DIARI DEL FESTIVAL Dimarts 12 Octubre 2010 2

Total Page:16

File Type:pdf, Size:1020Kb

DIARI DEL FESTIVAL Dimarts 12 Octubre 2010 2 Dimarts 12 d’Octubre de 2010 · Número 6 Pàg. 05 black death Pàg.Pàg. 0707 iid WWea aNmayorNt tto to be bequieroa soldier a soldier ser Pàg. 08 sruPe Pàg. 09 outraGe www.sitgesfilmfestival.com DIARI DEL FESTIVAL Dimarts 12 octubre 2010 2 INFO TICKET ENTRADES (IVA inclòs) VENDA ANTICIPADA 8€ Secció Oficial Fantàstic a Competició – Online: www.telentrada.com (Cost de Sitges 43 / Secció Oficial Fantàstic Panorama distribució: 0,90€) / Secció Oficial Noves Visions / Secció Casa Telèfon: 902 101 212 (Cost de distribució: Àsia / Secció Anima’t / Midnight X-Treme / 1,5€) Secció Seven Chances / Sessions Especials Oficines de Caixa Catalunya. (Cost de 6€ Retrospectives i Homenatges distribució: 2€) 7€ Sessions de curts d’animació a competició Les entrades adquirides a través de Tel- 10€ Programa doble / Maratons de 3 o més Entrada per a les projeccions de l’Auditori pel·lícules / Focus 3D s’hauran de recollir a la taquilla de l’Hotel 12€ Gales d’Inauguració i Cloenda / Melià ubicada a la Sala Tramuntana. Les Maratons del dia 17 d’octubre entrades adquirides a través de Tel-Entrada 4€ Sitges Fòrum (Classes magistrals) per a les projeccions del Prado i el Retiro s’hauran de recollir a la taquilla de l’edifici Miramar. ENTRADES ESPECIALS (IVA inclòs) L’Abonament Matinée només es podrà Abonament Matinée: 99€ imprimir als caixers de Caixa Catalunya. Vàlid per accedir a les sessions de l’Auditori, Diàriament s’hauran de recollir les entrades durant tot el Festival, en la franja de les pel mateix dia presentant l’Abonament imprès. 10h-12h-15h* (caps de setmana inclòs). El pots comprar fins al 6 d’octubre només L’acreditació de Butaca VIP només es podrà a través de Tel-Entrada! imprimir als caixers de Caixa Catalunya i s’haurà bescanviar per una acreditació vàlida Butaca VIP: 295€ per a totes les sessions de l’Auditori a la La manera més còmoda de no perdre’t cap taquilla del Melià. pel·lícula i sempre des de la teva butaca preferent! Tindràs la teva pròpia acreditació i podràs gaudir de totes les sessions de TAQUILLES DEL FESTIVAL l’Auditori durant tots els dies del Festival, incloses la Inauguració, la Cloenda i la Es podran adquirir entrades per a tots els Maratons de l’últim dia. La pots comprar fins cinemes i sessions a: al 6 d’octubre només a través de Tel-Entrada! Taquilla Hotel Melià (Sala Tramuntana) Localitat Numerada (LN) C/ de Ramon Dalmau, s/n Algunes sessions de l’Auditori disposen d’un Del 7al 17 d’octubre nombre limitat de butaques numerades. Amb La taquilla obrirà una hora abans de l’inici de aquesta entrada, per 2€ més, t’estalviaràs la primera sessió de pagament de l’Auditori i de fer cua a les sessions més esperades tancarà a l’inici de l’última sessió. de l’Auditori (consulta a la programació les sessions LN). Taquilla Edifici Miramar C/ Davallada, 12 Del 7al 17 d’octubre DESCOMPTES FANTÀSTICS** La taquilla obrirà una hora abans de l’inici de Descompte 20: a partir de la compra de 20 la primera sessió de pagament del Prado i del entrades per a pel·lícules diferents s’aplicarà Retiro i tancarà a l’inici de l’última sessió. un descompte del 20%. Descompte 10: a partir de la compra de 10 IMPORTANT entrades per a pel·lícules diferents s’aplicarà S’accepta pagament amb Visa. un descompte del 10%. Es donarà prioritat a la venda d’entrades per a INFO TRANSPORTS les sessions immediates. BUS DIÜRN I NOCTURN A – DES DE VILANOVA I LA GELTRÚ CARNETS AMB DESCOMPTE ** El Festival no és responsable dels possibles BCN (R.Universitat) – Sitges (zona Oasis): Primer TREN 20% de descompte en la compra d’entrades Queda prohibit l’accés a la sala un cop canvis d’horaris d’aquests serveis de transports. bus: 7:20h / Últim bus: 01:55h Sitges - Vilanova: Primer tren 06:21 / Últim tren pels clients de Caixa Catalunya (només començada la sessió. Els possibles retards en les projeccions del festival Sitges (zona Oasis) – Barcelona (Pl. Catalunya): 00:51 aplicable a la venda anticipada). 20% de no afectaran a l’horari dels següents transports: Primer bus: 5:55h / Últims busos: 23:45h, 1:10h, Vilanova – Sitges: Primer tren 04:42 / Últim tren descompte en la venda anticipada i a les No s’admetran canvis ni devolucions excepte 3:02h 22:19 taquilles pels titulars de Carnet Biblioteques en casos de canvi de programació o suspensió A – DES DE BARCELONA Consulteu tots els horaris, parades i preus a la Per a més informació consulteu www.renfe.es CBB, Carnet Jove, Targeta Cinesa Card, Club de passi per part del Festival. Si és així, la TREN companyia Monbús 938 937 060 / www.monbus.cat Casa Àsia, Club Fnac Oci i Cultura, Socis devolució de l’import o el bescanvi per una BCN Sants – Sitges: Primer tren: 5:45h / Últim BUS DIÜRN I NOCTURN Univers de la UPC, Targeta Amiga Desigual, altra entrada s’haurà d’efectuar a les mateixes tren 00:15h COTXE Sortides des de l’estació de tren. Horaris i preus: Majors de 65 anys, Club TR3SC, City Deluxe taquilles on ha estat realitzada la compra. Sitges – BCN Sants: Primer tren: 4:48h / Últim Podeu circular per l’autopista C-32 en direcció Autocars Plana: 977 354 445/ www. Card, Club UOC i Racc Master. En el cas d’haver efectuat la compra per tren: 22:26h Sitges i agafar la sortida 31 (Sitges Nord), la autocarsplana.com Tel-Entrada la devolució de l’import s’haurà NOVETAT, TREN FANTÀSTIC! Únicament a la 1:30h sortida 30 (Sitges Centre) o bé la sortida 29 (Sant Monbús: 938 937 060 / www.monbus.cat Els descomptes no són acumulables. El titular de tramitar a qualsevol oficina de Caixa de la matinada, del 7 al 17 d’octubre (ambdós Pere de Ribes). Aquesta via ràpida travessa els haurà de presentar a la taquilla el carnet de Catalunya. Aquestes devolucions s’efectuaran inclosos), tren directe sense parades Sitges túnels del Garraf i comporta un peatge. COTXE soci i el DNI. en els 10 dies posteriors a l’anul·lació de la Barcelona Sants. Podeu circular per l’autopista C-32 i agafar la projecció. Preu del bitllet: 3€ (aquest trajecte). Vàlids els També podeu sortir de l’autopista C-32 per la sortida 29 (Sant Pere de Ribes) o bé la sortida 30 * excepte Sessions 3D i Maratons del dia 17 abonaments de RENFE i ATM. sortida Castelldefels Platja i circular per la C-31 o (Sitges Centre). ** no aplicables a Inauguració, Cloenda, El Tren Fantàstic sortirà puntualment a la 1:30h carretera de les Costes en sentit Sitges fins a entrar Maratons del dia 17, Abonament Matinée, sense excepcions. a la vila pel barri d’Aiguadolç. Aquesta possibilitat BUS URBÀ DE SITGES Butaca VIP i Localitat Numerada. Per a més informació: 902 41 00 41 / també dóna accés a Les Botigues de Sitges i al Vallpineda, Terramar i Llevantina. Horaris i preus: www.rodaliesdecatalunya.cat poble de Garraf i no comporta cap peatge. Sarfa 902 302 025 / www.sarfa.com DIARI DEL FESTIVAL 3 Dimarts 12 octubre 2010 Luis Berdejo i Ivana Baquero, director i actriu de La otra hija. Ola Simonsson i Johannes Stjarne Nilsson, el duet creador de Sound of Noise. Jalmari Helander, director de Rare Exports: A Christmas Tale. El show de Yoshihiro Nishimura. Richard Kelly recull la Màquina del Temps. Brad Anderson torna a Sitges amb Vanishing on 7th Street. DIARI DEL FESTIVAL Dimarts 12 octubre 2010 4 S.O. FANTÀSTIC COMPETICIÓ Auditori 01:00 Y oSHIHIRo nISHImURA: ToKYo GoRE mASTER Bodyguards and Assassins 13 CARRERS (DE HONG KONG) EL fabRIcAnT DE monSTRES va sorgir una de les qüestions La nit abans, durant la presenta- principals de la xerrada, que feia ció de la marató Japan Madness, referència a la diferència entre el cineasta i mag del FX Yoshihiro l’èxit que aquests films tenen en- Nishimura va tenir l’ocurrència tre el públic especialitzat que as- de treure’s la roba, convertint-se sisteix als festivals i la discreta en la primera (creiem) persona rebuda que tenen al seu país na- que es queda pràcticament des- tal: “Als anys vuitanta va haver-hi pullada damunt de l’escenari del un assassinat al Japó i, quan la molt respectable Auditori Melià policia va entrar a casa de l’as- Una pel·lícula que reuneixi un gra- la vida. Un cop desenvolupada tota l’orgull nacional, glorificant el sacri- (si no mireu la pàgina 3 d’aquest sassí, va trobar moltes pel·lícules pat d’estrelles hongkoneses com la trama política i definits els perso- fici dels guardaespatlles que prote- mateix diari). A la seva master- de gènere. Des de llavors el gore ara Donnie Yen, Nicholas Tse, Tony natges, Chan concentra en l’última geixen Sun Yat-sen: cadascuna de class del dia següent no es va està molt mal vist allà i fins i tot Leung Ka-fai, Leon Lai, Simon Yam, hora el gran espectacle d’acció del les estrelles té el seu moment de desprendre de cap peça de la el públic jove ha perdut interès Eric Tsang, Jackie Cheung i Fan film, una llarguíssima seqüència lluïment, en unes baralles amb ca- seva acolorida vestimenta, però en ell”. “Potser -va afegir- si els Bingbing ha de ser, per força, una en temps real que concentra tots bles tremendament espectaculars sí va agafar una noia del públic japonesos veuen que aquestes superproducció amb una ambició els enfrontaments entre els assas- que els permeten mostrar la seva per, gràcies a la seva destresa pel·lícules agraden a l’estranger fora mida.
Recommended publications
  • Notes for Chapter Re-Drafts
    Making Markets for Japanese Cinema: A Study of Distribution Practices for Japanese Films on DVD in the UK from 2008 to 2010 Jonathan Wroot PhD Thesis Submitted to the University of East Anglia For the qualification of PhD in Film Studies 2013 1 Making Markets for Japanese Cinema: A Study of Distribution Practices for Japanese Films on DVD in the UK from 2008 to 2010 2 Acknowledgements Thanks needed to be expressed to a number of people over the last three years – and I apologise if I forget anyone here. First of all, thank you to Rayna Denison and Keith Johnston for agreeing to oversee this research – which required reining in my enthusiasm as much as attempting to tease it out of me and turn it into coherent writing. Thanks to Mark Jancovich, who helped me get started with the PhD at UEA. A big thank you also to Andrew Kirkham and Adam Torel for doing what they do at 4Digital Asia, Third Window, and their other ventures – if they did not do it, this thesis would not exist. Also, a big thank you to my numerous other friends and family – whose support was invaluable, despite the distance between most of them and Norwich. And finally, the biggest thank you of all goes to Christina, for constantly being there with her support and encouragement. 3 Abstract The thesis will examine how DVD distribution can affect Japanese film dissemination in the UK. The media discourse concerning 4Digital Asia and Third Window proposes that this is the principal factor influencing their films’ presence in the UK from 2008 to 2010.
    [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]
  • Donnie Yen's Kung Fu Persona in Hypermedia
    Studies in Media and Communication Vol. 4, No. 2; December 2016 ISSN 2325-8071 E-ISSN 2325-808X Published by Redfame Publishing URL: http://smc.redfame.com Remediating the Star Body: Donnie Yen’s Kung Fu Persona in Hypermedia Dorothy Wai-sim Lau1 113/F, Hong Kong Baptist University Shek Mun Campus, 8 On Muk Street, Shek Mun, Shatin, Hong Kong Correspondence: Dorothy Wai-sim Lau, 13/F, Hong Kong Baptist University Shek Mun Campus, 8 On Muk Street, Shek Mun, Shatin, Hong Kong. Received: September 18, 2016 Accepted: October 7, 2016 Online Published: October 24, 2016 doi:10.11114/smc.v4i2.1943 URL: http://dx.doi.org/10.11114/smc.v4i2.1943 Abstract Latest decades have witnessed the proliferation of digital media in Hong Kong action-based genre films, elevating the graphical display of screen action to new levels. While digital effects are tools to assist the action performance of non-kung fu actors, Dragon Tiger Gate (2006), a comic-turned movie, becomes a case-in-point that it applies digitality to Yen, a celebrated kung fu star who is famed by his genuine martial dexterity. In the framework of remediation, this essay will explore how the digital media intervene of the star construction of Donnie Yen. As Dragon Tiger Gate reveals, technological effects work to refashion and repurpose Yen’s persona by combining digital effects and the kung fu body. While the narrative of pain and injury reveals the attempt of visual immediacy, the hybridized bodily representation evokes awareness more to the act of representing kung fu than to the kung fu itself.
    [Show full text]
  • The Thin Red Line
    THE THIN RED LINE by Terrence Malick Based on the Novel by James Jones USE FOR EDUCATIONAL PURPOSES ONLY To the Memory of James Jones And Those Who Served With Him They Live With Us It was an act of love. Those men on the line were my family, my home. They were closer to me than I can say, closer than my friends had been or ever would be. They had never let me down, and I could never do it to them. I had to be with them, rather than let them down and me live with the knowledge that I might have saved them. Men, I now know, do not fight for flag or country, for the Marine Corps or glory or any other abstraction. They fight for one another. Any man in combat who lacks comrades who will die for him, or for whom he is willing to die, is not a man at all. He is truly damned. William Manchester, the journalist, writing in Goodbye Darkness about his experience on Guadalcanal. (Like Fife, he walked away from the safety of a hospital in a secure area to return to his company in combat.) 2. COMPANY ROSTER (Partial) "C" CO, UMTH INF - Stein, James I, Capt, "C" Co Cmdg - Band, George R, 1st Lt, Exec - Whyte, William L, 2nd Lt, 1st P1 Cmdg - Blane, Thomas C, 2nd Lt, 2ns P1 Cmdg - Gore, Alberto O, 2nd Lt, 3rd P1 Cmdg - Culp, Robert (NMI), 2nd Lt, 4th (Weapons) P1 Cmdg EM 1st/Sgt - Welsh, Edward (NMI) S/Sgts - Grove, Ldr 1st P1 - Keck, Ldr 2nd P1 - MacTae, Supply - Stack, Ldr 3rd P1 - Storm, Mess Sgts - Becker, Sqd Ldr Rfl - Dranno, Co Clk - McCron, Sqd Ldr Rfl 3.
    [Show full text]
  • Representation of Females As Victims in Hong Kong Crime Films (2003-2015)
    REPRESENTATION OF FEMALES AS VICTIMS IN HONG KONG CRIME FILMS (2003-2015) Perspectives from One Nite in Mongkok, Protégé and The Stool Pigeon TINGTING HU (胡婷婷) MA. Media, Loughborough University, UK, 2011 BA. Arts, Shanghai Theatre Academy, China, 2010 This thesis is submitted for the degree of Master of Research Department of Media, Music, Communication and Cultural Studies Faculty of Arts Macquarie University, Sydney December 25, 2015 MRES Thesis 2015 Tingting HU (ID: 43765858) TABLE OF CONTENTS ABSTRACT ........................................................................................................................ iii CERTIFICATE OF AUTHORSHIP/ORIGINALITY .................................................. iv ACKNOWLEDGMENTS .................................................................................................. v CHAPTER 1 INTRODUCTION ....................................................................................... 1 CHAPTER 2 FEMINISM AND HONG KONG CRIME FILMS ................................. 7 Feminism and Film Studies .................................................................................................. 7 The Western Context ......................................................................................................... 7 The Chinese Context ....................................................................................................... 11 Crime Films and Violence Against Women ....................................................................... 15 Crime Films ...................................................................................................................
    [Show full text]
  • Idioms-And-Expressions.Pdf
    Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context.
    [Show full text]
  • Indian Horse
    Contents 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25 | 26 | 27 | 28 | 29 | 30 | 31 | 32 | 33 | 34 | 35 | 36 | 37 | 38 | 39 | 40 | 41 | 42 | 43 | 44 | 45 | 46 | 47 | 48 | 49 | 50 | 51 | 52 | 53 | 54 | 55 | 56 Acknowledgements | Copyright For my wife, Debra Powell, for allowing me to bask in her light and become more. I come into the peace of wild things who do not tax their lives with forethought of grief. I come into the presence of still water. And I feel above me the day-blind stars waiting with their light. For a time I rest in the grace of the world, and am free. WENDELL BERRY, “The Peace of Wild Things” 1 My name is Saul Indian Horse. I am the son of Mary Mandamin and John Indian Horse. My grandfather was called Solomon so my name is the diminutive of his. My people are from the Fish Clan of the northern Ojibway, the Anishinabeg, we call ourselves. We made our home in the territories along the Winnipeg River, where the river opens wide before crossing into Manitoba after it leaves Lake of the Woods and the rugged spine of northern Ontario. They say that our cheekbones are cut from those granite ridges that rise above our homeland. They say that the deep brown of our eyes seeped out of the fecund earth that surrounds the lakes and marshes. The Old Ones say that our long straight hair comes from the waving grasses that thatch the edges of bays.
    [Show full text]
  • JAPAN CUTS: Festival of New Japanese Film Announces Full Slate of NY Premieres
    Media Contacts: Emma Myers, [email protected], 917-499-3339 Shannon Jowett, [email protected], 212-715-1205 Asako Sugiyama, [email protected], 212-715-1249 JAPAN CUTS: Festival of New Japanese Film Announces Full Slate of NY Premieres Dynamic 10th Edition Bursting with Nearly 30 Features, Over 20 Shorts, Special Sections, Industry Panel and Unprecedented Number of Special Guests July 14-24, 2016, at Japan Society "No other film showcase on Earth can compete with its culture-specific authority—or the quality of its titles." –Time Out New York “[A] cinematic cornucopia.” "Interest clearly lies with the idiosyncratic, the eccentric, the experimental and the weird, a taste that Japan rewards as richly as any country, even the United States." –The New York Times “JAPAN CUTS stands apart from film festivals that pander to contemporary trends, encouraging attendees to revisit the past through an eclectic slate of both new and repertory titles.” –The Village Voice New York, NY — JAPAN CUTS, North America’s largest festival of new Japanese film, returns for its 10th anniversary edition July 14-24, offering eleven days of impossible-to- see-anywhere-else screenings of the best new movies made in and around Japan, with special guest filmmakers and stars, post-screening Q&As, parties, giveaways and much more. This year’s expansive and eclectic slate of never before seen in NYC titles boasts 29 features (1 World Premiere, 1 International, 14 North American, 2 U.S., 6 New York, 1 NYC, and 1 Special Sneak Preview), 21 shorts (4 International Premieres, 9 North American, 1 U.S., 1 East Coast, 6 New York, plus a World Premiere of approximately 12 works produced in our Animation Film Workshop), and over 20 special guests—the most in the festival’s history.
    [Show full text]
  • Hansard (English)
    LEGISLATIVE COUNCIL ─ 26 January 2011 5291 OFFICIAL RECORD OF PROCEEDINGS Wednesday, 26 January 2011 The Council met at Eleven o'clock MEMBERS PRESENT: THE PRESIDENT THE HONOURABLE JASPER TSANG YOK-SING, G.B.S., J.P. THE HONOURABLE ALBERT HO CHUN-YAN IR DR THE HONOURABLE RAYMOND HO CHUNG-TAI, S.B.S., S.B.ST.J., J.P. THE HONOURABLE LEE CHEUK-YAN DR THE HONOURABLE DAVID LI KWOK-PO, G.B.M., G.B.S., J.P. THE HONOURABLE FRED LI WAH-MING, S.B.S., J.P. DR THE HONOURABLE MARGARET NG THE HONOURABLE JAMES TO KUN-SUN THE HONOURABLE CHEUNG MAN-KWONG THE HONOURABLE CHAN KAM-LAM, S.B.S., J.P. THE HONOURABLE MRS SOPHIE LEUNG LAU YAU-FUN, G.B.S., J.P. THE HONOURABLE LEUNG YIU-CHUNG DR THE HONOURABLE PHILIP WONG YU-HONG, G.B.S. 5292 LEGISLATIVE COUNCIL ─ 26 January 2011 THE HONOURABLE WONG YUNG-KAN, S.B.S., J.P. THE HONOURABLE LAU KONG-WAH, J.P. THE HONOURABLE LAU WONG-FAT, G.B.M., G.B.S., J.P. THE HONOURABLE MIRIAM LAU KIN-YEE, G.B.S., J.P. THE HONOURABLE EMILY LAU WAI-HING, J.P. THE HONOURABLE ANDREW CHENG KAR-FOO THE HONOURABLE TIMOTHY FOK TSUN-TING, G.B.S., J.P. THE HONOURABLE TAM YIU-CHUNG, G.B.S., J.P. THE HONOURABLE ABRAHAM SHEK LAI-HIM, S.B.S., J.P. THE HONOURABLE LI FUNG-YING, S.B.S., J.P. THE HONOURABLE TOMMY CHEUNG YU-YAN, S.B.S., J.P. THE HONOURABLE FREDERICK FUNG KIN-KEE, S.B.S., J.P.
    [Show full text]
  • “China Factor” in Contemporary Hong Kong Genre Cinema
    Concentric: Literary and Cultural Studies 46.1 March 2020: 11-37 DOI: 10.6240/concentric.lit.202003_46(1).0002 Re-Negotiations of the “China Factor” in Contemporary Hong Kong Genre Cinema Ting-Ying Lin Department of Information and Communication Tamkang University, Taiwan Abstract Given the long-existing and multifaceted negotiations of the “China factor” in Hong Kong film history, this article centers on the political function of genre films by exploring how contemporary Hong Kong filmmakers utilize filmmaking as a flexible strategy to re-negotiate and reflect on the China factor concerning current post-handover political dynamics. By focusing on several recent Hong Kong genre films as case studies, it examines how the China factor is negotiated in Vulgaria (低俗喜劇 Disu xiju, 2012) and The Midnight After (那夜凌晨,我坐上了旺角開往大埔的紅 VAN Naye lingchen, wo zuoshang le Wangjiao kaiwang Dapu de hong van, 2014), considering the politics of languages alongside the imaginary of the disappearance of Hong Kong’s local cultures in the post-handover era. It also highlights two post-Umbrella- Revolution films, Trivisa ( 樹大招風 Shuda zhaofeng, 2016) and The Mobfathers (選老頂 Xuan lao ding, 2016), to explore how the China factor is negotiated in light of the collective anxieties of Hongkongers regarding the handover and controversies in the current electoral system of Hong Kong. By doing so, this article argues that the re-negotiations of the China factor in contemporary Hong Kong genre cinema have become more and more politically reflexive given the increasingly severe political interference of the Beijing sovereignty that has violated the autonomy of Hong Kong, while forming a discourse of resistance of Hongkongers against possible neo- colonialism from the Chinese authorities in the postcolonial city.
    [Show full text]
  • 1. Title: 13 Tzameti ISBN: 5060018488721 Sebastian, A
    1. Title: 13 Tzameti ISBN: 5060018488721 Sebastian, a young man, has decided to follow instructions intended for someone else, without knowing where they will take him. Something else he does not know is that Gerard Dorez, a cop on a knife-edge, is tailing him. When he reaches his destination, Sebastian falls into a degenerate, clandestine world of mental chaos behind closed doors in which men gamble on the lives of others men. 2. Title: 12 Angry Men ISBN: 5050070005172 Adapted from Reginald Rose's television play, this film marked the directorial debut of Sidney Lumet. At the end of a murder trial in New York City, the 12 jurors retire to consider their verdict. The man in the dock is a young Puerto Rican accused of killing his father, and eleven of the jurors do not hesitate in finding him guilty. However, one of the jurors (Henry Fonda), reluctant to send the youngster to his death without any debate, returns a vote of not guilty. From this single event, the jurors begin to re-evaluate the case, as they look at the murder - and themselves - in a fresh light. 3. Title: 12:08 East of Bucharest ISBN: n/a 12:08pm on the 22 December 1989 was the exact time of Ceausescu's fall from power in Romania. Sixteen years on, a provincial TV talk show decides to commemorate the event by asking local heroes to reminisce about their own contributions to the revolution. But securing suitable guests proves an unexpected challenge and the producer is left with two less than ideal participants - a drink addled history teacher and a retired and lonely sometime-Santa Claus grateful for the company.
    [Show full text]
  • Kung Fu Hustle Bluray 720P
    Kung fu hustle bluray 720p click here to download Kung Fu Hustle () p Bluray Free Download. Ganre: Action, Comedy, Crime. IMDB: / MPA: R. Language: English. Available in: p. Screen. In Shanghai, China in the s, a wannabe gangster aspires to join the notorious "Axe Gang" while residents of a housing complex exhibit extraordinary pow. watch matroska. Identifier www.doorway.ru Identifier-ark ark://t7fr47b5n. Kung Fu Hustle Free Movie Download p BluRay. In Shanghai, China in the s, a wannabe hoodlum tries to join the famous “Hatchet Gang” while. Synopsis: In Shanghai, China in the s, a wannabe gangster aspires to join the notorious "Axe Gang" while residents of a housing complex. Kung Fu Hustle () BluRay p MB. Views - Apr 2, - No Comments. Kung Fu Hustle () BluRay p MB. Director Stephen Chow. Quality: BluRay p. Encoder: SHQ@Ganool Source: BluRay p AVC DTS-HD MAADC Size: MB. Download Kung Fu Hustle. Kung Fu Hustle BluRay p 3Audio x AC3 CnSCG 00 57 47 01 01 李东勇. Loading. Kung Fu Hustle (). 99 min|Action, Comedy, Crime|22 Apr Rating: / 10 from , usersMetascore: In Shanghai, China. Download the popular multi language subtitles for Kung Fu Hustle p. www.doorway.ru Bulgarian subtitle (български. Kung Fu Hustle () p BluRay x [Dual Audio] [Hindi DD By Murad Chowdhary. June 6, 0. Share: Previous Article. www.doorway.ru, Gigabyte, 3, Download, Kung Fu Hustle ()p BRrip H [ResourceRG by. Nonton Kung Fu Hustle movie online streaming terbaru dan gratis Film ini dalam kategori , p, p, Action, BluRay, China, Comedy. Download Kung Fu Hustle (ENG) () p BrRip x YIFY via torrent or magnet.
    [Show full text]