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Johnnie to Kei-Fung's
JOHNNIE TO KEI-FUNG’S PTU Michael Ingham Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2009 Michael Ingham ISBN 978-962-209-919-7 All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Pre-Press Ltd. in Hong Kong, China Contents Series Preface vii Acknowledgements xi 1 Introducing the Film; Introducing Johnnie — 1 ‘One of Our Own’ 2 ‘Into the Perilous Night’ — Police and Gangsters 35 in the Hong Kong Mean Streets 3 ‘Expect the Unexpected’ — PTU’s Narrative and Aesthetics 65 4 The Coda: What’s the Story? — Morning Glory! 107 Notes 127 Appendix 131 Credits 143 Bibliography 147 ●1 Introducing the Film; Introducing Johnnie — ‘One of Our Own’ ‘It is not enough to think about Hong Kong cinema simply in terms of a tight commercial space occasionally opened up by individual talent, on the model of auteurs in Hollywood. The situation is both more interesting and more complicated.’ — Ackbar Abbas, Hong Kong Culture and the Politics of Disappearance ‘Yet many of Hong Kong’s most accomplished fi lms were made in the years after the 1993 downturn. Directors had become more sophisticated, and perhaps fi nancial desperation freed them to experiment … The golden age is over; like most local cinemas, Hong Kong’s will probably consist of a small annual output and a handful of fi lms of artistic interest. -
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ON THE SCREEN Premieres Wednesday, January 8 10.10 PM juga adik lelakinya. Di lain sisi, Dex Parios juga berjuang dari rasa traumatis yang ia dapat setelah bertugas sebagai marinir di Afghanistan. Saat itu Premieres, Tuesday ketika ia sedang bertugas sebagai intelijen militer, Dex Parios mengalami ledakan yang membuatnya January 21, 8 PM terluka, dan harus kehilangan orang yang ia cintai. Sementara ia meninggalkan pekerjaannya, ia Sebuah serial televisi Amerika yang pun memutuskan untuk bekerja serabutan demi bertemakan drama kriminal. Dibintangi menghidupi dirinya dan juga adiknya. Hingga oleh Cobie Smulders, Jake Johnson dan pada saatnya, Dex Parios bekerja sebagai Michael Ealy. penyelidik swasta dimana ia bertugas untuk menyelidiki masalah yang tidak bisa dicampuri Teks: Klement Galuh A oleh kepolisian. Dalam perjuangannya tersebut, ia pun mendapat dukungan dari seorang detektif ada serial ini bercerita tentang Dex Parios, bernama Miles Hoffman dan juga Gray McConnel seorang veteran militer cerdas, yang hidup yang mempekerjakan saudara lelaki Dex Parios di P dan berjuang untuk menghidupi dirinya dan bar miliknya. (LMN/MHG/LMN/FIO) 4 Acara “Sacred Sites”, kita diajak untuk mengunjungi tempat-tempat bersejarah yang masih menjadi rahasia dan misteri bagi umat manusia. Kita akan diajak untuk menemukan jawaban-jawaban tersebut melalui acara ini. Teks: Klement Galuh A pakah benar legenda raja Arthur nyata adanya? Pertanyaan tersebut akan dikupas menggunakan A terobosan ilmiah dan penelitian arkeologis untuk membawa kita kepada perspektif baru ke beberapa lokasi religi yang luar biasa, namun juga misterius. Dalam setiap episodenya, acara ini akan berfokus pada satu situs dan mengeksplorasi situs tersebut. Dimulai dari orang-orang yang membangunnya, hingga menjawab pertanyaan mendasar dari orang-orang yang melihat bangunan tersebut. -
Jaarverslag 2006
Jaarverslag 2006 - 2007 International Film Festival Rotterdam (IFFR) toont de nieuwste onafhankelijke en vernieuwende films uit de wereld en is een platform voor actuele filmkunst, opkomend en gevestigd filmtalent en filmgerelateerde kunst. Naast de vertoning van films steunt het filmfestival actief de totstandkoming van auteurscinema en de deskundigheid van filmtalent, onafhankelijke filmindustrie en filmkritiek. Een internationale coproductiemarkt (CineMart), een fonds voor filmmakers in ontwikkelingslanden (Hubert Bals Fonds), trainingprojecten (Rotterdam Lab; Trainee Project for Young Film Critics) en debatten voor filmprofessionals maken deel uit van het filmfestival. Behalve via het filmfestival en de internationale activiteiten van Hubert Bals Fonds en CineMart, zorgt de Stichting Filmfestival Rotterdam er voor dat de kunstzinnige film in Nederland op andere wijzen te zien blijft: via de filmtheaters (Tigers on Tour), op DVD (Tiger Releases), televisie (NPS Wereldcinema) en online (Tigeronline.nl). Op landelijk, regionaal en lokaal niveau brengt IFFR studenten en scholieren in contact met onafhankelijke filmkunst via de Rotterdam Film Course, Meet the Maestro, Filmblik Rotterdam en Hollywood in de Klas. Geselecteerde filmmakers voor de VPRO Tiger Awards Competitie samen op de foto met filmfestivaldirecteur Sandra den Hamer. Juha Koiranen (ROCK’N’ROLL NEVER DIES), Claudio Assis (BOG OF BEASTS), Sandra den Hamer (directeur IFFR), Morten Hartz Kaplers (AFR), Koen Mortier (EX DRUMMER), John Barker (BUNNY CHOW), Rafa Cortés en Alex Brendemühl -
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Humanity 2012 Papers. ~~~~~~ “‘We are all the same, we are all unique’: The paradox of using individual celebrity as metaphor for national (transnational) identity.” Joyleen Christensen University of Newcastle Introduction: This paper will examine the apparently contradictory public persona of a major star in the Hong Kong entertainment industry - an individual who essentially redefined the parameters of an industry, which is, itself, a paradox. In the last decades of the 20th Century, the Hong Kong entertainment industry's attempts to translate American popular culture for a local audience led to an exciting fusion of cultures as the system that was once mocked by English- language media commentators for being equally derivative and ‘alien’, through translation and transmutation, acquired a unique and distinctively local flavour. My use of the now somewhat out-dated notion of East versus West sensibilities will be deliberate as it reflects the tone of contemporary academic and popular scholarly analysis, which perfectly seemed to capture the essence of public sentiment about the territory in the pre-Handover period. It was an explicit dichotomy, with commentators frequently exploiting the notion of a culture at war with its own conception of a national identity. However, the dwindling Western interest in Hong Kong’s fate after 1997 and the social, economic and political opportunities afforded by the reunification with Mainland China meant that the new millennia saw Hong Kong's so- called ‘Culture of Disappearance’ suddenly reconnecting with its true, original self. Humanity 2012 11 Alongside this shift I will track the career trajectory of Andy Lau – one of the industry's leading stars1 who successfully mimicked the territory's movement in focus from Western to local and then regional. -
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. -
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. -
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. -
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. -
Johnnie to Kei-Fung's
JOHNNIE TO KEI-FUNG’S PTU Michael Ingham Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2009 Michael Ingham ISBN 978-962-209-919-7 All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Pre-Press Ltd. in Hong Kong, China Contents Series Preface vii Acknowledgements xi 1 Introducing the Film; Introducing Johnnie — 1 ‘One of Our Own’ 2 ‘Into the Perilous Night’ — Police and Gangsters 35 in the Hong Kong Mean Streets 3 ‘Expect the Unexpected’ — PTU’s Narrative and Aesthetics 65 4 The Coda: What’s the Story? — Morning Glory! 107 Notes 127 Appendix 131 Credits 143 Bibliography 147 ●1 Introducing the Film; Introducing Johnnie — ‘One of Our Own’ ‘It is not enough to think about Hong Kong cinema simply in terms of a tight commercial space occasionally opened up by individual talent, on the model of auteurs in Hollywood. The situation is both more interesting and more complicated.’ — Ackbar Abbas, Hong Kong Culture and the Politics of Disappearance ‘Yet many of Hong Kong’s most accomplished fi lms were made in the years after the 1993 downturn. Directors had become more sophisticated, and perhaps fi nancial desperation freed them to experiment … The golden age is over; like most local cinemas, Hong Kong’s will probably consist of a small annual output and a handful of fi lms of artistic interest. -
Language Management in the People's Republic of China
LANGUAGE AND PUBLIC POLICY Language management in the People’s Republic of China Bernard Spolsky Bar-Ilan University Since the establishment of the People’s Republic of China in 1949, language management has been a central activity of the party and government, interrupted during the years of the Cultural Revolution. It has focused on the spread of Putonghua as a national language, the simplification of the script, and the auxiliary use of Pinyin. Associated has been a policy of modernization and ter - minological development. There have been studies of bilingualism and topolects (regional vari - eties like Cantonese and Hokkien) and some recognition and varied implementation of the needs of non -Han minority languages and dialects, including script development and modernization. As - serting the status of Chinese in a globalizing world, a major campaign of language diffusion has led to the establishment of Confucius Institutes all over the world. Within China, there have been significant efforts in foreign language education, at first stressing Russian but now covering a wide range of languages, though with a growing emphasis on English. Despite the size of the country, the complexity of its language situations, and the tension between competing goals, there has been progress with these language -management tasks. At the same time, nonlinguistic forces have shown even more substantial results. Computers are adding to the challenge of maintaining even the simplified character writing system. As even more striking evidence of the effect of poli - tics and demography on language policy, the enormous internal rural -to -urban rate of migration promises to have more influence on weakening regional and minority varieties than campaigns to spread Putonghua. -
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SSFL PK.V1 – 2016 OCT 1 OF 34 JASMINE A SHANGHAI STREET FILMS PRODUCTION PRODUCED, WRITTEN, & DIRECTED BY DAX PHELAN STARRING JASON TOBIN, EUGENIA YUAN, GLEN CHIN, SARAH LIAN, & BYRON MANN PRODUCED BY STRATTON LEOPOLD, ERIC M. KLEIN, JASON TOBIN, JENNIFER THYM, CHRIS CHAN LEE, MARTIN STRACHAN, GUY LIVNEH PRESS KIT – OCTOBER 17 , 2016 (ver. 1) SSFL PK.V1 – 2016 OCT 2 OF 34 TAGLINE He loved her. LOGLINE JASMINE is a mind-bending psychologicAl thriller About A mAn who’s struggling to come to terms with his grief neArly A yeAr After his wife’s unsolved murder. SHORT SYNOPSIS JASMINE is a mind-bending psychologicAl thriller About A mAn, LeonArd To (JAson Tobin), who’s struggling to come to terms with his grief neArly A yeAr After his wife’s unsolved murder. Hoping to move on with his life, LeonArd reconnects with GrAce (Eugenia YuAn), A womAn from his pAst, And his outlook begins to brighten. But, when A visit to the site of his wife’s murder leAds him to A mysterious interloper (Byron MAnn) who he believes is her killer, LeonArd decides to tAke justice into his own hands And things tAke A stArtling turn towArd the unexpected. LONG SYNOPSIS LeonArd To (JAson Tobin, “Better Luck Tomorrow”) is A mAn who’s struggling to come to terms with the unsolved murder of his beloved wife, JAsmine (GrAce Huang, “OverheArd,” “Cold WAr,” “The MAn With The Iron Fists”). NeArly A yeAr After JAsmine’s deAth, LeonArd returns home to Hong Kong, determined to move on with his life once And for All. -
Tsui Hark Ringo Lam Johnnie To
TSUI HARK LOUIS KOO A legendary producer and director, Tsui Hark is one of Hong Kong cinema’s most influential figures. A pioneer of the 80’s Hong Kong New — AH FAI Wave film movement, Tsui Hark immediately caught the attention of critics with his innovative style and techniques. “Butterfly Murders” Singer, actor, model – Louis Koo is one of Hong Kong’s most popular Chanteur, acteur, mannequin – Louis Koo est l’une des plus grandes (1979) and “Dangerous Encounters: 1st Kind”(1980) pushed the boundary of Hong Kong genre films as well as the limit of the censors. celebrities. He began his film career in the mid-90’s and has acted in stars de Hong Kong. Il commence sa carrière au milieu des années 90 Following the creation of Film Workshop in 1984, he directed and produced a series of successful commercial films that initiated the so-called over 40 movies such as Wilson Yip’s “Bullet Over Summer”(1999), Tsui et joue dans plus de 40 films, dont « Bullets Over Summer » (1999) de “golden era” of Hong Kong cinema. Films including “A Chinese Ghost Story”(1987), “Swordsman”(1990), and “Once Upon A Time In China” Hark’s “Legend of Zu 2”(2001) and Derek Yee’s “Lost In Time”(2003). Wilson Yip, « La Légende de Zu 2 » (2001) de Tsui Hark et « Lost In (1991) established Tsui Hark's dominance across Asia. After directing two films in Hollywood, he returned to Hong Kong in the mid-90’s Over the past couple of years, he has forged a close working relationship Time » (2003) de Derek Yee.