Hong Kong / Director / CHAN, PETER HO-SUN
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The Studies of HKIFF: an Overview of a Burgeoning Field of Its Establishment in the Current Years
The studies of Hong Kong International Film Festival (HKIFF) : Title an overview of a burgeoning field of its establishment in the current years Author(s) Law, Pik-yu Law, P. E.. (2015). The studies of Hong Kong International Film Festival (HKIFF) : an overview of a burgeoning field of its Citation establishment in the current years. (Thesis). University of Hong Kong, Pokfulam, Hong Kong SAR. Issued Date 2015 URL http://hdl.handle.net/10722/223429 The author retains all proprietary rights, (such as patent rights) and the right to use in future works.; This work is licensed under Rights a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. The Studies of HKIFF: An Overview of a Burgeoning Field of its establishment in the current years The University of Hong Kong Department of Sociology Assignment / Essay Cover Sheet1 Programme Title: Master of Social Sciences in Media, Culture and Creative Cities – MSocSc(MCCC) Title of Course: SOCI8030 Capstone Project Course Code: SOCI8030 Title of Assignment / Essay: The Studies of Hong Kong International Film Festival (HKIFF): An overview of a Burgeoning Field of its establishment in the current years Student Name: LAW, Pik Yu Eugenia Student Number: 2013932305 Year of Study: Year 2 Date of Resubmission2: Plagiarism Plagiarism is the presentation of work which has been copied in whole or in part from another person’s work, or from any other source such as the Internet, published books or periodicals without due acknowledgement given in the text. Where there are reasonable grounds for believing that cheating has occurred, the action that may be taken when plagiarism is detected is for the staff member not to mark the item of work and to report or refer the matter to the Department. -
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. -
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 . -
Yao Ming Still Most Engaging Chinese Celebrity : R3 by David Blecken on Mar 31, 2011 (5 Hours Ago) Filed Under Marketing, China
# 页码，1/4 Network Asia-Pacific Know it now... News People Video Blogs & Opinions Rankings & Research Creativity Marketing Home / Marketing / Rankings & Research / Research Reports Yao Ming still most engaging Chinese celebrity : R3 By David Blecken on Mar 31, 2011 (5 hours ago) filed under Marketing, China BEIJING – Yao Ming remains China’s most popular celebrity, closely followed by hurdler Liu Xiang and Jackie Chan, according to Enspire, a study by marketing consultancy R3. KEYWORDS yao ming, liu xiang, jackie chan, r3, enspire, celebrity, china AGENCY r3 INDUSTRY marketing RELATED Yao Ming's popularity is linked to his attitude towards CSR NBA star Yao Ming partners with Monster Cable to Kobe Bryant was the only foreign celebrity to make the top thirty ranking, launch Yao Monster coming in eighth. Other prominent personalities within the top 10 were Andy Sprite rolls out 'green Lau, Faye Wong, Jet Li, Leehom Wang, Jacky Cheung and Jay Chou. carpet' for China premier of The Green Hornet However, the calculated value of the top two stars was significantly higher than Maxus Guangzhou seals http://en.campaignchina.com/Article/252958,yao-ming-still-most-eng... 2011-03-31 # 页码，2/4 Maxus Guangzhou seals Ping An Insurance Group’ the others. Both Yao and Liu received a value rating of more than 130, while s two-year media contract Chan was valued at 68. Provincial China still largely untapped : Nielsen Sunny Chen, a senior researcher at the company, attributed Yao’s popularity to his perceived prowess as a sports person, his “strong moral values” and Porsche calls pitch in China active participation in corporate social responsibility (CSR) initiatives. -
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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. -
7015 B Program P.Indd
From the Queen to the Chief Executive: May 4–6 Hong Kong Films 2007 10 Years After the Handover 香港電影縱橫﹕ 展與談 1 I am absolutely thrilled to welcome you to our fi rst Hong Kong fi lm Schedule at a glance festival, From the Queen to the Chief Executive: Hong Kong Films Ten Years After the Handover. This important event fi rst and foremost celebrates the friday, may 4 2:30 pm–4:15 pm achievements of Hong Kong fi lm and its impact on a new and ever- Banana Bruises; Royal Ontario Museum changing global culture. From the Queen to the Chief Executive also provides Dumplings Theatre, 100 Queen’s Park a forum to contemplate developments on Hong Kong since its historic 4:15 pm–5:15 pm 6:15 pm–7:15 pm return to China in 1997. Film is a lens through which to understand the Horror Panel VIP Reception dynamics of a changing society and the world around it. Film provides 5:15 pm–6:30 pm Royal Ontario Museum – an important platform, a medium, for telling peoples’ stories. In this Dinner Break Glass Room on the respect, fi lm is both critical and celebratory, it challenges and re- 4th Floor 6:30 pm–8:35 pm affi rms. Its impact is political, social, economic, cultural and often Venues 7:00 pm Eastbound; Welcome leaves legacies of historical import. Doors Open Lost in Time to the First 7:30 pm–7:40 pm 8:35 pm–9:00 pm The Asian Institute is an inter-disciplinary home to scholars working iiX iiX iiX iiX Break Waddg Waddg Welcoming Remarks University on Asia, comprising leading scholars in the humanities and social VkZcjZgY YZdch]^gZea 7:40 pm–9:30 pm 9:00 pm–11:00 pm sciences. -
Ashes of Time (Redux)
keswick film ashes of time Spring club Season 2009 a world of cinema (redux) Written and Directed by Wong Kar Wai,; Director of Photography Christopher Doyle Starring: Leslie Cheung, Brigitte Lin. Tony Leung Chui Wai, Tony Leung Ka Fai, and Maggie Cheung China/Hong Kong, 2008, 93 minutes. Directors Notes “The flag is still. The wind is calm. It’s the heart of man that is in turmoil!” (Buddhist canon) In the winter of 1992, someone suggested that I make a film adaptation of Louis Cha’s famous martial-arts novel The Eagle-Shooting Heroes. I re-read all four volumes of it and finally decided not to do an adaptation but instead to develop a new story about the early years of two of its main characters, Dongxie (Lord of the East) and Xidu (Lord of the West). I chose these two because they have exactly opposite personalities; you could think of one as the antithesis of the other. I tried to depart a little from the traditional martial-arts genre. Instead of treating these characters as heroes, I wanted to see them as ordinary people – at the stage before they became heroes. I knew where these characters were going to end up and there was nothing I could do to change it. This imbued both me and the film with a sense of fatalism. Over the years, I’ve come to realize that there are several different versions of ASHES OF TIME in circulation, some approved by me, some not, as well as the fact that the film was never released in much of the world including the United States. -
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. -
The Filmic Bodies of Wong Kar-Wai
The Filmic Bodies of Wong Kar-wai Louise Malcolm A Thesis Submitted in Fulfilment of the Requirements for the Degree of Doctor of Philosophy School of Arts and Media University ofNew South Wales August 2013 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Malcolm First name: Louise Other name/s: Anne Abbreviation for degree as given in the University calendar: PhD School: Arts and Media Faculty: Arts and Social Sciences Title: The Filmic Bodies of Wong Kar-wai Abstract 350 words maximum: (PLEASE TYPE) This thesis analyses the films of Wong Kar-wai as important examples of affective film performance. It ~xp l ores the particular performative and cinematic techniques found in his work. Through the close examination of these techniques this thesis suggests how Wong creates conditions for spectators to engage bodily with performing bodies on screen. The thesis treats film performance as a matter of film style, seeing it as always constructed through combinations of the performing body, the camera and the edit. It approaches performance on film as a filmic body; an amalgam of performative and cinematic techniques inextricably melded together. This thesis sets up fragmentation as the key trait of Wong's film style, central to his filmic bodies and to the way spectators may engage affectively with them. In particular, the thesis addresses how multiple levels of fragmentation, both performative and cinematic, operate in concert. Visual, temporal and spatial tragmentation are analysed as central components of Wong's filmic bodies in this regard. Further, this stylistic analysis suggests a notion of affective intertextuality, based on stylistic connections between his films, as vital to how spectators can engage bodily with his filmic bodies. -
The Ambivalent Identity of Wong Kar-Wai's Cinema
Université de Montréal The ambivalent identity of Wong Kar-wai’s cinema par Ludmila Moreira Macedo de Carvalho Département de Littérature Comparée Faculté des Arts et des Sciences Thèse présentée à la Faculté des études supérieures et postdoctorales en vue de l’obtention du grade de Ph.D. en Littérature option Littérature et cinéma Juin 2009 Copyright Ludmila Moreira Macedo de Carvalho, 2009 Université de Montréal Faculté des Arts et des Sciences Cette thèse intitulée The ambivalent identity of Wong Kar-wai’s cinema présentée par : Ludmila Moreira Macedo de Carvalho a été évaluée par un jury composé des personnes suivantes : Savoy, Eric Président-rapporteur Lu, Tonglin Directrice de recherche Vigo, Julian Membre du jury Liu, Kang Examinateur externe Garneau, Michèle Représentante du doyen de Faculté ii Sommaire Ayant réalisé neuf longs-métrages entre 1988 et 2007, aussi que plusieurs campagnes publicitaires, vidéo-clips, courts-métrages et projets collectifs, Wong Kar- wai est un des réalisateurs contemporains les plus importants actuellement. Issu de l'industrie cinématographique fortement commerciale de Hong Kong, Wong est parvenu à attirer l'attention du circuit international des festivals de cinéma avec son style visuel unique et son récit fragmenté. Considéré par plusieurs critiques comme le poète de la recherche d’identité de Hong Kong après 1997, Wong Kar-wai défie toutes les tentatives de catégorisation. L’étude qui se poursuivit ici a donc pour objet essentiel de fournir une analyse attentive et complète de son oeuvre, tout en se concentrant sur les traits stylistiques qui donnent à ses films une unité. Ces caractéristiques correspondent à une certaine façon de raconter des histoires, de composer des personnages et des récits, de manipuler le temps et d'utiliser des ressources techniques de sorte que ses films offrent une identité cohérente. -
The Founder of the Brothers of the Christian School, Patron of All
The Hong Kong Lasallian Story 1875-2007 Our Founder The Founder of the Brothers of the Christian School, St. John Baptist de La Salle (1651-1719), was an extraordinary man. Perhaps you could call him a man of surprises. For purposes of this chapter, we highlight two. Firstly, although De La Salle himself was a priest, he would not permit the members of the Institute he founded to become priests lest they should be turned aside from their principal function, and he was convinced that their vocation could lead them to authentic sanctity1. Secondly, members of his Institute were to be called Brothers. They were to be Brothers first among themselves and also elder brothers to the students confided to their care. To them, to be a Brother is a profession as well as a vocation. The mission as he saw it was to give a human and Christian education to the young, paying particular attention to the poor and the needy. He had walked the streets of his native city, Reims, in France, and saw first hand the dire need for this work. The children were wandering around the streets aimlessly or mixing with bad company and getting into trouble with the law. Their parents were working all day and so had little time to take care of them. As a very practical man, he realized that the key to success lay with finding and forming good teachers, not an easy task in those days. He believed that ‘good teachers make good schools’. Throughout his life, and despite great opposition from both Church and State, he worked tirelessly to establish quality Christian schools. -
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.