for having permitted me to use certain passages of my previously published article ―Inside/Outside the Nation-State: Screening Women and History in Song of the Exile and Woman, Demon, Human,‖ in my dissertation. iv ABSTRACT OF THE DISSERTATION Beyond New Waves: Gender and Sexuality in Sinophone Women‘s Cinema from the 1980s to the 2000s by Kai Kang Doctor of Philosophy, Graduate Program in Comparative Literature University of California, Riverside, March 2015 Dr.
    [Show full text]
  • Electric Shadows PK
    ELECTRIC SHADOWS A Film by Xiao Jiang 95 Minutes, Color, 2004 35mm, 1:1.85, Dolby SR In Mandarin w/English Subtitles FIRST RUN FEATURES The Film Center Building 630 Ninth Ave. #1213 New York, NY 10036 (212) 243-0600 Fax (212) 989-7649 Website: www.firstrunfeatures.com Email: [email protected] ELECTRIC SHADOWS A film by Xiao Jiang Short Synopsis: From one of China's newest voices in cinema and new wave of young female directors comes this charming and heartwarming tale of a small town cinema and the lifelong influence it had on a young boy and young girl who grew up with the big screen in that small town...and years later meet by chance under unusual circumstances in Beijing. Long Synopsis: Beijing, present. Mao Dabing (‘Great Soldier’ Mao) has a job delivering bottled water but lives for his nights at the movies. One sunny evening after work he’s racing to the movie theatre on his bike when he crashes into a pile of bricks in an alleyway. As he’s picking himself up, a young woman who saw the incident picks up a brick and hits him on the head... He awakens in the hospital with his head bandaged. The police tell him that he’s lost his job, and that his ex-boss expects him to pay for the wrecked bicycle. By chance he sees the young woman who hit him and angrily remonstrates with her. But she seems not to hear him, and hands him her apartment keys and a note asking him to feed her fish.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • List of Films Considered the Best
    Create account Log in Article Talk Read View source View history Search List of films considered the best From Wikipedia, the free encyclopedia Main page This list needs additional citations for verification. Please Contents help improve this article by adding citations to reliable sources. Featured content Current events Unsourced material may be challenged and removed. (November Random article 2008) Donate to Wikipedia Wikimedia Shop While there is no general agreement upon the greatest film, many publications and organizations have tried to determine the films considered the best. Each film listed here has been mentioned Interaction in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources Help About Wikipedia focus on American films or were polls of English-speaking film-goers, but those considered the Community portal greatest within their respective countries are also included here. Many films are widely considered Recent changes among the best ever made, whether they appear at number one on each list or not. For example, Contact page many believe that Orson Welles' Citizen Kane is the best movie ever made, and it appears as #1 Tools on AFI's Best Movies list, whereas The Shawshank Redemption is #1 on the IMDB Top 250, whilst What links here Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. Related changes None of the surveys that produced these citations should be viewed as a scientific measure of the Upload file Special pages film-watching world. Each may suffer the effects of vote stacking or skewed demographics.
    [Show full text]
  • Hku Mooc: Hong Kong Cinema Through a Global Lens
    H-Announce HKU MOOC: HONG KONG CINEMA THROUGH A GLOBAL LENS Announcement published by Christine Vicera on Thursday, April 2, 2020 Type: Online Digital Resources Location: China Subject Fields: Asian American History / Studies, Cultural History / Studies, Film and Film History, Popular Culture Studies Hello from Hong Kong! We’ve been thinking about teaching across distances and disciplines for some time now and in these challenging times we are keen to offer you material and a little morale boost. To accommodate your needs, and expand your menu of online teaching and learning options, we are offering Hong Kong Cinema through a Global Lens, the first MOOC (Massive Open Online Course) on Hong Kong cinema to be produced anywhere in the world, as a learner-paced course. That means all six units open simultaneously on April 1, 2020. Feel free to enjoy the entire course or pick and choose lessons to fit your own individual needs. We have talked with teachers from across the globe who have utilized our MOOC in various ways. Some are selecting one MOOC Unit to reinforce particular pedagogical objectives, some are linking our exploration of Hong Kong Cinema to general studies, global studies, cultural history or other film and digital media courses. More frequently, we find that teachers invite us into their online classrooms as “virtual guest lecturers.” (You don’t even have to feed or entertain us when we visit!) Internationally-recognized film studies scholars Professor Gina Marchetti and Dr. Aaron Han Joon Magnan-Park from the HKU Department of Comparative Literature and Dr. Stacilee Ford from the HKU Department of History, the American Studies Program, and the Gender Studies Program, have worked with the creative assistance of HKU TELI (Technology-Enriched Learning Initiative) to provide various ways to enrich your efforts, internationalize your curriculum, and add a little variety to your teaching plans.
    [Show full text]
  • Cross-Fertilization in China's Film and Television
    2020 3rd International Conference on Interdisciplinary Social Sciences & Humanities (SOSHU 2020) The Current Trends in China’s Film and Television Market: Cross-Fertilization in China’s Film and Television Shuying You* College of Humanities and Communications, Yango University, Fuzhou, Fujian, 350015, China *corresponding author: [email protected] Keywords: Cross-fertilization, China, Film and television Abstract: This paper investigates the current trends in China's film and television market by analysing the gross box office performance of film/audience TV ratings as well as word of mouth regarding China’s film and television dramas. 1. Introduction After a general context of the current trends in China's film and television market, the cross-fertilization of China’s film and television will be analysed from the perspective of sharing of resources in terms of technical skills, directors and actors. Among them, the most notable is the sharing of actors. 2. Trends in the China’s Film and Television Market In recent years, the gross box office has steadily increased in China. It has risen from less than 1 billion yuan in 2002 to 10 billion yuan in 2010 (China Daily 2016). According to the data, 686 films were produced in the nation in 2015 (Li 2016). In 2015, the gross box office achieved a record at $6.8 billion, up 49% from the previous year. North America also witnessed a record in 2015, hitting an estimated $11 billion for the first time even though it had only increased by 7% (KNOWLEDGE@WHARTON 2016). According to the data from the State Administration of Press, Publication, Radio, Film and Television (SARFT), the growth rate of China’s gross box office in 2015 was the highest since 2011, the gross box office in 2011 in China was just $1.51 billion (Brzeski 2015).
    [Show full text]
  • 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.
    [Show full text]
  • You Have to Overcome Your Fears, Simply by Taking a Risk
    Wardrobe by Gieves & Hawkes Navy wool flannel three-piece suit, blue denim shirt, navy and grey stripe wool and silk melange tie Makeup Monida Tse Hair Jun Ho @ Suave Location East Hotel, Hong Kong A TALE OF THREE CITIES DOUBLE BILL plungethe One of Hong Kong’s most versatile and celebrated actors, Sean Lau Ching-wan returns to the big screen in period romance drama A Tale of Three Cities. He talks to Arthur Tam about those who made Hong Kong great, the evolution of the film industry and why he’s been jumping into freezing lakes. Photography by Calvin Sit ough, tough and charming are just a few words to describe You have to Sean Lau Ching-wan. With over 30 years of experience in overcome R the movie industry and over 100 films to his name, Lau your fears, sits in the company of other legendary figures such as Tony Leung Chiu- simply by wai and Maggie Cheung Man-yuk s who got their break as actors on taking a risk television station TVB, before dominating the big screen. ▶ CALVIN SIT CALVIN 20 timeout.com.hk timeout.com.hk 21 1508007_T04 21/08/2015_PDF1.4_upload Wardrobe by Gieves & Hawkes Plum textured wool jacket, plum textured wool waistcoat, brown wool slim fit chinos, burgundy long sleeve cotton shirt and burgundy silk tie Although best known for staring in a string of gritty action-thrillers for totemic director Johnnie To – few actors can claim a better run of films than Too Many Ways to be Number One (1997), A Hero Never Dies (1998) and Running Out of Time (1999) – Lau is no one-dimensional, copy-and-paste star.
    [Show full text]
  • Aspects of Chinese Cinema Today
    Aspects of Chinese Cinema Today By Toh, Hai Leong Spring 1997 Issue of KINEMA 1. THE TAIWANESE ANTONIONI: TSAI MING-LIANG’S DISPLACEMENT OF LOVE IN AN URBAN ENVIRONMENT NO, Tsai Ming-liang is not in fact Taiwanese. The bespectacled 40-year-old bachelor was born in Kuching, Sarawak (East Malaysia) and only came to Taiwan for a college education. After graduating with a degree in drama and film in Taiwan’s University, he settled there and impressed critics with several experimental plays and television movies such as Give Me A Home (1988), The Happy Weaver(1989), My Name is Mary (1990), Ah Hsiung’s First Love(1990). He made a brilliant film debut in 1992 with Rebels Of The Neon God and his film Vive l’amour shared Venice’s Golden Lion for Best Film with Milcho Manchevski’s Before The Rain (1994). Rebels of the Neon God, a film about aimless and nihilistic Taipei youths, won numerous awards abroad: Among them, the Best Film award at the Festival International Cinema Giovani (1993), Best Film of New Director Award of Torino Film Festival (1993), the Best Music Award, Grand Prize and Best Director Awards of Taiwan Golden Horse Festival (1992), the Best Film of Chinese Film Festival (1992), a bronze award at the Tokyo International Film Festival in 1993 and the Best Director Award and Leading Actor Award at the Nantes Festival des Trois Continents in 1994.(1) For the sake of simplicity, he will be referred to as ”Taiwanese”, since he has made Taipei, (Taiwan) his home. In fact, he is considered to be among the second generation of New Wave filmmakers in Taiwan.
    [Show full text]