DOCSLIB.ORG

Christopher Doyle: & His Passion for Visualization

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Christopher Doyle: & His Passion for Visualization Christopher Doyle: & his passion for visualization “I didn't start making films until I was 34.But that wasted youth was probably the most valuable asset for what I'm doing now. You see the world, you end up in jail three or four times, you accumulate experience. And it gives you something to say. If you don't have anything to say then you shouldn't be making films. It's nothing to do with what lens you're using .” Christopher Doyle AHK Extra Curricular Program 2009-2010: Ideas First Frédérique Kuijpers http://www.ideasfirst.wordpress.com/ Christopher Doyle: & his passion for visualization I really think music and movement … [technology and collaboration produce - dance, you know - specific performative relationships and and literature position creativity throughout production as a inform my visuals. dynamic process, dialogical, cross-cultural I think film is and interdisciplinary (Vera John-Steiner, also based in dance. The after Vygotsky and Bakhtin; relationship Csikszentmihalyi, 1996)] between me, the camera and the actor is always a dance. Cathy Greenhalgh, Visualisation as collaborative act and process in film production, London College of Communication / University of the Arts London . ”Christopher Doyle AHK Extra Curricular Program 2009-2010: Ideas First Frédérique Kuijpers http://www.ideasfirst.wordpress.com/ Christopher Doyle: & his passion for visualization Wong Kar-Wai, Chungking Express/ Chung Hing Sam Lam, I really think Hong Kong, 1994 music and movement - dance, you know - and literature inform my visuals. I think film is also based in dance. The Christopher Doyle Master relationship Class in Cinematography in his collaboration with between me, the camera and the Wong, actor is always a dance. Doyle is working with collage and collecting (music) video’s. ”Christopher Doyle Also the use of colour to suggest emotion is a key element in his visuals, they tend to intensify the storyline. AHK Extra Curricular Program 2009-2010: Ideas First Frédérique Kuijpers http://www.ideasfirst.wordpress.com/ Reading * Christopher Doyle: & his passion for visualization suggestion: Article: Kathryn Millard, Writing for the I really think Screen: Beyond the music and movement Gospel of Story, - dance, you know - 2004, SCAN, and literature Macquarie inform my visuals. University, Sydney, I think film is also based in Australia dance. The relationship between me, the camera and the actor is always a dance. ”Christopher Doyle Footage is made available to you by www.theauteurs.com/films AHK Extra Curricular Program 2009-2010: Ideas First Frédérique Kuijpers http://www.ideasfirst.wordpress.com/ Christopher Doyle: & his passion for visualization Bio : •The Limits of Control (2009) - directed by Jim Jarmusch •Paranoid Park (2007) - directed by Gus Van Sant •McDull, the Alumni (2006) - directed by Samson Chiu •Dumplings (2006) - directed by Fruit Chan •Invisible Waves (2006) - directed by Pen-Ek Ratanaruang •Lady in the Water (2006) - directed by M. Night Shyamalan •The White Countess (2005) - directed by James Ivory •Eros (2004) - segment "The Hand", directed by Wong Kar-wai •Three... Extremes (2004) - segment "Dumplings", directed by Fruit Chan •2046 (2004) - directed by Wong Kar-wai, awarded Best Cinematography Awards by the New York Film Critics Circle and the National Society of Film Critics •Green Tea (2003) - directed by Zhang Yuan •Last Life in the Universe (2003) - directed by Pen-Ek Ratanaruang •Infernal Affairs (2002) - directed by Andrew Lau and Alan Mak •Hero (2002) - directed by Zhang Yimou, awarded Best Cinematography Awards by the •New York and Chicago Film Critics Circles and the National Society of Film Critics •and at the Hong Kong Film Awards •Six Days (2002) - short movie, directed by Wong Kar-wai •The Quiet American (2002) - directed by Phillip Noyce •Three (2002) - segment "Going Home", directed by Peter Chan •Rabbit-Proof Fence (2002) - directed by Phillip Noyce •Made (2001) - directed by Jon Favreau •In the Mood for Love (2000) - directed by Wong Kar-wai, awarded the Grand Technical Prize at the Cannes Film Festival, as well as Best Cinematography Awards by the New York Film Critics Circle and the National Society of Film Critics AHK Extra Curricular Program 2009-2010: Ideas First Frédérique Kuijpers http://www.ideasfirst.wordpress.com/ Christopher Doyle: & his passion for visualization Bio : •Liberty Heights (1999) - directed by Barry Levinson •Away with Words (1999) - directed by Christopher Doyle •Psycho (1998 - remake) - directed by Gus Van Sant •First Love: The Litter on the Breeze (1997) - directed by Eric Kot •Motel Cactus (1997) - directed by Ki-Yong Park •Happy Together (1997) - directed by Wong Kar-wai •4 Faces of Eve (1996) •wkw/tk/1996@7′55″hk.net (1996) - short movie, directed by Wong Kar-wai •Yang ± Yin: Gender in Chinese Cinema (1996) - directed by Stanley Kwan •Temptress Moon (1996) - directed by Chen Kaige •The Peony Pavilion (1995) - directed by Chen Kuo-fu •Fallen Angels (1995) - directed by Wong Kar-wai •Red Rose White Rose (1994) - directed by Stanley Kwan •Ashes of Time (1994) - directed by Wong Kar-wai, awarded the Osella d'Oro for Best Cinematography at the Venice International Film Festival •The Red Lotus Society (1994) - directed by Stan Lai •Chungking Express (1995) - directed by Wong Kar-wai •The Peach Blossom Land (1992) - directed by Stan Lai •Mary from Beijing aka. Awakening (1992) - directed by Sylvia Chang •Days of Being Wild (1991) - directed by Wong Kar-wai •Her Beautiful Life Lies (1989) - directed by Tony Au •My Heart Is That Eternal Rose (1987) - directed by Patrick Tam •Soul (1986) - directed by Kei Shu •Noir et Blanc (1986) - directed by Claire Devers That Day, on the Beach (1983) - directed by Edward Yang AHK Extra Curricular Program 2009-2010: Ideas First Frédérique Kuijpers http://www.ideasfirst.wordpress.com/ Christopher Doyle: & his passion for visualization Bio : •Angel Talk (1996) - Behind the scenes photo book covering Fallen Angels •Backlit by the Moon (1996) - Japanese photography monograph •Photographs of Tamaki Ogawa (1996) - Japanese photography monograph •Doyle on Doyle (1997) - Japanese photography monograph •Buenos Aires (1997) - Behind the scenes photo book covering Happy Together •Don't Cry for Me, Argentina (1997) - Photographic journal account of filming Happy Together •A Cloud in Trousers (1998) - Gallery exhibition monograph •There is a Crack in Everything (2003) - Photography monograph •R34g38b25 (2004) - Behind the scenes photo book covering Hero AHK Extra Curricular Program 2009-2010: Ideas First Frédérique Kuijpers http://www.ideasfirst.wordpress.com/ Me & my passion for visualization Shot 07.13.09 >> AHK Extra Curricular Program 2009-2010: Ideas First Frédérique Kuijpers http://www.ideasfirst.wordpress.com/.
Load more

Recommended publications
  • The New Hong Kong Cinema and the "Déjà Disparu" Author(S): Ackbar Abbas Source: Discourse, Vol
    The New Hong Kong Cinema and the "Déjà Disparu" Author(s): Ackbar Abbas Source: Discourse, Vol. 16, No. 3 (Spring 1994), pp. 65-77 Published by: Wayne State University Press Stable URL: http://www.jstor.org/stable/41389334 Accessed: 22-12-2015 11:50 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Wayne State University Press is collaborating with JSTOR to digitize, preserve and extend access to Discourse. http://www.jstor.org This content downloaded from 142.157.160.248 on Tue, 22 Dec 2015 11:50:37 UTC All use subject to JSTOR Terms and Conditions The New Hong Kong Cinema and the Déjà Disparu Ackbar Abbas I For about a decade now, it has become increasinglyapparent that a new Hong Kong cinema has been emerging.It is both a popular cinema and a cinema of auteurs,with directors like Ann Hui, Tsui Hark, Allen Fong, John Woo, Stanley Kwan, and Wong Rar-wei gaining not only local acclaim but a certain measure of interna- tional recognitionas well in the formof awards at international filmfestivals. The emergence of this new cinema can be roughly dated; twodates are significant,though in verydifferent ways.
    [Show full text]
  • Bibliography
    BIBLIOGRAPHY An Jingfu (1994) The Pain of a Half Taoist: Taoist Principles, Chinese Landscape Painting, and King of the Children . In Linda C. Ehrlich and David Desser (eds.). Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan . Austin: University of Texas Press, 117–25. Anderson, Marston (1990) The Limits of Realism: Chinese Fiction in the Revolutionary Period . Berkeley: University of California Press. Anon (1937) “Yueyu pian zhengming yundong” [“Jyutpin zingming wandung” or Cantonese fi lm rectifi cation movement]. Lingxing [ Ling Sing ] 7, no. 15 (June 27, 1937): no page. Appelo, Tim (2014) ‘Wong Kar Wai Says His 108-Minute “The Grandmaster” Is Not “A Watered-Down Version”’, The Hollywood Reporter (6 January), http:// www.hollywoodreporter.com/news/wong-kar-wai-says-his-668633 . Aristotle (1996) Poetics , trans. Malcolm Heath (London: Penguin Books). Arroyo, José (2000) Introduction by José Arroyo (ed.) Action/Spectacle: A Sight and Sound Reader (London: BFI Publishing), vii-xv. Astruc, Alexandre (2009) ‘The Birth of a New Avant-Garde: La Caméra-Stylo ’ in Peter Graham with Ginette Vincendeau (eds.) The French New Wave: Critical Landmarks (London: BFI and Palgrave Macmillan), 31–7. Bao, Weihong (2015) Fiery Cinema: The Emergence of an Affective Medium in China, 1915–1945 (Minneapolis: University of Minnesota Press). Barthes, Roland (1968a) Elements of Semiology (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1968b) Writing Degree Zero (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1972) Mythologies (trans. Annette Lavers), New York: Hill and Wang. © The Editor(s) (if applicable) and The Author(s) 2016 203 G.
    [Show full text]
  • A Brief Analysis of the Narrative Characteristics of Karwai Wong Film with “Days of Being Wild” As an Example
    Art and Design Review, 2020, 8, 170-175 https://www.scirp.org/journal/adr ISSN Online: 2332-2004 ISSN Print: 2332-1997 A Brief Analysis of the Narrative Characteristics of Karwai Wong Film with “Days of Being Wild” as an Example Bo Zhang, Weiqing Sun Department of Film and Television Arts, Shanghai Publishing and printing College, Shanghai, China How to cite this paper: Zhang, B., & Sun, Abstract W. Q. (2020). A Brief Analysis of the Narr- ative Characteristics of Karwai Wong Film As a leading figure of Hong Kong film, Karwai Wong has contributed nu- with “Days of Being Wild” as an Example. merous outstanding works to the Chinese film circle and even the world film Art and Design Review, 8, 170-175. circle. Behind his highly abstract image world, it reflects people’s bewilder- https://doi.org/10.4236/adr.2020.83013 ment of rootless drifting in modern cities. Through the analysis of the movie Received: July 8, 2020 “Days of Being Wild”, this paper reveals the narrative characteristics of Kar- Accepted: July 31, 2020 wai Wong film. Published: August 3, 2020 Keywords Copyright © 2020 by author(s) and Scientific Research Publishing Inc. Leading Figure, Rootless, Narrative Characteristics This work is licensed under the Creative Commons Attribution International License (CC BY 4.0). http://creativecommons.org/licenses/by/4.0/ 1. Introduction Open Access As a representative of melodrama movies directors in Hong Kong, Karwai Wong has his own unique style in selecting creative themes. From his first film “As Tears Go by” to “The Grandmaster”, he has always maintained a balance be- tween business and art, personal style and the requirement of audience in the 30 years of his movie career.
    [Show full text]
  • New Urban Cinema Bauwelt 36 | 2007 Stadtbauwelt 175 | 2007 65
    64 Thema New Urban Cinema Bauwelt 36 | 2007 StadtBauwelt 175 | 2007 65 Mit dem Abschluss der Verträge über die Rückgabe der britischen Kronkolonie an die der Fernsehsender besaßen die Jungfilmer beachtliche Freihei- Die Abwendung von der Volksrepublik China kommt in dem Volksrepublik China wurde Hongkong Mitte der achtziger Jahre zum Objekt von Dreh- ten. Sie begannen früh in kulturell-politischen Beiträgen so- Filmschaffen einiger Regisseure ganz besonders in der Raum- ziale Themen wie Arbeitslosigkeit, Jugendfragen oder illegale und Architekturdarstellung zur Geltung. Ein wesentliches buchautoren und Regisseuren. Das „New Hongkong Cinema“ machte Raum und Archi- Einwanderung zu behandeln. Mit Beginn ihrer Kino-Karriere Beispiel hierfür ist Mak Tai-wais Film „The Wicked City“ (Yao- tektur zu seinem zentralen Thema, griff über diesen Umweg in die politische Debatte setzten die Regisseure des „New Hongkong Cinema“ die Aus- shou Dushi) aus dem Jahre 1992. Der von Tsui Hark produ- über die Zukunft der Stadt ein und wuchs so in den neunziger Jahren zu einem einandersetzung mit diesen Fragen fort. Nach den britisch-chi- zierte Film basiert auf einer japanischen Comicgeschichte. Die „New Urban Cinema“ heran. Sein erster Vertreter ist Wong Kar Wai, in dessen Werk nesischen Verträgen im Jahre 1984 wurde im „New Hongkong Handlung des Comics wird in Maks Film nach Hongkong ver- Cinema“ die Stadt Hongkong selbst zum Thema. Die damit legt; sie zeigt, wie die Stadt kurz vor der Souveränitätsüber- Hongkong letzten Endes stets die Hauptrolle spielt. einhergehende Suche nach einer eigenständigen Identität gabe 1997 von Monstern belagert wird. Das von I.M. Pei ent- führte insbesondere bei den Filmemachern der achtziger Jahre worfene Bürogebäude der „Bank of China“ ist das Hauptquartier zu einem „China syndrome“, wie es Stephen Teo bezeichnete.
    [Show full text]
  • Ashes of Time (Redux)
    keswick film ashes of time Spring club Season 2009 a world of cinema (redux) Written and Directed by Wong Kar Wai,; Director of Photography Christopher Doyle Starring: Leslie Cheung, Brigitte Lin. Tony Leung Chui Wai, Tony Leung Ka Fai, and Maggie Cheung China/Hong Kong, 2008, 93 minutes. Directors Notes “The flag is still. The wind is calm. It’s the heart of man that is in turmoil!” (Buddhist canon) In the winter of 1992, someone suggested that I make a film adaptation of Louis Cha’s famous martial-arts novel The Eagle-Shooting Heroes. I re-read all four volumes of it and finally decided not to do an adaptation but instead to develop a new story about the early years of two of its main characters, Dongxie (Lord of the East) and Xidu (Lord of the West). I chose these two because they have exactly opposite personalities; you could think of one as the antithesis of the other. I tried to depart a little from the traditional martial-arts genre. Instead of treating these characters as heroes, I wanted to see them as ordinary people – at the stage before they became heroes. I knew where these characters were going to end up and there was nothing I could do to change it. This imbued both me and the film with a sense of fatalism. Over the years, I’ve come to realize that there are several different versions of ASHES OF TIME in circulation, some approved by me, some not, as well as the fact that the film was never released in much of the world including the United States.
    [Show full text]
  • Chungking Express.Pdf
    Chungking Express BEFORE VIEWING – BEFORE READING SYNOPSIS TASK ■ With a partner, discuss and record your expectations of a film called Chungking Express which has been made in Hong Kong. After viewing the film you should compare notes with your partner to see how many of your expectations have been confirmed or contradicted. SYNOPSIS Cult Hong Kong filmmaker Wong Kar Wai’s Chungking Express is a stylish combination of romance, dead-pan comedy and film noir set in and around Hong Kong’s notorious Chunking Mansions, a complex of shabby hostels, bars and clubs teaming with illegal immigrants. The story centres on a small takeaway stall, the Midnight Express, which is frequented by two lovelorn Cops (223, Takeshi Kaneshiro and 633, Tony Leung Chiu Wai). They become involved with a mysterious drug dealer dressed in a blonde wig and sunglasses (Brigitte Lin), on the run from drug traffickers, and an impulsive young dreamer (Faye Wong) who works behind the counter of the Midnight Express. The central concerns of the film are identity and our reluctance to show, or to accept, who we truly are. The Brigitte Lin character wears a wig and sunglasses to hide her true self. Cop 223 refuses to accept the fact that his girlfriend has left him. The waitress (Faye Wong) secretly cleans the apartment for Cop 633 who avoids reading a goodbye note from his ex- girlfriend and is unable to realise that his apartment is getting cleaner and cleaner. BACKGROUND FOR WONG KAR WAI Wong Kar Wai belongs to the mid-1980s Second New Wave of Hong Kong filmmakers who continued to develop the innovative approaches initiated by the original Hong Kong New Wave, which included directors such as Tsui Hark, Ann Hui and Patrick Tam.
    [Show full text]
  • Comrades, Almost a Love Story., By: Elley, Derek, Variety Movie Reviews, 3/9/1997 Database: Film & Television Literature Index with Full Text
    EBSCOhost 07/12/2007 06:02 PM Sign In | Folder | Preferences | New Features! | Ask-A-Librarian | Help Basic Advanced Visual Choose Search Search Search Databases New Search Keyword | Publications | Cited References | Indexes 1 of 1 Result List | Refine Search Print E-mail Save Export Add to folder View: Citation HTML Full Text Title: Comrades, Almost a Love Story., By: Elley, Derek, Variety Movie Reviews, 3/9/1997 Database: Film & Television Literature Index with Full Text Comrades, Almost a Love Story Find More Like This All but the hardest hearts are likely to warm to "Comrades, Almost a Love Story," a beautifully played will-they-won't-they romantic dramedy with plenty to say about the emigre Chinese experience and mainlanders' misperceptions about Hong Kong. Toplined by knockout performances by Maggie Cheung and local pop star Leon Lai, this richly observed, bighearted pic was one of the surprise hits of the Berlin fest's Panorama section, and --- especially in the year of H.K.'s handover to the mainland --- could turn a few dollars in overseas release by a distrib prepared to give it special handling. Movie is the finest to date by young producer-director Peter Chan, 34, whose seven helmed items - -- several with former writing colleague Lee Chi-ngai --- are virtually unknown in the West, aside from the gender-busting comedy "He's a Woman, She's a Man." Enterprising fests and cinematheques should consider a retro devoted to Chan's well-scripted ensemblers, most of which mix a European sensibility for character with H.K. energy and optimism, within commercial formats.
    [Show full text]
  • Download Heroic Grace: the Chinese Martial Arts Film Catalog (PDF)
    UCLA Film and Television Archive Hong Kong Economic and Trade Office in San Francisco HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Front and inside cover: Lau Kar-fai (Gordon Liu Jiahui) in THE 36TH CHAMBER OF SHAOLIN (SHAOLIN SANSHILIU FANG ) present HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Heroic Grace: The Chinese Martial Arts Film catalog (2003) is a publication of the UCLA Film and Television Archive, Los Angeles, USA. Editors: David Chute (Essay Section) Cheng-Sim Lim (Film Notes & Other Sections) Designer: Anne Coates Printed in Los Angeles by Foundation Press ii CONTENTS From the Presenter Tim Kittleson iv From the Presenting Sponsor Annie Tang v From the Chairman John Woo vi Acknowledgments vii Leaping into the Jiang Hu Cheng-Sim Lim 1 A Note on the Romanization of Chinese 3 ESSAYS Introduction David Chute 5 How to Watch a Martial Arts Movie David Bordwell 9 From Page to Screen: A Brief History of Wuxia Fiction Sam Ho 13 The Book, the Goddess and the Hero: Sexual Bérénice Reynaud 18 Aesthetics in the Chinese Martial Arts Film Crouching Tiger, Hidden Dragon—Passing Fad Stephen Teo 23 or Global Phenomenon? Selected Bibliography 27 FILM NOTES 31-49 PROGRAM INFORMATION Screening Schedule 51 Print & Tape Sources 52 UCLA Staff 53 iii FROM THE PRESENTER Heroic Grace: The Chinese Martial Arts Film ranks among the most ambitious programs mounted by the UCLA Film and Television Archive, taking five years to organize by our dedicated and intrepid Public Programming staff.
    [Show full text]
  • The Filmic Bodies of Wong Kar-Wai
    The Filmic Bodies of Wong Kar-wai Louise Malcolm A Thesis Submitted in Fulfilment of the Requirements for the Degree of Doctor of Philosophy School of Arts and Media University ofNew South Wales August 2013 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Malcolm First name: Louise Other name/s: Anne Abbreviation for degree as given in the University calendar: PhD School: Arts and Media Faculty: Arts and Social Sciences Title: The Filmic Bodies of Wong Kar-wai Abstract 350 words maximum: (PLEASE TYPE) This thesis analyses the films of Wong Kar-wai as important examples of affective film performance. It ~xp l ores the particular performative and cinematic techniques found in his work. Through the close examination of these techniques this thesis suggests how Wong creates conditions for spectators to engage bodily with performing bodies on screen. The thesis treats film performance as a matter of film style, seeing it as always constructed through combinations of the performing body, the camera and the edit. It approaches performance on film as a filmic body; an amalgam of performative and cinematic techniques inextricably melded together. This thesis sets up fragmentation as the key trait of Wong's film style, central to his filmic bodies and to the way spectators may engage affectively with them. In particular, the thesis addresses how multiple levels of fragmentation, both performative and cinematic, operate in concert. Visual, temporal and spatial tragmentation are analysed as central components of Wong's filmic bodies in this regard. Further, this stylistic analysis suggests a notion of affective intertextuality, based on stylistic connections between his films, as vital to how spectators can engage bodily with his filmic bodies.
    [Show full text]
  • The Mind-Game Film Thomas Elsaesser
    9781405168625_4_001.qxd 8/10/08 11:58 AM Page 13 1 The Mind-Game Film Thomas Elsaesser Playing Games In December 2006, Lars von Trier’s The Boss of It All was released. The film is a comedy about the head of an IT company hiring a failed actor to play the “boss of it all,” in order to cover up a sell-out. Von Trier announced that there were a number of (“five to seven”) out-of-place objects scattered throughout, called Lookeys: “For the casual observer, [they are] just a glitch or a mistake. For the initiated, [they are] a riddle to be solved. All Lookeys can be decoded by a system that is unique. [. .] It’s a basic mind game, played with movies” (in Brown 2006). Von Trier went on to offer a prize to the first spectator to spot all the Lookeys and uncover the rules by which they were generated. “Mind-game, played with movies” fits quite well a group of films I found myself increasingly intrigued by, not only because of their often weird details and the fact that they are brain-teasers as well as fun to watch, but also because they seemed to cross the usual boundaries of mainstream Hollywood, independent, auteur film and international art cinema. I also realized I was not alone: while the films I have in mind generally attract minority audiences, their appeal manifests itself as a “cult” following. Spectators can get passionately involved in the worlds that the films cre- ate – they study the characters’ inner lives and back-stories and become experts in the minutiae of a scene, or adept at explaining the improbabil- ity of an event.
    [Show full text]
  • Films Shown by Series
    Films Shown by Series: Fall 1999 - Winter 2006 Winter 2006 Cine Brazil 2000s The Man Who Copied Children’s Classics Matinees City of God Mary Poppins Olga Babe Bus 174 The Great Muppet Caper Possible Loves The Lady and the Tramp Carandiru Wallace and Gromit in The Curse of the God is Brazilian Were-Rabbit Madam Satan Hans Staden The Overlooked Ford Central Station Up the River The Whole Town’s Talking Fosse Pilgrimage Kiss Me Kate Judge Priest / The Sun Shines Bright The A!airs of Dobie Gillis The Fugitive White Christmas Wagon Master My Sister Eileen The Wings of Eagles The Pajama Game Cheyenne Autumn How to Succeed in Business Without Really Seven Women Trying Sweet Charity Labor, Globalization, and the New Econ- Cabaret omy: Recent Films The Little Prince Bread and Roses All That Jazz The Corporation Enron: The Smartest Guys in the Room Shaolin Chop Sockey!! Human Resources Enter the Dragon Life and Debt Shaolin Temple The Take Blazing Temple Blind Shaft The 36th Chamber of Shaolin The Devil’s Miner / The Yes Men Shao Lin Tzu Darwin’s Nightmare Martial Arts of Shaolin Iron Monkey Erich von Stroheim Fong Sai Yuk The Unbeliever Shaolin Soccer Blind Husbands Shaolin vs. Evil Dead Foolish Wives Merry-Go-Round Fall 2005 Greed The Merry Widow From the Trenches: The Everyday Soldier The Wedding March All Quiet on the Western Front The Great Gabbo Fires on the Plain (Nobi) Queen Kelly The Big Red One: The Reconstruction Five Graves to Cairo Das Boot Taegukgi Hwinalrmyeo: The Brotherhood of War Platoon Jean-Luc Godard (JLG): The Early Films,
    [Show full text]
  • Jeremy Tambling Hong Kong University Press the University of Hong Kong Pokfulam Road Hong Kong
    Jeremy Tambling Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2003 Hong Kong University Press Hardback edition first published 2003 Paperback edition first published 2003, reprinted 2006 ISBN 978-962-209-588-5 (Hardback) ISBN 978-962-209-589-2 (Paperback) 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 Condor Production Ltd., Hong Kong, China Contents Series Preface vii Preface x 1 Introduction: Approaching the Film 1 2 Happy Together and Allegory 9 3 Contexts: Why Buenos Aires? 2 4 Contexts: The Road Movie 33 5 Reading the Film 39 6 Happy Together and Homosexuality 65 7 Happy Together, Hong Kong and Melancholy 77 8 Epilogue: Happy Together and In the Mood for Love 93 vi CONTENTS Notes 105 Filmography 115 Bibliography 119 1 Introduction: Approaching the Film In May 1997, just before Hong Kong passed from British colonial rule to the People’s Republic of China — the event of June 30 which turned the colony into an S.A.R. (Special Administrative Region) — Hong Kong director Wong Kar-wai released the film Happy Together (春光乍洩). Wong Kar-wai was born in Shanghai in 1958 but he was brought up in Hong Kong and began film-making — if a beginning can be located at this point without being arbitrary about his previous work on films — with As Tears Go By (1988).
    [Show full text]