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On February 24, 2018, Henan: Home of Chinese Culture—2018 Hong Kong Happy Spring New Year Temple Fair was grandly opened in Kowloon Park in Hong Kong. On February 18, 2018, Home of Panda: Beautiful Sichuan—The Eighth Cross-Straits Spring Festival Folk Temple Fair was grandly opened at the Nantou County Convention and Exhibition Center in Taiwan. On February 2, 2018, Universal Celebrations—the People of China and the Philippines jointly welcome the New Year was held at the Commercial Center in Clarke, the Philippines. On February 22, 2018, the celebration of 2018 EU-China Tourism Year—Chinese Lanterns Light up the heart of Europe was successfully held in the Grand Place in Brussels, Belgium. Contents Express News FOCUS 04 President Li Xiaolin meets with Cambodian group /Wang Bo 04 Vice-President Xie Yuan meets granddaughter of General Chennault /Jin Hanghang 05 Vice-President Hu Sishe attends premiere of documentary film, TCM promotion tour /Yu Xiaodong 05 20th anniversary of China-South Africa diplomatic ties /Zhang Yujun 06 China-Japan friendship concert held in Beijing /Liu Mengyan 04 06 President Li Xiaolin and Secretary-General Li Xikui attend signing ceremony /Jia Ji 07 International sister city exchanges exhibition /Chengdu Friendship Association 07 The Belt and Road: 2018 Walk into Nepal photography competition / Chengdu Friendship Association 21 View 08 Kimiyo Matsuzaki, witness of ping-pong diplomacy between China and Japan /He Yan 12 The legendary life of He Lianxiang, goodwill messenger of Peru-China 36 friendship /Tang Mingxin -
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. -
Sungkyun Journal of East Asian Studies
Sungkyun Journal of East Asian Studies On the Rooftop: A Study of Marginalized Youth Films in Hong Kong Cinema Xuelin ZHOU University of Auckland Sungkyun Journal of East Asian Studies. Vol. 8, No. 2 ⓒ 2008 Academy of East Asia Studies. pp.163-177 You may use content in the SJEAS back issues only for your personal, non-commercial use. Contents of each article do not represent opinions of SJEAS. Sungkyun Journal of East Asian Studies. Vol.8, No.2. � 2008 Academy of East Asian Studies. pp.163-177 On the Rooftop: A Study of Marginalized Youth Films in Hong Kong Cinema1 Xuelin ZHOU University of Auckland ABSTRACT Researchers of contemporary Hong Kong cinema have tended to concentrate on the monumental, metropolitan and/or historical works of such esteemed directors as Wong Kar-Wai, John Woo and Tsui Hark. This paper focuses instead on a number of low-budget films that circulated below the radar of Chinese as well as Western film scholars but were important to local young viewers, i.e. a cluster of films that feature deviant and marginalized youth as protagonists. They are very interesting as evidence of perceived social problems in contemporary Hong Kong. The paper aims to outline some main features of these marginalized youth films produced since the mid-1990s. Keywords: Hong Kong, cinema, youth culture, youth film, marginalized youth On the Rooftop A scene set on the rooftop of a skyscraper in central Hong Kong appears in New Police Story(2004), or Xin jingcha gushi, by the Hong Kong director Benny Chan, an action drama that features an aged local police officer struggling to fight a group of trouble-making, tech-savvy teenagers.2 The young people are using the rooftop for an “X-party,” an occasion for showing off their skills of skateboarding and cycling, by doing daredevil stunts along the edge of the building. -
QUARTERLY REPORT 2005/2006 for the Nine Months Ended 31 December, 2005
PANORAMA INTERNATIONAL HOLDINGS LIMITED 鐳射國際控股有限公司* (Incorporated in the Cayman Islands with limited liability) (Stock Code: 8173) THIRD QUARTERLY REPORT 2005/2006 For the nine months ended 31 December, 2005 * For identification purposes only CHARACTERISTICS OF THE GROWTH ENTERPRISE MARKET (“GEM”) OF THE STOCK EXCHANGE OF HONG KONG LIMITED (THE “STOCK EXCHANGE”) GEM has been established as a market designed to accommodate companies to which a high investment risk may be attached. In particular, companies may list on GEM with neither a track record of profitability nor any obligation to forecast future profitability. Furthermore, there may be risks arising out of the emerging nature of companies listed on GEM and the business sectors or countries in which the companies operate. Prospective investors should be aware of the potential risks of investing in such companies and should make the decision to invest only after due and careful consideration. The greater risk profile and other characteristics of GEM mean that it is a market more suited to professional and other sophisticated investors. Given the emerging nature of companies listed on GEM, there is a risk that securities traded on GEM may be more susceptible to high market volatility than securities traded on the Main Board of the Stock Exchange and no assurance is given that there will be a liquid market in the securities traded on GEM. The principal means of information dissemination on GEM is publication on the Internet website operated by the Stock Exchange. Listed companies are not generally required to issue paid announcements in gazetted newspapers. Accordingly, prospective investors should note that they need to have access to the GEM website in order to obtain up-to-date information on GEM-listed issuers. -
Feff Press Kit
PRESS RELEASES, FILM STILLS & FESTIVAL PICS AND VIDEOS TO DOWNLOAD FROM WWW.FAREASTFILM.COM PRESS AREA Press Office/Far East Film Festival 19 Gianmatteo Pellizzari & Ippolita Nigris Cosattini +39/0432/299545 - +39/347/0950890 [email protected] - [email protected] Video Press Office Matteo Buriani +39/345/1821517 – [email protected] 21/29 April 2017 – Udine – Teatro Nuovo and Visionario FAR EAST FILM FESTIVAL 19: THE POWER OF ASIA! The irresistible road movie Survival Family opens the #FEFF19 on Friday the 21 st of April: a packed programme which testifies to the incredible vitality (both productive and creative) of Asian cinema. 83 titles selected from almost a thousand seen, and 4 world premiers, including Herman Yau's high-octane thriller Shock Wave , which will close the nineteenth edition. Press release of the 13 th of April 2017 For immediate release UDINE - Who turned out the lights? Nobody did, and the fuses haven't blown. And no, it's not even a power cut. Electricity has just suddenly ceased to exist, so the Suzuki family must now very quickly learn the art of survival: and facing a global blackout is not exactly a walk in the park! It's with the world screeching to a halt of the irresistible Japanese road movie Survival Family that the highly anticipated Far East Film Festival 19 opens: not just because Yaguchi Shinobu' s wonderful comedy is the festival's starting pistol on Friday the 21 st of April, but also for a question of symmetry: just like the blackout in Survival Family , the FEFF is an interruption . -
Electric Shadows PK
ELECTRIC SHADOWS A Film by Xiao Jiang 95 Minutes, Color, 2004 35mm, 1:1.85, Dolby SR In Mandarin w/English Subtitles FIRST RUN FEATURES The Film Center Building 630 Ninth Ave. #1213 New York, NY 10036 (212) 243-0600 Fax (212) 989-7649 Website: www.firstrunfeatures.com Email: [email protected] ELECTRIC SHADOWS A film by Xiao Jiang Short Synopsis: From one of China's newest voices in cinema and new wave of young female directors comes this charming and heartwarming tale of a small town cinema and the lifelong influence it had on a young boy and young girl who grew up with the big screen in that small town...and years later meet by chance under unusual circumstances in Beijing. Long Synopsis: Beijing, present. Mao Dabing (‘Great Soldier’ Mao) has a job delivering bottled water but lives for his nights at the movies. One sunny evening after work he’s racing to the movie theatre on his bike when he crashes into a pile of bricks in an alleyway. As he’s picking himself up, a young woman who saw the incident picks up a brick and hits him on the head... He awakens in the hospital with his head bandaged. The police tell him that he’s lost his job, and that his ex-boss expects him to pay for the wrecked bicycle. By chance he sees the young woman who hit him and angrily remonstrates with her. But she seems not to hear him, and hands him her apartment keys and a note asking him to feed her fish. -
Chinese Film Industry Visit to Uk 2015
CHINESE FILM INDUSTRY VISIT TO UK 2015 ALIBABA PICTURES WEI ZHANG Ms. Wei Zhang is President of Alibaba Pictures and Senior Vice President of Alibaba Group. She joined Alibaba Group in 2008 to lead the Group’s investment and acquisition activities. She has also worked in the Group’s strategy department and led Alibaba corporate social responsibility efforts. Currently she is in charge of Alibaba Pictures’ international business and investment and acquisition activities. From 2005 to 2008, Ms. Zhang was the Chief Operating Officer of News Corporation STAR China, responsible for managing China operations, revenue, new media, and business development. From 2002 to 2005, Ms. Zhang was Managing Director of CNBC China, a division of General Electric Company, overseeing CNBC’s operations in China. She worked at News Corporation China from 2000 to 2002 in the role of Director of Business Development. Prior to that, Ms. Zhang was a Strategic Consultant at Bain & Company, and a Finance Specialistat General Electric Company and GE Capital. Company Profile Alibaba Pictures Group’s mission is to create happiness. Alibaba Pictures’ core businesses have been categorized into four main segments: film and television production centred on IP (intellectual property); internet-based promotion and distribution combining internet technologies and traditional off-line distribution; the building and operation of e-commerce platforms for entertainment as an extension of the Alibaba Group ecosystem and international operations that consolidate global resources, technologies and talents in order to participate in the global entertainment industry. www.alibabagroup.com BONA FILM GROUP LIMITED JEFFREY CHAN Jeffrey is currently the COO and a board member of Bona Film Group (NASDAQ: BONA). -
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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. -
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. -
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 ................................................................................................................... -
Post-Cold War Experimental Theatre of China: Staging Globalisation and Its Resistance
Post-Cold War Experimental Theatre of China: Staging Globalisation and Its Resistance Zheyu Wei A thesis submitted for the degree of Doctor of Philosophy The School of Creative Arts The University of Dublin, Trinity College 2017 Declaration I declare that this thesis has not been submitted as an exercise for a degree at this or any other university and it is my own work. I agree to deposit this thesis in the University’s open access institutional repository or allow the library to do so on my behalf, subject to Irish Copyright Legislation and Trinity College Library Conditions of use and acknowledgement. ___________________ Zheyu Wei ii Summary This thesis is a study of Chinese experimental theatre from the year 1990 to the year 2014, to examine the involvement of Chinese theatre in the process of globalisation – the increasingly intensified relationship between places that are far away from one another but that are connected by the movement of flows on a global scale and the consciousness of the world as a whole. The central argument of this thesis is that Chinese post-Cold War experimental theatre has been greatly influenced by the trend of globalisation. This dissertation discusses the work of a number of representative figures in the “Little Theatre Movement” in mainland China since the 1980s, e.g. Lin Zhaohua, Meng Jinghui, Zhang Xian, etc., whose theatrical experiments have had a strong impact on the development of contemporary Chinese theatre, and inspired a younger generation of theatre practitioners. Through both close reading of literary and visual texts, and the inspection of secondary texts such as interviews and commentaries, an overview of performances mirroring the age-old Chinese culture’s struggle under the unprecedented modernising and globalising pressure in the post-Cold War period will be provided.