The Cantonese "Youth Film” and Music of the 1960S in Hong Kong CHAN, Pui Shan a Thesis Submitted in Partial Fulfillment O

Total Page:16

File Type:pdf, Size:1020Kb

The Cantonese The Cantonese "Youth Film” and Music of the 1960s in Hong Kong CHAN, Pui Shan A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Philosophy in Music The Chinese University of Hong Kong January 2011 |f 23APR2fi>J !?I Thesis Committee Professor YU Siu Wah (Chair) Professor Michael Edward McCLELLAN (Thesis Supervisor) Professor Victor Amaro VICENTE (Committee Member) Professor LI Siu Leung (External Examiner) X i Contents Acknowledgements ii Abstract iii Chapter 1: 1 The Political and Social Influence on the Development of Hong Kong Film Industry and the Cantonese Cinema in the 1950s and the 1960s Chapter 2: 24 Defining the Genre: Three Characteristics of Hong Kong Cantonese Youth Film Chapter 3: 53 The Functions and Characteristics of Song in Cantonese Youth Film Chapter 4: 87 The Modernity of Cantonese Cinema and the City (Hong Kong) Conclusion: 104 Hong Kong Cantonese Youth Film and the Construction of Identity • Appendix 1 107 Appendix 2 109 Appendix 3 \\\ Bibliography 112 • ii Acknowledgements I am grateful for the teaching offered by the teaching staff and the sharing among friends at the Music Department of the Chinese University of Hong Kong. This experience is valuable to me. I have to thank Ada Chan, Lucy Choi, Angel Tsui, Julia Heung and Carman Tsang for their encouragement and prayers. I would also like to express my gratitude to my family which allowed me to pursue my studies in Music and Ethnomusicology. Furthermore, I cannot give enough thanks to my supervisor, Professor Michael E. McClellan for his patience, understanding, kindness, guidance, thoughtful and substantial support. Finally, I would like to thank God for His work, guidance and love which I don't deserve and is out of my imagination. Anna Pui-shan Chan Hong Kong July 2010 iii Abstract of thesis: Cantonese youth film has been labeled as one of the more important genres in Hong Kong cinema in the 1960s. Due to the social and economic changes that marked the period from the 1950s to the 1960s, the city went through a phase of modernization to which Cantonese cinema, in the guise of Cantonese youth film, contributed. In this thesis, I would like to contextualize Cantonese youth film by discussing the modernization of Cantonese cinema and Hong Kong jointly. By identifying the historical,social and economic influences on Cantonese youth film, especially on the characteristics and functions of its songs, I argue that the modernity of Cantonese cinema at the end of the 1960s was influenced by the development of a "Hong Kong consciousness" among the inhabitants of the city. I also consider how Cantonese youth film acted as a multi-dimensional forum of mass media that facilitated the formation of "Hong Kong consciousness", in which the two-way influence between the cinema and the city is made evident. X ‘ iv 粵語青春歌舞片於香港六十年代後期掀起一輪歌舞熱潮。五、六十年代的社 會、政治、經濟變遷,促成粵語電影業的變革。隨着社會、電影業的變化’粵語 電影工作者製作一系列以青春偶像爲招徕、以大城市爲背景、以愛情故事包裝的 歌舞片。本篇論文希望透過硏究六十年代後期的粵語青春歌舞片,來探討粵語電 影業和香港社會如何經歷六十年代的現代化,並進一步討論青春歌舞片與初期香 港本土意識形成的相互影響。 Submitted by CHAN, Pui shan for the degree of Master of Philosophy in Ethnomusicology at The Chinese University of Hong Kong (July 2010) V Chapter 1: The Political and Social Influence on the Development of Hong Kong Film Industry and the Cantonese Cinema in the 1950s and the 1960s Introduction Cantonese youth film has been labeled as one of the more important genres in Hong Kong cinema in the 1960s. The rise of Cantonese youth film was regarded as the last success before the low tide of Cantonese cinema in the early 1970s. Due to the social and economic changes that marked the period from the 1950s to the 1960s,the city went through a phase of modernization to which Cantonese cinema, in the guise of Cantonese youth film, contributed. In this thesis, I would like to contextualize Cantonese youth film by discussing the modernization of Cantonese cinema and Hong Kong jointly. By identifying the historical, social and economic influences on Cantonese youth film, especially on the characteristics and functions of its songs, I argue that the modernity of Cantonese cinema at the end of the sixties was influenced by the development of a "Hong Kong consciousness" among the inhabitants of the city. I also consider how Cantonese youth film acted as a multi-dimensional forum of mass media that facilitated the formation of this "Hong Kong consciousness", in which the two-way influence between the cinema and the city is made evident. 1 Literature Review In preparation of this thesis, I have drawn materials from the surviving historical data on Hong Kong and its film industry, transcripts of interviews with filmmakers done by film critics and academic forums among film critics, academic literature, as well as the youth films themselves. For the secondary literature on Hong Kong and its film industry, I. C. Jarvie was the first Western academic to write a book on Hong Kong cinema (Teo 2004:100). He produced a sociological study of Hong Kong film industry and its audiences in which he strove to understand the society of Hong Kong from the study of its cinema. His study included an outline of the history of Hong Kong cinema, the sociological analysis of its audiences, thematic analyses of the narratives and a brief discussion of its aesthetics. Local scholars, such as Lin Nian-tong (林年同),Shu Qi (舒琪),Law Kar (羅卡),Yu Muyun (余慕雲)and Li Cheuk-to (李焯桃)contributed more detailed research into the history of Hong Kong cinema. They usually focused on a smaller group of works describing how local issues influenced Hong Kong cinema and offered opinions regarding specific cinematic genres. Local historian, Zhong Baoxian (鍾寶賢)wrote a rather thorough study in Chinese about the history of Hong Kong cinema with a concentration on political influences and changes to the film production system. Stephen Teo, film critic and historian, also contributed a detailed book in English in which- he 2 approached the history of Hong Kong cinema from different specific perspectives and with different focuses for each era. Regarding the secondary historical literature of Hong Kong cinema, the focus has tended toward macroscopic research and the arguments center on how Hong Kong became the center of Chinese cinema outside Mainland China, devoting much time to the competition between Mandarin and Cantonese cinema as well as the contest among major film companies. However, these studies usually touch upon the topic of Cantonese youth film of the late 1960s only lightly in their broad description of Hong Kong cinema history. When discussing Cantonese youth film, scholars commonly pay attention to its thematic narratives, the images of stars in the films, the social influences on content and the representation of local social phenomena in the films. Authors interested in these topics include Poshek Fu, Law Kar, Sek Kei and Cheuk Pak-tong. Wu Yuehua, a local film critic, has to date conducted the only detailed study about songs in Cantonese youth film. Her work will be considered at greater length in subsequent chapters. With regard to the cinema and modernity, Western academics such as Leo Chamey, Vanessa R. Schwartz, and Murray Pomerance have made significant contributions. They have concentrated on particular films that revealed the multiplicity of perspectives toward modernity that resulted from the rapidity of social and technological change in Hong Kong. This study builds on these findings but will 3 offer some new perspectives regarding the relationship of cinema and city in order to broaden our understanding of the socio-cultural role played by Cantonese youth films. Methodology The main primary sources of this research are Cantonese youth films which can be accessed through the Hong Kong Film Archive. Cantonese youth films included in my thesis are listed in Appendix 2. The various viewings of the films was prioritized in the following way. First, Cantonese youth films directed by Wong Tiu (黃堯)and Chan Wan (陳雲)were examined and given first priority as these two directors directed a lot of Cantonese youth films and they were regarded as the leading directors of Cantonese youth films in the late 1960s. Then, based on the existing studies and academic research, significant scenes from other directors' productions consituted the second group of films to be examined. The remaining Cantonese youth films were examined at last. Brief plot descriptions of each Cantonese youth film can be read in the website of Hong Kong Film Archive. i Therefore,, the focuses of examination of films was the music scenes, the messages that the films expressed and how these Cantonese youth films depicted the city (Hong Kong). In addition,informal interviews with my elder family members were conducted 1 http://ipac.hkfa.lcsd.gov.hk/ipac20/ipac.jsp?profile=hkfa 4 to give an account of the lifestyle and living standard around the late 1960s. Those interviews were conducted in an informal conservation about their daily life in the late 1960s. Their wages and entertainment were the focus of those informal interviews. Combined with the existing academic literatures, my research demonstrates how the tradition of movie musicals and the didacticism of Cantonese youth films affected its songs and how Cantonese cinema and the city went through the phase of modernization in the late 1960s. Other related issues, such as women's status, the lack of local identity, are discussed as well. Hong Kong Society after World War II A. Economic Growth in Hong Kong since the late 1950s: Upon the founding of the People's Republic in 1949, tens of thousands of Chinese streamed across the border to Hong Kong to escape Communism; thus, Hong Kong's population increased 20% in less than a year. A number of these refugees were diasporic entrepreneurs and financiers from Shanghai who brought capital and business skills to their new home.
Recommended publications
  • The History of Hong Kong Fashion Hong Kong Has Always Had Style
    Ven Suite Ad_TIMEOUT HK_201407041.pdf 1 7/4/14 12:42 PM the history of hong kong fashion Hong Kong has always had style. We’ve been channeling the East-meets- West look and making it our own for the last six decades. Arthur Tam travels back in time to revisit and recreate the defining moments of Hong Kong’s fashion history, as C represented by the M most notable female icons of these eras. Y Photography by Calvin Sit. CM Art direction Jeroen Brulez MY CY CMY K ong Kong has a colourful history of fashion. Take a look back through the decades from the 1950s right up to the 1990s, and it’s easy to see a progression and definable change in trends that H reflect shifts in economic prosperity, the influences of myriad foreign cultures, the rise of entertainment and, of course, the power of the consumer zeitgeist. Before China became the manufacturing behemoth that it is today, most of the world looked to Hong Kong for skilled tailors and designers that could develop their brands and labels. For much of the Western world Hong Kong was a gateway into Asia. As cultural mixing began, so did the development of our city’s unique culture and its East-meets-West fashion sensibilities. Taking a trip down memory lane, we can see that Hong Kong has given birth to a variety of fashionable icons who captured the styles and trends of the time. From the 50s, we have the immortal actress Lin Dai, whose youthful and tragic death shocked the city, but as a result solidified her legendary look in intricate, exquisitely tailored and colourful cheongsams.
    [Show full text]
  • LAW Bun 羅斌(1923.4.27–2012.5.21) Producer
    LAW Bun 羅斌(1923.4.27–2012.5.21) Producer Born Luo Jin-pei in Macao and grew up in Shanghai, Law was a native of Kaiping, Guangdong. After graduating from The Lester School and Henry Lester Institute of Technical Education, he moved south to Hong Kong and attended engineering classes at the Far East Flying Training School. Law returned to Shanghai during the Japanese occupation. There he founded the Universal Publisher with friends and published the Blue Books and other magazines. He resettled in Hong Kong in the late 1940s and continued to operate Universal Publisher. And the business continued to grow, publishing Boxing Magazine, Universal Literature and Art, Universal Screen and others. In October of 1959, Law launched the Hong Kong Daily News. In 1961, Law and Miu Hong-nee formed Hong Kong Film Company. Their first production was an adaptation of the wuxia novel The Secret Book, published by Universal. They produced a total of five episodes with outstanding results. Most films produced by the company were adaptations of popular novels or serials published by Law. All were produced by his wife Ho Lai-lai, and occasionally co-produced by him. The couple came to be known as trailblazers for a new wave of wuxia films: four episodes of The Azure Blood and the Golden Pin (1963-64) and The Mighty Snow Sword (1964), three episodes of The Ghost with Six Fingers (1965), and two episodes of Paragon of Sword and Knife (1967-68), etc. Amongst them, The Green-Eyed Lady (1967) was critically praised for crafting a new image of the rebellious heroine, while successfully integrating elements of action and romance and creating a spectacular atmosphere.
    [Show full text]
  • 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.
    [Show full text]
  • Distributor Application Main Page
    Distributor Application and Agreement Complete application or apply online at www.SeneGence.com PLEASE PRINT CLEARLY USING A DARK PEN Sponsor’s Name Sponsor’s ID Number PLEASE COMPLETE THE FOLLOWING INFORMATION: Shipping Address (NO P.O. Boxes) Full Legal Name of Applicant (Last, First, Middle Initial) Applicant Hong Kong Identity Card Number (HKID) Birthday District D D M M Daytime Telephone Number Evening Telephone Number Fax Number Mobile Phone Number Email Address My signature below indicates that I have read and accepted all the terms and conditions regarding privileges and obligations as set forth in the Terms of Application and Agreement, on the back of this agreement and that I have read and agree to be bound by the Policies and Procedures Guide. All signatures to this application must be affixed personally. Applicant must be of legal age and a resident of Hong Kong. A PARTICIPANT HAS THE RIGHT TO CANCEL AT ANY TIME, REGARDLESS OF REASON. CANCELLATION MUST BE SUBMITTED IN WRITING TO THE COMPANY AT ITS PRINCIPAL BUSINESS ADDRESS: Unit 613 6/F Mira Place Tower A, 132 Nathan Road, Tsim Sha Tsui, Kowloon, Hong Kong. email: [email protected] Tel: +852 3892 823 X Signature of Applicant Date DD / MM / YY For efficient handling of your application, please sign and return both the front and back of this document. Applications without both signatures will not be accepted by SeneGence. SeneGence reserves the right to refuse the acceptance of any Distributor Application or to rescind such acceptance within thirty (30) days, for any reason. I object to Senegence using my personal data in direct marketing as referred to in the section entitled 'Use of Personal Data in Direct Marketing* ' of the notice.
    [Show full text]
  • Download Download
    Singapore Sidebar: Erotic Cinema By Toh, Hai Leong Fall 2004 Issue of KINEMA SIFF SIDEBAR: EROTIC CINEMA OF LI HAN HSIANG AND CHU YUAN The legendary directors, Li Han Hsiang and Chu Yuan, made chamber period films in the 1970s for the Shaw Studios in Hong Kong, helmed by the famous Shanghainese brothers Run Run and Runme. Those of us who lived through this period would remember it as prolific time of Hong Kong-made erotica. Films such as the 1973 Illicit Desire (Li Han Hsiang), which featured nudity, were routinely advertised in cinema trailers but were never shown intact. Singapore International Film Festival assembled several landmark erotic works from this period and showed them in the city for the first time on film, and uncut. The Chinese Courtesan films, a gentler but more fatalistic vision of producer Runme Shaw, began withChu Yuan’s first pugilistic - erotic masterpiece, Intimate Confessions Of A Chinese Courtesan (1972). It is the story of an older woman, Lady Chun, who loves her younger charge, Ai Nu (played with cold, distant sexual charisma by Lily Ho, one of Shaw’s beauty legends). This was Hong Kong’s first film with lesbianism as its theme. Chu Yuan pulls out all the stops in this film and the melding of the martial arts and erotic film is near perfect. As the madam of a brothel, Lady Chun hates men but kidnaps young girlstoworkas prostitutes for her. When Ai Nu (literally translated as love slave) is introduced to the brothel, Lady Chun is attracted by her defiance, and sees herself in her.
    [Show full text]
  • Jun 30, 2021 Assaggio Trattoria Italiana 6/F Hong Kong A
    Promotion Period Participating Merchant Name Address Telephone 6/F Hong Kong Arts Centre, 2 Harbour Road Wanchai, HK +852 2877 3999 Assaggio Trattoria Italiana 22/F, Lee Theatre, 99 Percival Street, Causeway Bay, Hong Kong +852 2409 4822 2/F, New World Tower,16-18 Queen’s Road Central, Hong Kong +852 2524 2012 Tsui Hang Village Shop 507, L5, Mira Place 1, 132 Nathan Road, Tsim Sha Tsui, Hong Kong +852 2376 2882 3101, Podium Level 3, IFC Mall,8 Finance Street, Central, Hong Kong +852 2393 3812 May 7 - Jun 30, The French Window 2021 3101, Podium Level 3, IFC mall, Central, HK +852 2393 3933 CUISINE CUISINE IFC 3/F, The Mira Hong Kong, Mira Place, 118 – 130 Nathan Road, Tsim Sha Tsui +852 2315 5222 CUISINE CUISINE at The Mira 5/F, The Mira Hong Kong, Mira Place, 118 – 130 Nathan Road, Tsim Sha Tsui +852 2315 5999 WHISK 5/F, The Mira Hong Kong, Mira Place, 118 – 130 Nathan Road, Tsim Sha Tsui +852 2351 5999 Vibes G/F Lobby, The Mira Hong Kong, Mira Place, 118 – 130 Nathan Road, Tsim Sha Tsui +852 2315 5120 YAMM Mira Place, 118-130 Nathan Road, Tsim Sha Tsui, Kowloon, Hong Kong +852 2368 1111 The Mira Hong Kong KOLOUR Tsuen Wan II, TWTL 301, Tsuen Wan, New Territories, Hong Kong +852 2413 8686 2/F – 4/F, KOLOUR Yuen Long, 1 Kau Yuk Road, YLTL 464, Yuen Long, New Territories, +852 2476 8666 Hong Kong 2/F - 3/F, MOSTown, 18 On Luk Street, Ma On Shan, New Territories, Hong Kong +852 2643 8338 May 10 - Jun 30, Citistore * L2, MCP Central, Tseung Kwan O, Kowloon, Hong Kong +852 2706 8068 2021 1/F, Metro Harbour Plaza, 8 Fuk Lee Street, Tai Kok Tsui, Kowloon, Hong Kong +852 2170 9988 L3 North Wing, Trend Plaza, Tuen Mun, New Territories, Hong Kong +852 2459 3777 Shop 47, Level 3, 21-27 Sha Tin Centre Street, Sha Tin Plaza, Sha Tin, New Territories +852 2698 1863 Citilife 18 Fu Kin Street, Tai Wai, Shatin, N.T.
    [Show full text]
  • 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.
    [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]
  • The Comparison of the Cantonese Sentence Final Particles Bo (䨂) and Wo (⎲): from the 1940S to the 1970S
    www.ccsenet.org/ach Asian Culture and History Vol. 2, No. 2; July 2010 The Comparison of the Cantonese Sentence Final Particles bo (䨂) and wo (⎲): From the 1940s to the 1970s Wai-Mun Leung Department of Chinese, The Hong Kong Institute of Education 10 Lo Ping Road, Taipo, Hong Kong Tel: 852-2948-7223 E-mail: [email protected] Abstract In the past decades, researchers of Cantonese treated the frequently used sentence-final particles (hereafter SFPs) wo3 (ୢ, mid level tone) and bo3 (గ, mid level tone) as variant forms, the former being the result of sound change from the latter (Kwok 1984, Luke 1990, Li 1995, Fang 2003). However, Leung (2010) argues that wo3 in the late 20th century performs the functions of realization, reminder, hearsay and contrast while the main function of bo3 is only to show contrast, thus they are not entirely interchangeable. To explore the development of the two particles from the historical prospective, this paper attempts to examine them in Hong Kong Cantonese diachronically based on the spoken data of old Cantonese movies of 1940s and 1970s. Keywords: Cantonese, Sentence-final Particles, Historical prospective, Spoken data of movies 1. Introduction As a sentence-final particle indicating mood and tone-of-voice, wo3 (mid level tone) is used very frequently in modern Cantonese. Most of the previous scholars (Kwok 1984, Deng 1991, Li 1995, Fang 2003) considered wo3 as the variant or phonetically weakened result of the SFP bo3 (mid level tone) and the focus of discussion in their work is often on bo3.
    [Show full text]
  • Lady General Hua Mulan (1964)
    Open Journal of Social Sciences, 2016, 4, 55-61 Published Online April 2016 in SciRes. http://www.scirp.org/journal/jss http://dx.doi.org/10.4236/jss.2016.44008 Praises of Household Happiness in Social Turmoil: Lady General Hua Mulan (1964) Yuan Tian Department of General Education, Macau University of Science and Technology, Macau, China Received 17 March 2016; accepted 16 April 2016; published 19 April 2016 Copyright © 2016 by author and Scientific Research Publishing Inc. This work is licensed under the Creative Commons Attribution International License (CC BY). http://creativecommons.org/licenses/by/4.0/ Abstract The relationship between film and culture can be seen from the adaptations that historical fiction films make on these original ancient stories or literary works under the influence of concurrent cultural contexts. In other words, these films are always used to reflect and react on the times in which they are made, instead of the past in which they are set. Therefore film makers add abun- dant up-to-date elements into traditional stories and constantly explore new ways of narration, an effort that turns their productions into live records of certain social and historical periods, com- bining macro and micro approaches to cultural backgrounds, both audible and visual. Pinning on this new angle of reviewing the old days, this paper aims to uncover the identity crisis of Hong Kong residents under the mutual influence of nostalgia and rebellious ideas in the 1960s recon- structed in the Huangmei Opera film Lady General Hua Mulan (1964) together with the analysis of the social historical reasons hidden behind.
    [Show full text]
  • The Impacts of Modernity on Family Structure and Function : a Study Among Beijing, Hong Kong and Yunnan Families
    Lingnan University Digital Commons @ Lingnan University Theses & Dissertations Department of Sociology and Social Policy 1-1-2012 The impacts of modernity on family structure and function : a study among Beijing, Hong Kong and Yunnan families Ting CAO Follow this and additional works at: https://commons.ln.edu.hk/soc_etd Part of the Family, Life Course, and Society Commons Recommended Citation Cao, T. (2012). The impacts of modernity on family structure and function: A study among Beijing, Hong Kong and Yunnan families (Doctoral dissertation, Lingnan University, Hong Kong). Retrieved from http://dx.doi.org/10.14793/soc_etd.29 This Thesis is brought to you for free and open access by the Department of Sociology and Social Policy at Digital Commons @ Lingnan University. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of Digital Commons @ Lingnan University. Terms of Use The copyright of this thesis is owned by its author. Any reproduction, adaptation, distribution or dissemination of this thesis without express authorization is strictly prohibited. All rights reserved. THE IMPACTS OF MODERNITY ON FAMILY STRUCTURE AND FUNCTION: A STUDY AMONG BEIJING, HONG KONG AND YUNNAN FAMILIES CAO TING PHD LINGNAN UNIVERSITY 2012 THE IMPACTS OF MODERNITY ON FAMILY STRUCTURE AND FUNCTION: A STUDY AMONG BEIJING, HONG KONG AND YUNNAN FAMILIES by CAO Ting A thesis submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy in Social Sciences (Sociology) LINGNAN UNIVERSITY 2012 ABSTRACT The Impacts of Modernity on Family Structure and Function: a Study among Beijing, Hong Kong, and Yunnan Families by CAO Ting Doctor of Philosophy For a generation in many sociological literatures, China has provided the example of traditional family with good intra-familial relationship, filial piety and extended family support which is unusually stable and substantially unchanged.
    [Show full text]
  • Aspects of Chinese Cinema Today
    Aspects of Chinese Cinema Today By Toh, Hai Leong Spring 1997 Issue of KINEMA 1. THE TAIWANESE ANTONIONI: TSAI MING-LIANG’S DISPLACEMENT OF LOVE IN AN URBAN ENVIRONMENT NO, Tsai Ming-liang is not in fact Taiwanese. The bespectacled 40-year-old bachelor was born in Kuching, Sarawak (East Malaysia) and only came to Taiwan for a college education. After graduating with a degree in drama and film in Taiwan’s University, he settled there and impressed critics with several experimental plays and television movies such as Give Me A Home (1988), The Happy Weaver(1989), My Name is Mary (1990), Ah Hsiung’s First Love(1990). He made a brilliant film debut in 1992 with Rebels Of The Neon God and his film Vive l’amour shared Venice’s Golden Lion for Best Film with Milcho Manchevski’s Before The Rain (1994). Rebels of the Neon God, a film about aimless and nihilistic Taipei youths, won numerous awards abroad: Among them, the Best Film award at the Festival International Cinema Giovani (1993), Best Film of New Director Award of Torino Film Festival (1993), the Best Music Award, Grand Prize and Best Director Awards of Taiwan Golden Horse Festival (1992), the Best Film of Chinese Film Festival (1992), a bronze award at the Tokyo International Film Festival in 1993 and the Best Director Award and Leading Actor Award at the Nantes Festival des Trois Continents in 1994.(1) For the sake of simplicity, he will be referred to as ”Taiwanese”, since he has made Taipei, (Taiwan) his home. In fact, he is considered to be among the second generation of New Wave filmmakers in Taiwan.
    [Show full text]