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Over the Past Century Numerous Waves of Transnational Media
IN FOCUS: China’s Rise Introduction by MICHAEL CURTIN, editor ver the past century numerous waves of transnational media have washed across East Asia, with cycles emanating from vari- ous centers of cultural production such as Tokyo, Hong Kong, O and Seoul. Most recently the People’s Republic of China (PRC) has begun to exert growing infl uence over the production and fl ow of screen media, a phenomenon tied to the increasing size and power of its overall economy. The country’s rising status achieved truly global recognition during the 2008 Beijing Olympics. In the seven years lead- ing up to the event, the Chinese economy tripled in size, expanding from $1.3 trillion to almost $4 trillion, a fi gure that made it the world’s third largest economy, slightly behind Japan but decisively ahead of its European counterparts, Germany, France, and the United King- dom. The scale and speed of this transformation are stunning. Just as momentous are the changes in its fi lm, television, and digital media markets, which now fi gure prominently in the calculations of produc- ers throughout East Asia. China’s “peaceful rise” is the organizing theme of the government’s economic and foreign policies and, quite strikingly, it was also the em- phatic message of the Olympic ceremonies staged by Zhang Yimou, the PRC’s most internationally renowned fi lm director. Named artistic advisor to the Games during the early planning stage, Zhang later won the competition to design the opening and closing spectacles, ul- timately spending an estimated $300 million and employing 15,000 performers to produce undeniably the most visually striking ceremo- nies in the history of the Olympics. -
Joseph Sunn Jue and Run Run Shaw out OF
CAAMFest 2014 Honors Two Film Production Pioneers: Joseph Sunn Jue and Run Run Shaw SAN FRANCISCO, Feb. 13, 2014 — The Center for Asian American Media (CAAM) is excited to showcase two pioneers from Asian and Asian American film history: Joseph Sunn Jue and Run Run Shaw. Legendary Chinese American producer Joseph Sunn Jue formed the Grandview Film Company in San Francisco in 1933. It was the only operating Chinese American motion picture company in the United States during the 1930s. With the help of the Hong Kong Film Archive, CAAMFest 2014 will present two of seven surviving Grandview productions for the first time in 67 years. Run Run Shaw is one of the most influential figures in the Asian entertainment industry. The Hong Kong mogul and movie producer was also a philanthropist who donated billions to charities in his lifetime and also founded Shaw Brothers Studios. On January 7, 2014, Shaw passed away at the age of 106. CAAM pays tribute to his legacy with a screening of three of his studio’s spectacular cinematic creations. CAAM is pleased to present these films at the Great Star Theater, Chinatown’s last remaining film theater which showed the early works of Run Run Shaw. OUT OF THE VAULTS: REDISCOVERING GRANDVIEW FILMS CAAMFest’s Out of the Vaults showcases films ripe for rediscovery. This year’s presentation highlights Joseph Sunn Jue and his Grandview Film Company. Producing a series of imaginative comedies, melodramas and romances geared towards the Cantonese‐speaking market in the 1930s, Grandview captured a unique era in the lives of Chinese Americans. -
Bullet in the Head
JOHN WOO’S Bullet in the Head Tony Williams Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © Tony Williams 2009 ISBN 978-962-209-968-5 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 ix Acknowledgements xiii 1 The Apocalyptic Moment of Bullet in the Head 1 2 Bullet in the Head 23 3 Aftermath 99 Appendix 109 Notes 113 Credits 127 Filmography 129 1 The Apocalyptic Moment of Bullet in the Head Like many Hong Kong films of the 1980s and 90s, John Woo’s Bullet in the Head contains grim forebodings then held by the former colony concerning its return to Mainland China in 1997. Despite the break from Maoism following the fall of the Gang of Four and Deng Xiaoping’s movement towards capitalist modernization, the brutal events of Tiananmen Square caused great concern for a territory facing many changes in the near future. Even before these disturbing events Hong Kong’s imminent return to a motherland with a different dialect and social customs evoked insecurity on the part of a population still remembering the violent events of the Cultural Revolution as well as the Maoist- inspired riots that affected the colony in 1967. -
Newsletter 76
季 香港電影資料館 Hong Kong Film Archive 新藝城的光輝歲月 刊 The Heyday of Cinema City 童星•同戲 ② Merry-Go-Movies.Star Kids ② 印象莫康時 Quarterly Impressions of Mok Hong-si 76 麥嘯霞熱血灑在桃花扇 Mak Siu-ha Painted Blood Newsletter on the Peach Blossom Fan 05.2016 香港電影資料館 館長 楊可欣 編者的話 Editorial@ChatRoom 部門主管 行政及場地管理組 黎啟德 封面 新藝城「奮鬥房」成員(左起)黃百鳴、施南生、石天、麥嘉、泰迪羅賓 Front cover Members of Cinema City’s ‘War Room’, (from left) Raymond Wong, Nansun Shi, Dean Shek, Karl Maka, Teddy Robin 資訊系統組 鍾景康 搜集組 侯韻旋 封底 《血灑桃花扇》(1940)男女男一幕 修復組 勞啟明 Back cover A scene in The Blood-Stained Peach Blossom Fan (1940) 資源中心 周宇菁 研究組 吳君玉 編輯組 郭靜寧 節目組 傅慧儀 《通訊》 第76期(2016年5月) 編輯 郭靜寧 英文編輯 羅鍵鏘 助理編輯 蔡俊昇 40、50、80,今期內文踫巧遇上三個時期有喜劇元素的電影:《血灑桃花扇》(1940)、 《擺錯迷魂陣》(1950)和八十年代新藝城的喜劇電影,有點熟悉、確實久違,現在日常掛在 香港西灣河鯉景道50號 電話:2739 2139 嘴邊的「整蠱」,幾乎都忘了,從前興說「撚化」。 傳真:2311 5229 新藝城其中引以為傲的,是原創的場面設計,以及精心炮製的對白和橋段,觀眾大為受 電郵:[email protected] 設計:Be Woks ~ 落。例如在《聖誕快樂》(1984)開場不久,同事夾計整蠱麥嘉演的麥Sir,怪手道具、狼來了 印刷:宏亞印務有限公司 式的又去又來,原來是給他慶祝生日。這種模式在本地影壇下至九十年代愈趨普遍,《整蠱專 © 2016 香港電影資料館 版權所有,翻印必究。 家》(1991)開宗名義,是由頭到尾密集式的整蠱轟炸。 有趣的是四、五十年代粵語片場景簡陋,《血灑桃花扇》香君的追求者們醜態百出,只求 一粲(觀眾的),卻是憨狀可掬(尤其是極唔通氣的朱普泉)。《擺錯迷魂陣》中撚化只憑一 www.filmarchive.gov.hk 張嘴,後果卻可大可小,算盡的是心裡的機關。那個年代「交際花」可真是一個關鍵的角色。 《血》片中的香君是個交遊廣闊的名伶,《擺》片中的吉蒂出來撈,前者國難當前一心為國而各 Hong Kong Film Archive 方周旋,後者身處投機金錢世界,不忘淘氣地在拉哥拉嫂之間撚化一番。各式人等「咁都得」 Head Janet Young 的行徑,構成《擺》片一圈套一圈的瘋狂喜劇效果。妙手空空,花言巧語一番,引君入甕,帶 Unit Heads 點玩世式的調皮幽默。正如《血》片差利幕後代長頸鶴向自己的曖昧女友求婚,非常堪玩味。 Admin & Joseph Lai Venue Mgt [[email protected]] IT Systems Chung King-kong Acquisition Wendy Hau This issue covers three distinct time periods of Hong Kong cinema—the 1940s, 50s and 80s—but Conservation Koven Lo they are all united by one common theme: comedy. -
Notes and References
Notes and References 1 China and Britain: A Theme of National Liberation 1. G.C. Allen and Audrey G. Donnithorne, Western Enterprise in Far Eastern Economic Development: China and Japan, 1954, pp. 265-68; Cheng Yu-kwei, Foreign Trade and Industrial Development of China, 1956, p. 8. 2. Wu Chengming, Di Guo Zhu Yi Zai Jiu Zhong Guo De Tou Zi (The Investments of Imperialists in Old China), 1958, p. 41. 3. Jerome Ch'en, China and the West, p. 207. See also W. Willoughby, Foreign Rights and Interests in China, vol. 2, 1927, pp. 544-77, 595-8, 602-13. 4. Treaty of Tientsin, Art. XXXVII, in William F. Mayers, Treaties Between the Empire of China and Foreign Powers, 1906, p. 17. 5. Shang Hai Gang Shi Hua (Historical Accounts of the Shanghai Port), 1979, pp. 36-7. 6. See Zhao Shu-min, Zhong Guo Hai Guan Shi (History of China's Maritime Customs), 1982, pp. 22-46. With reference to the Chinese authorities' agreement to foreign inspectorate, see W. Willoughby, op.cit., vol. 2, pp. 769-70. 7. See S.F. Wright, China's Struggle for Tariff Autonomy, 1938; Zhao Shu-min, op. cit. pp. 27-38. 8. See Liu Kuang-chiang, Anglo-American Steamship Rivalry in China, 1862-1874, 1962; Charles Drage, Taikoo, 1970; Colin N. Crisswell, The Taipans, Hong Kong Merchant Princes, 1981. See also Historical Ac counts of the Shanghai Port, pp. 193-240; Archives of the China Mer chant's Steam Navigation Company, Maritime Transport Administration Bureau of the Ministry of Transport, Shanghai. 9. -
Fei Mu's Aesthetics of Desolation in Spring In
CHAPTER FOUR BETWEEN FORGETTING AND THE REPETITIONS OF MEMORY: FEI MU’S AESTHETICS OF DESOLATION IN SPRING IN A SMALL TOWN Heroism has strength but no beauty and thus seems to lack humanity. Tragedy, however, resembles the matching of bright red with deep green: an intense and unequivocal contrast. And yet it is more exciting than truly revelatory. The reason desolation resonates far more profoundly is that it resembles the conjunction of scallion green with peach red, creating an equivocal contrast. I like writing by way of equivocal contrast because it is relatively true to life.1 Like wartime cartoonists, poets, dramatists, and other artists who traveled inland to promote the cause of resistance, the Chinese film industry was also displaced to the Nationalist interior during the War of Resistance. The Nationalist government-owned Central Film Studio (Zhongyang diangy- ing sheyingchang 中央电影摄影场) and China Motion Pictures Studio (Zhongguo dianying zhipianchang 中国电影制片厂) were relocated to Chongqing, where the government encouraged the production of docu- mentary and feature films to promote the war effort. However, political instability, inflation, supply problems, and inadequate means of distribu- tion made it difficult to create high-quality films, and both Central Film and China Motion Pictures were forced to suspend filmmaking activities between 1941 and 1943.2 Although film studios in “Orphan Island” (gudao 孤岛) Shanghai, Hong Kong, and Manchuria operated throughout most of the war, working under the watchful eye of Japanese censors, filmmakers in the occupied regions were unable to produce films that explored in depth the experiences of ordinary people in wartime. 1 Eileen Chang, “Writing of One’s Own,” p. -
Distribution Agreement in Presenting This
Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: _____________________________ ______________ Tianyi Yao Date Crime and History Intersect: Films of Murder in Contemporary Chinese Wenyi Cinema By Tianyi Yao Master of Arts Film and Media Studies _________________________________________ Matthew Bernstein Advisor _________________________________________ Tanine Allison Committee Member _________________________________________ Timothy Holland Committee Member _________________________________________ Michele Schreiber Committee Member Accepted: _________________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date Crime and History Intersect: Films of Murder in Contemporary Chinese Wenyi Cinema By Tianyi Yao B.A., Trinity College, 2015 Advisor: Matthew Bernstein, M.F.A., Ph.D. An abstract of -
Urban Forms and the Politics of Property in Colonial Hong Kong By
Speculative Modern: Urban Forms and the Politics of Property in Colonial Hong Kong by Cecilia Louise Chu A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Architecture in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Nezar AlSayyad, Chair Professor C. Greig Crysler Professor Eugene F. Irschick Spring 2012 Speculative Modern: Urban Forms and the Politics of Property in Colonial Hong Kong Copyright 2012 by Cecilia Louise Chu 1 Abstract Speculative Modern: Urban Forms and the Politics of Property in Colonial Hong Kong Cecilia Louise Chu Doctor of Philosophy in Architecture University of California, Berkeley Professor Nezar AlSayyad, Chair This dissertation traces the genealogy of property development and emergence of an urban milieu in Hong Kong between the 1870s and mid 1930s. This is a period that saw the transition of colonial rule from one that relied heavily on coercion to one that was increasingly “civil,” in the sense that a growing number of native Chinese came to willingly abide by, if not whole-heartedly accept, the rules and regulations of the colonial state whilst becoming more assertive in exercising their rights under the rule of law. Long hailed for its laissez-faire credentials and market freedom, Hong Kong offers a unique context to study what I call “speculative urbanism,” wherein the colonial government’s heavy reliance on generating revenue from private property supported a lucrative housing market that enriched a large number of native property owners. Although resenting the discrimination they encountered in the colonial territory, they were able to accumulate economic and social capital by working within and around the colonial regulatory system. -
Young Galeano Writing About New China During the Sino-Soviet Split
Doubts and Puzzles: Young Galeano Writing about New China during the Sino-Soviet Split _____________________________________________ WEI TENG SOUTH CHINA NORMAL UNIVERSITY Abstract As a journalist of Uruguay’s Marcha weekly newspaper, Eduardo Galeano visited China in September 1963; he was warmly received by Chinese leaders including Premier Zhou Enlai. At first, Galeano published some experiences of his China visit in Marcha. In 1964, he published the complete journal of the trip, under the title of China, 1964: crónica de un desafío [“China 1964: Chronicle of a Challenge”]. Based on Chinese-language materials, this paper explores Galeano’s trip to China at that time and includes a close reading of Galeano’s travel notes. By analyzing his views on the New China, Socialism, and the Sino-Soviet Split, we will try to determine whether this China visit influenced his world view and cultural concepts. Keywords: Galeano, The New China, Sino-Soviet Split Resumen Como periodista del semanario uruguayo Marcha, Eduardo Galeano visitó China en septiembre de 1963 donde fue calurosamente recibido por los líderes chinos, incluido el Primer Ministro Zhou Enlai. Al principio, Galeano publicó algunas experiencias de su visita a China en Marcha. En 1964, publicó el diario completo del viaje bajo el título China, 1964: crónica de un desafío. Basado en materiales en chino, este artículo explora el viaje de Galeano e incluye una lectura detallada de sus notas. Por medio de un análisis de sus puntos de vista sobre la Nueva China, el socialismo y la ruptura sinosoviética, se intenta determinar si esta visita a China influyó en su visión del mundo y en sus conceptos culturales. -
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. -
Summer-2017-Hke
NEWS Summer 2017 Issued by the Hong Kong Economic and Trade Office, Brussels Carrie Lam is Hong Kong’s new Chief Executive. Hong Kong Special Administrative Region celebrates its 20th anniversary. President attends Hong Kong SAR 20th anniversary celebrations, Government inaugural ceremony Hong Kong’s new Chief Executive, Mrs Carrie Lam, says goodbye to President Xi Jinping at the end of his three-day visit to Hong Kong. President Xi Jinping and his wife Peng Liyuan visited System at Hong Kong International Airport. The President Hong Kong on 29 June-1 July 2017 to attend the activities was briefed on how the Hong Kong SAR Government, in celebration of the 20th anniversary of Hong Kong’s through investment in infrastructure, is enhancing its return to the motherland and the Inaugural Ceremony connections within the Guangdong-Hong Kong-Macao of the Fifth Term* Government of the Hong Kong Special Bay Area as well as with the rest of Mainland, and on the Administrative Region (Hong Kong SAR), during which he strategy of strengthening Hong Kong as an international swore in Hong Kong’s new Chief Executive, Carrie Lam, and regional logistics hub. and her team of Principal Officials. The President also witnessed the signing of the During his stay in Hong Kong the President visited Framework Agreement on Deepening Guangdong-Hong major infrastructure projects like the West Kowloon Kong-Macao Cooperation in the Development of the Bay Cultural Development and the Hong Kong Link Road Area (see page 4). of the Hong Kong-Zhuhai-Macao Bridge. He also heard about the latest progress of work on the Three-runway * The fifth government since 1 July 1997. -
Laforet, Causeway Bay Castle Peak Road, Yuen Long (Near HSBC) Training / Day Off Nathan Road, Prince Edward (Near Pioneer Centre
WWF - DDC Location Plan Apr-2016 Mon Tue Wed Thu Fri Sat Sun 1 2 3 Castle Peak Road, Yuen Long Team A Laforet, Causeway Bay Training / Day off (near HSBC) Nathan Road, Prince Edward Team B Lam Tin Estate Training / Day off (near Pioneer Centre) 4 5 6 7 8 9 10 Chai Wan Road, Chai Wan San Fung Avenue, Sheung Shui Yun Ping Road, Causeway Bay 8/F, Cheung Kong Electronic Building, Team A Training / Day off Sai Wan Belcher Street, Sai Wan Training / Day off (near Bank of China) (near HSBC) (Near Hang Seng Bank) Kwun Tong Sing Woo Road, Happy Valley Bonham Strand Street, Sheung Wan Sai Ying Pun MTR Station Castle Peak Road, Yuen Long Castle Peak Road, Sham Tseng Chuk Yuen Shopping Centre, Team B Training / Day off (Happy Valley wet market) (near Municipal Services Building) Exit C (near HSBC) (near Rhine Garden) Wong Tai Sin 11 12 13 14 15 16 17 Cheung Sha Wan Road, Lai Chi Kok Kowloon Tong MTR Station Ma Tau Wai Road, To Kwa Wan Great George Street, Chan Man Street, Sai Kung Team A Amoy Plaza, Kownloon Bay Amoy Plaza, Kownloon Bay (near Cheung Sha Wan Plaza) Exit C (near Horae Place) Causeway Bay (near Library) Castle Peak Road, Yuen Long Sing Woo Road, Happy Valley Yun Ping Road, Causeway Bay Nam Ning Street, Aberdeen Team B Amoy Plaza, Kownloon Bay Amoy Plaza, Kownloon Bay Training / Day off (near HSBC) (Happy Valley wet market) (near Hang Seng Bank) (near Aberdeen Centre) 18 19 20 21 22 23 24 Team A Amoy Plaza, Kownloon Bay Hang Hau MTR Station Exit A Shek Kip Mei MTR Station Exit C Mikiki Mall, San Po Kong Mikiki Mall, San Po Kong Mikiki