Theory of Ambitions”
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Movie Museum NOVEMBER 2011 COMING ATTRACTIONS
Movie Museum NOVEMBER 2011 COMING ATTRACTIONS THURSDAY FRIDAY SATURDAY SUNDAY MONDAY Hawaii Premiere! THE LIGHTHORSEMEN THE EEL aka Unagi MY LIFE AS A DOG WATER FOR EYE OF THE EAGLE (1987-Australia) (1997-Japan) ELEPHANTS (1997-Denmark) (1985-Sweden) uncut version in widescreen in Japanese with English (2011) Danish w/Eng subtitles & w.s. in Swedish with English subtitles & in widescreen in widescreen 12:00 & 1:30pm only subtitles & in widescreen Directed by Lasse Halström. with Anthony Andrews, with Koji Yakusho. with Robert Pattinson, Reese ------------------------------ Peter Phelps, John Walton, 12:00, 1:45 & 3:30pm 12:15, 2:15, 4:15 & 6:15pm Witherspoon, Christoph TURTLES ARE Tim McKenzie, Jon Blake, ------------------------------ Waltz, Hal Holbrook. SURPRISINGLY FAST ------------------------------ Bill Kerr, Sigrid Thornton. CHICKEN AND DUCK SWIMMERS (2005-Japan) TORA! TORA! TORA! (1970-US/Japan) TALK (1988-HongKong) Directed by Japanese w/Eng subtitles, ws Directed by Francis Lawrence. 3:15 & 5:00pm only English/Japanese w/English Simon Wincer. Cantonese w/English subtitles -------------------------------- subtitles & in widescreen with Michael Hui, Ricky Hui. 12:15, 2:30, 4:45, 7:00 & THE EEL aka Unagi Martin Balsam, Sô Yamamura. 12:30, 3, 5:30 & 8pm 8:30pm ONLY 9:15pm 7:00pm only 5:30 & 8:00pm ONLY 3 4 5 6 7 Movie Museum Movie Museum TELL NO ONE TAMPOPO aka Ne le dis à personne (1985-Japan) Movie Museum Closed Closed (2006-France) in Japanese with English Closed French w/Eng subtitles & w.s. subtitles & in widescreen with François Cluzet. 4:00pm only 4:00pm only ------------------------------------ ------------------------------------ THAT MAN FROM RIO TAMPOPO (1964-Italy/France) (1985-Japan) in French/English/Portuguese in Japanese with English with English subtitles subtitles & in widescreen & in widescreen Directed by Juzo Itami. -
Newsletter 34
Hong Kong Film Archive Quarterly 34 Newsletter 11.2005 Chor Yuen: A Lifetime in the Film Studio Three Glimpses of Takarada Akira Mirage Yellow Willow in the Frost 17 Editorial@ChatRoom English edition of Monographs of HK Film Veterans (3): Chor Yuen is to be released in April 2006. www.filmarchive.gov.hk Hong Kong Film Archive Head Angela Tong Section Heads Venue Mgt Rebecca Lam Takarada Akira danced his way in October. In November, Anna May Wong and Jean Cocteau make their entrance. IT Systems Lawrence Hui And comes January, films ranging from Cheung Wood-yau to Stephen Chow will be revisited in a retrospective on Acquisition Mable Ho Chor Yuen. Conservation Edward Tse Reviewing Chor Yuen’s films in recent months, certain scenes struck me as being uncannily familiar. I realised I Resource Centre Chau Yu-ching must have seen the film as a child though I couldn’t have known then that the director was Chor Yuen. But Research Wong Ain-ling coming to think of it, he did leave his mark on silver screen and TV alike for half a century. Tracing his work brings Editorial Kwok Ching-ling Programming Sam Ho to light how Cantonese and Mandarin cinema evolved into Hong Kong cinema. Today, in the light of the Chinese Winnie Fu film market and the need for Hong Kong cinema to reorient itself, his story about flowers sprouting from the borrowed seeds of Cantonese opera takes on special meaning. Newsletter I saw Anna May Wong for the first time during the test screening. The young artist was heart-rendering. -
Hong Kong Filmmakers Search: Eric TSANG
Eric TSANG 曾志偉(b. 1953.4.14) Actor, Director, Producer A native of Wuhua, Guangdong, Tsang was born in Hong Kong. He had a short stint as a professional soccer player before working as a martial arts stuntman at Shaw Brothers Studio along with Sammo Hung. In 1974, he followed Lau Kar-leung’s team to join Chang Cheh’s film company in Taiwan, and returned to Hong Kong in 1976. Tsang then worked as screenwriter and assistant director for Lau Kar-leung, Sammo Hung and Jackie Chan in companies such as Shaw Brothers and Golden Harvest. Introduced to Karl Maka by Lau, Tsang and Maka co-wrote the action comedy Dirty Tiger, Crazy Frog! in 1978. Tsang made his directorial debut next year with The Challenger (1979). In 1980, Tsang was invited by Maka to join Cinema City. He became a member of the ‘Team of Seven’, participating in story creation. He soon directed the record shattering Aces Go Places (1982) and Aces Go Places II (1983), while he also produced a number of movies that explored different filmmaking approaches, including the thriller He Lives by Night (1982), Till Death Do We Scare (1982), which applied western style make-up and special effects, and the fresh comedy My Little Sentimental Friend (1984). Tsang left Cinema City in 1985 and became a pivotal figure in Hung’s Bo Ho Films. He was the associate producer for such films as Mr. Vampire (1985) and My Lucky Stars (1985). In 1987, Tsang co-founded Alan & Eric Films Co. Ltd. with Alan Tam and Teddy Robin. -
2012 UCLA MEN’S TENNIS Team Roster/Schedule
2012 UCLA MEN’S TENNIS Team Roster/Schedule 2012 Bruins — Front Row (L-R): Nick Meister, Clay Thompson, Adrien Puget, Warren Hardie, Alex Brigham. Middle Row (L-R): Head Coach Billy Martin, Team Manager David Vu, Michael Hui, Marcos Giron, Ryoto Tachi, Maxime Tabatruong, Evan Lee, Team Manager Raymond Ajoc, Volunteer Assistant Coach Amit Inbar, Assistant Coach Kris Kwinta. Back Row (L-R): Evan Teufel, Colin Dresser, Jeff Gast, Brendan Wee, Maik Ulrich, Dennis Mkrtchian. 2012 ROSTER 2012 DUAL MATCH SCHEDULE Name Ht. Yr. R/L Hometown (Previous School) Date Opponent Site Time Alex Brigham 6-0 RJr. R Culver City, CA (Pacifi ca Christian) 1/20 BYU LATC 2:00 PM Colin Dresser 6-0 RFr. R Bellevue, WA (Bellevue) 1/24 UC IRVINE LATC 2:00 PM Jeff Gast 6-3 RSr. R Saratoga, CA (Saratoga) 1/28 Alabama# LATC Noon 1/29 Fresno St.# LATC TBD Marcos Giron 5-10 Fr. R Thousand Oaks, CA (Thousand Oaks) 2/3 @ Cal Berkeley, CA 1:30 PM Warren Hardie 6-2 Jr. R Laguna Niguel, CA (Penn State) 2/4 @ Stanford Stanford, CA 1:00 PM Michael Hui 6-0 Jr. L Oakland, CA (Berkeley) 2/9 SDSU LATC 2:00 PM Evan Lee 5-7 RJr. R Los Angeles, CA (Windward) 2/14 PEPPERDINE LATC 2:00 PM Nick Meister 5-10 RSr. R Trabuco Canyon, CA (Tesoro) 2/17-20 @ Team Indoors Charlottesville, VA TBA Dennis Mkrtchian 6-1 Fr. R Reseda, CA (Sherman Oaks CES) 2/25 ST. MARY’S LATC 1:00 PM 2/29 USC LATC 2:00 PM Adrien Puget 6-1 So. -
Newsletter 63 More English Translation
Hong Kong Film Archive e-Newsletter 63 More English translation Publisher: Hong Kong Film Archive © 2013 Hong Kong Film Archive All rights reserved. No part of the content of this document may be reproduced, distributed or exhibited in any form or by any electronic, mechanical, or other means, now known or hereafter invented, or in any information storage or retrieval system, without permission in writing from the publisher. Research Golden Harvest and the Generational Change in 1970s Hong Kong Cinema Po Fung The 1970s were a period of pivotal transitions in Hong Kong cinema. It was also the era of Golden Harvest, from its birth to becoming the main pillar of the film industry. In changing times, Golden Harvest had the flexibility to move with the times, but on the other hand its success came from it spearheading much of the change. Looking at the changes in the company itself, one can see some of significant movements in Hong Kong cinema back then. A New Crop of Homegrown Directors Founded in 1970, Golden Harvest released its debut production The Invincible Eight in 1971. Before The Big Boss hit the screens on 31 October, 1971, Golden Harvest’s productions and distributions include Lo Wei’s The Invincible Eight; Zatoichi and the One-Armed Swordsman, co-directed by Hsu Tseng-hung and Yasuda Kimiyoshi; Hsu Tseng-hung’s The Last Duel, Yip Wing-cho’s The Blade Spares None; Huang Feng’s The Angry River and The Fast Sword; Lo Wei’s The Comet Strikes; Wong Tin-lam’s The Chase; Hsu Tseng-hung’s The Invincible Sword and Law Chi’s Thunderbolt.1 On genre, these were all martial arts, or wuxia films from the ‘new wuxia era’ trend driven by the Shaw Brothers. -
Martial Arts Cinema and Hong Kong Modernity
Martial Arts Cinema and Hong Kong Modernity Aesthetics, Representation, Circulation Man-Fung Yip Hong Kong University Press Th e University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2017 Hong Kong University Press ISBN 978-988-8390-71-7 (Hardback) All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any infor- mation storage or retrieval system, without prior permission in writing from the publisher. An earlier version of Chapter 2 “In the Realm of the Senses” was published as “In the Realm of the Senses: Sensory Realism, Speed, and Hong Kong Martial Arts Cinema,” Cinema Journal 53 (4): 76–97. Copyright © 2014 by the University of Texas Press. All rights reserved. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Paramount Printing Co., Ltd. in Hong Kong, China Contents Acknowledgments viii Notes on Transliteration x Introduction: Martial Arts Cinema and Hong Kong Modernity 1 1. Body Semiotics 24 2. In the Realm of the Senses 56 3. Myth and Masculinity 85 4. Th e Diffi culty of Diff erence 115 5. Marginal Cinema, Minor Transnationalism 145 Epilogue 186 Filmography 197 Bibliography 203 Index 215 Introduction Martial Arts Cinema and Hong Kong Modernity Made at a time when confi dence was dwindling in Hong Kong due to a battered economy and in the aft ermath of the SARS epidemic outbreak,1 Kung Fu Hustle (Gongfu, 2004), the highly acclaimed action comedy by Stephen Chow, can be seen as an attempt to revitalize the positive energy and tenacious resolve—what is commonly referred to as the “Hong Kong spirit” (Xianggang jingshen)—that has allegedly pro- pelled the city’s amazing socioeconomic growth. -
Coversheet for Thesis in Sussex Research Online
A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details In the Mood for Travel: Mobility, Gender and Nostalgia in Wong Kar-wai’s Cinematic Hong Kong Lei, Chin Pang Doctor of Philosophy University of Sussex August 2012 I hereby declare that this thesis has not been and will not be, submitted in whole or in part to another University for the award of any other degree. Signature___________________________ Acknowledgement “Making films is just like holding water with your hands. No matter how hard you try, you will still lose much of it.” Chinese director Zhang Yimou expresses the difficulty of film making this way. For him, a perfect film is non-existent. At the end of my doctoral study, Zhang’s words ran through my mind. In the past several years, I worked hard to hold the water in my hands – to make this thesis as good as possible. No matter how much water I have finally managed to hold, this difficult task, however, cannot be carried out without the support given by the following people. -
Gender Trouble in Hongkong Cinema Tammy Cheung Et Michael Gilson
Document généré le 28 sept. 2021 10:00 Cinémas Revue d'études cinématographiques Journal of Film Studies Gender Trouble in Hongkong Cinema Tammy Cheung et Michael Gilson Le nouveau cinéma chinois Résumé de l'article Volume 3, numéro 2-3, printemps 1993 Cet article fait le point sur le cinéma contemporain de Hongkong en se penchant plus particulièrement sur des questions entourant les URI : https://id.erudit.org/iderudit/1001198ar représentations de personnages féminins et masculins. Les films, la société et DOI : https://doi.org/10.7202/1001198ar la culture du Hongkong d’aujourd’hui commencent à peine à s’intéresser à la réalité gaie et lesbienne, et, dans une certaine mesure, au féminisme. Comment Aller au sommaire du numéro les différents types de personnages féminins sont-ils présentés dans le cinéma contemporain de Hongkong? Comment le concept traditionnel chinois de « mâle » diffère-t-il de celui que nous connaissons en Occident? La popularité récente de personnages transsexuels dans plusieurs films est aussi examinée. Éditeur(s) Les auteurs soutiennent que des représentations stéréotypées de personnages Cinémas féminins, masculins et homosexuels prédominent dans l’industrie cinématographique de Hongkong et que les représentations positives de gais et de lesbiennes y sont le plus souvent absentes. ISSN 1181-6945 (imprimé) 1705-6500 (numérique) Découvrir la revue Citer cet article Cheung, T. & Gilson, M. (1993). Gender Trouble in Hongkong Cinema. Cinémas, 3(2-3), 181–201. https://doi.org/10.7202/1001198ar Tous droits réservés © Cinémas, 1993 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. -
Va.Orgjackie's MOVIES
Va.orgJACKIE'S MOVIES Jackie starred in his first movie at the age of eight and has been making movies ever since. Here's a list of Jackie's films: These are the films Jackie made as a child: ·Big and Little Wong Tin-Bar (1962) · The Lover Eternal (1963) · The Story of Qui Xiang Lin (1964) · Come Drink with Me (1966) · A Touch of Zen (1968) These are films where Jackie was a stuntman only: Fist of Fury (1971) Enter the Dragon (1973) The Himalayan (1975) Fantasy Mission Force (1982) Here is the complete list of all the rest of Jackie's movies: ·The Little Tiger of Canton (1971, also: Master with Cracked Fingers) · CAST : Jackie Chan (aka Chen Yuen Lung), Juan Hsao Ten, Shih Tien, Han Kyo Tsi · DIRECTOR : Chin Hsin · STUNT COORDINATOR : Chan Yuen Long, Se Fu Tsai · PRODUCER : Li Long Koon · The Heroine (1971, also: Kung Fu Girl) · CAST : Jackie Chan (aka Chen Yuen Lung), Cheng Pei-pei, James Tien, Jo Shishido · DIRECTOR : Lo Wei · STUNT COORDINATOR : Jackie Chan · Not Scared to Die (1973, also: Eagle's Shadow Fist) · CAST : Wang Qing, Lin Xiu, Jackie Chan (aka Chen Yuen Lung) · DIRECTOR : Zhu Wu · PRODUCER : Hoi Ling · WRITER : Su Lan · STUNT COORDINATOR : Jackie Chan · All in the Family (1975) · CAST : Linda Chu, Dean Shek, Samo Hung, Jackie Chan · DIRECTOR : Chan Mu · PRODUCER : Raymond Chow · WRITER : Ken Suma · Hand of Death (1976, also: Countdown in Kung Fu) · CAST : Dorian Tan, James Tien, Jackie Chan · DIRECTOR : John Woo · WRITER : John Woo · STUNT COORDINATOR : Samo Hung · New Fist of Fury (1976) · CAST : Jackie Chan, Nora Miao, Lo Wei, Han Ying Chieh, Chen King, Chan Sing · DIRECTOR : Lo Wei · STUNT COORDINATOR : Han Ying Chieh · Shaolin Wooden Men (1976) · CAST : Jackie Chan, Kam Kan, Simon Yuen, Lung Chung-erh · DIRECTOR : Lo Wei · WRITER : Chen Chi-hwa · STUNT COORDINATOR : Li Ming-wen, Jackie Chan · Killer Meteors (1977, also: Jackie Chan vs. -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Film Studies Hong Kong Cinema Since 1997: The Response of Filmmakers Following the Political Handover from Britain to the People’s Republic of China by Sherry Xiaorui Xu Thesis for the degree of Doctor of Philosophy December 2012 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Film Studies Doctor of Philosophy HONG KONG CINEMA SINCE 1997: THE RESPONSE OF FILMMAKERS FOLLOWING THE POLITICAL HANDOVER FROM BRITAIN TO THE PEOPLE’S REPUBLIC OF CHINA by Sherry Xiaorui Xu This thesis was instigated through a consideration of the views held by many film scholars who predicted that the political handover that took place on the July 1 1997, whereby Hong Kong was returned to the sovereignty of the People’s Republic of China (PRC) from British colonial rule, would result in the “end” of Hong Kong cinema. -
October-November 2017 at BFI Southbank Events
BFI SOUTHBANK EVENTS LISTINGS FOR OCTOBER/NOVEMBER 2017 PREVIEWS Catch the latest film and TV alongside Q&As and special events Preview: Good Time USA 2017. Dir Ben Safdie, Joshua Safdie. With Robert Pattinson, Jennifer Jason Leigh, Barkhad Abdi. 101min. Digital. Cert tbc. Courtesy of Curzon Artificial Eye Small-time crook Connie (Pattinson) is on the run, hiding out with his mentally handicapped brother Nick (Ben Safdie), whom he loves and is fiercely protective of. When Nick winds up in jail after a botched job, Connie embarks on a desperate mission to bail him out that rapidly descends into a violent thrill-ride. Screened at the BFI London Festival this year, Good Time features a career-peak performance from Pattinson, while the Safdie Brothers (Heaven Knows What) have crafted a transcendent and deeply humane thriller. Tickets £15, concs £12 (Members pay £2 less) FRI 27 OCT 20:50 NFT1 Preview: Ingrid Goes West USA 2017. Dir Matt Spicer. With Aubrey Plaza, Elizabeth Olsen, O’Shea Jackson Jr, Wyatt Russell. 97min. Digital. Cert tbc. Courtesy of Universal Receiving its UK premiere at the BFI London Film Festival, this savagely dark comedy satirises the social media cult of followers and likes. Ingrid (Plaza), having become obsessed with Instagram influencer Taylor Sloane (Olsen), is transfixed by her idol’s perfectly curated online persona. However, when she insinuates herself into Taylor’s #blessed life, their friendship takes a dark turn and Ingrid’s true intentions are revealed. Tickets £15, concs £12 (Members pay £2 less) TUE 9 NOV 18:15 NFT1 Sonic Cinema Presents: Preview: Grace Jones: Bloodlight and Bami + Q&A with Grace Jones and director Sophie Fiennes Ireland-UK 2017. -
A Different Brilliance—The D & B Story
1. Yes, Madam (1985): Michelle Yeoh 2. Love Unto Wastes (1986): (left) Elaine Jin; (right) Tony Leung Chiu-wai 3. An Autumn’s Tale (1987): (left) Chow Yun-fat; (right) Cherie Chung 4. Where’s Officer Tuba? (1986): Sammo Hung 5. Hong Kong 1941 (1984): (from left) Alex Man, Cecilia Yip, Chow Yun-fat 6. It’s a Mad, Mad, Mad World (1987): (front row from left) Loletta Lee, Elsie Chan, Pauline Kwan, Lydia Sum, Bill Tung; (back row) John Chiang 7. The Return of Pom Pom (1984): (left) John Sham; (right) Richard Ng 8. Heart to Hearts (1988): (from left) Dodo Cheng, George Lam, Vivian Chow Pic. 1-8 © 2010 Fortune Star Media Limited All Rights Reserved Contents 4 Foreword Kwok Ching-ling, Wong Ha-pak 〈Chapter I〉 Production • Cinema Circuits 10 D & B’s Development: From Production Company to Theatrical Distribution Po Fung Circuit 19 Retrospective on the Big Three: Dickson Poon and the Rise-and-Fall Story of the Wong Ha-pak D & B Cinema Circuit 29 An Unconventional Filmmaker—John Sham Eric Tsang Siu-wang 36 My Days at D & B Shu Kei In-Depth Portraits 46 John Sham Diversification Strategies of a Resolute Producer 54 Stephen Shin Targeting the Middle-Class Audience Demographic 61 Linda Kuk An Administrative Producer Who Embodies Both Strength and Gentleness 67 Norman Chan A Production Controller Who Changes the Game 73 Terence Chang Bringing Hong Kong Films to the International Stage 78 Otto Leong Cinema Circuit Management: Flexibility Is the Way to Go 〈Chapter II〉 Creative Minds 86 D & B: The Creative Trajectory of a Trailblazer Thomas Shin 92 From