Daniel Lee (Film Director)

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Daniel Lee (film director) Daniel Lee Nationality Hong Kong Occupation Film director, screenwriter, assistant director and art director Daniel Lee Yan Kong (Chinese.Â List of film director and actor collaborations â” Film directors frequently choose to work with the same actor or actress across several projects. Such collaborations may span years or even decades. The following list has been alphabetized by the director s last name. A *Jim Abrahams / Lloydâ¦ â¦ Wikipedia. List of film director and editor collaborations â” This list of film director and editor collaborations includes longstanding, notable partnerships of directors and editors. The list s importance is that directors and editors typically work together on the editing of a film, which is the ultima Lee Daniels gave his parents an early Christmas present when he entered the world on December 24, 1959; unfortunately, the Philadelphia native was to have a difficult relationship with his police officer father who later reacted violently to his son's sexuality. Despite the brutality of his childhood, Lee completed high school and attended See full bio Â». Born: December 24, 1959 in Philadelphia, Pennsylvania, USA. More at IMDbPro Â» Contact Info: View agent, publicist, legal on IMDbPro. 144 photos | 6 videos Â». Daniel Lee Film Director on WN Network delivers the latest Videos and Editable pages for News & Events, including Entertainment, Music, Sports, Science and more, Sign up and share your playlists.Â This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Daniel_Lee_(film_director). Daniel Lee. Daniel Lee may refer to Daniel Lee Yan-Kong is a Hong Kong film director, screenwriter, assistant director and art director. What Price Survival (1994). Black Mask (1996). ...Till Death Do Us Part (1998). Moonlight Express (1999). A Fighter's Blues (2000). Star Runner (2003). Dragon Squad (2005). Three Kingdoms: Resurrection of the Dragon (2008). 14 Blades (2010). White Vengeance (2011). Dragon Blade (2015). Time Raiders (2016). What Price Survival (1994). Till Death Do Us Part (1998). Moonlight Express (1999). All information for Daniel Lee (film director)'s wiki comes from the below links. Any source is valid, including Twitter, Facebook, Instagram, and LinkedIn. Pictures, videos, biodata, and files relating to Daniel Lee (film director) are also acceptable encyclopedic sources. https://en.wikipedia.org/wiki/Daniel%20Lee (film%20director%29. The original version of this page is from Wikipedia, you can edit the page right here on Everipedia. Text is available under the Creative Commons Attribution-ShareAlike License. Daniel Lee (film director). From Wikipedia, the free encyclopedia. This is a Chinese name; the family name is Lee. Daniel Lee. Nationality. Hong Kong.Â WHITE VENGEANCE Daniel Lee's trailer/teaser. Dragon Blade - Huo An vs. Cold Moon Scene (1/10) | Movieclips. Jackie Chan & Daniel Lee Panel Talk | FEFF 17. Transcription. Contents. Bleed Like Me (song) Old Town Farm Frederick Newton (cricketer) Flemish Heraldic Council Start Here https://www.abebooks.com/servlet/SearchResults?sts=t&tn=Daniel+Lee+%28film+director%29&x=51&y=16 https://www.facebook.com/Daniel-Lee-film-director https://www.google.com/url?q=https%3A%2F%2F....

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Laurent Courtiaud & Julien Carbon
a film by laurent courtiaud & julien carbon 1 Red_nights_93X66.indd 1 7/05/10 10:36:21 A FILM BY LAURENT COURTIAUD & JULIEN CARBON HonG KonG, CHIna, FranCe, 2009 FrenCH, CantoneSe, MandarIn 98 MInuteS World SaleS 34, rue du Louvre | 75001 PARIS | Tel : +33 1 53 10 33 99 [email protected] | www.filmsdistribution.com InternatIonal PreSS Jessica Edwards Film First Co. | Tel : +1 91 76 20 85 29 | [email protected] SYNOPSIS A CantoneSE OPERA TELLS THE TRAGEDY of THE Jade EXecutioner, WHO HAD created A PoiSon THat KILLED by GIVING THE ultimate PLEASURE. THIS LEGEND HAPPENS AGAIN noWadayS WHEN A FrencH Woman EScaPES to HonG KonG AFTER HAVING KILLED HER loVER to taKE AN ANTIQUE HoldinG, THE infamouS Potion. SHE becomeS THE HAND of fate THat PITS A TAIWANESE GANGSTER AGAINST AN EPicurean Woman murderer WHO SEES HERSELF AS A NEW incarnation of THE Jade EXecutioner. 4 3 DIRECTORS’ NOTE OF INTENT “ Les Nuits Rouges du Bourreau de But one just needs to wander at night along Jade ”. “Red Nights Of The Jade Exe- the mid-levels lanes on Hong Kong island, a cutioner”. The French title reminds maze of stairs and narrow streets connecting of double bills cinemas that scree- ancient theatres, temples and high tech buil- ned Italian “Gialli” and Chinese “Wu dings with silent mansions hidden among the trees up along the peak, to know this is a per- Xia Pian”. The end of the 60s, when fect playground for a maniac killer in trench genre and exploitation cinema gave coat hunting attractive but terrified victims “à us transgressive and deviant pictures, la Mario Bava”.
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Transnational Film and the Politics of Becoming: Negotiating East Asian Identity in Hong Kong Night Club and Moonlight Express
67 Transnational Film and the Politics of Becoming: Negotiating East Asian Identity in Hong Kong Night Club and Moonlight Express Lori D. Hitchcock Cultural Transnationalism in the East Asian Context Recent years have witnessed the growth of a body of literature concerned with what Sheldon Hsiao-peng Lu has termed "Chinese cinemas,"1 sparked by the increased international visibility of films from mainland China, Taiwan, and Hong Kong, and characterized by an emerging interest in the ways that such works negotiate both "the triumphantly universal and the resiliency particular"2 in their unique situatedness within both regional Chinese and global media mar kets. In the context of the 1997 return of Hong Kong to mainland China, this emphasis has engendered significant critical attention to issues of local Hong Kong identity within a dramatically altered political, social, and cultural climate, represented by two discursive trends that at once implicitly and explicitly refer ence 1997 as the seminal turning-point of Hong Kong's media industries. The first of these discourses reads 1997 as an ambiguous end-date, with critics such as Stephen Teo arguing the "end of Hong Kong cinema"3 through his observation that recent developments, both economic and industrial, "appear...to signal the closing of an era and the beginning of the age of uncertainty."4 Teo describes Hong Kong films as embodying specific local aesthetics and industrial practices that have gradually come to constitute it as a discrete regional (in the absence of the national) cinema; against this, 1997 is characterized as an indis tinct threat to Hong Kong's precarious local (cultural) identity, sandwiched be tween the hegemonic forces of both colonial Great Britain and communist China.
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List of action films of the 2010s - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/List_of_action_films_of_the_2010s List of action films of the 2010s From Wikipedia, the free encyclopedia This is an incomplete list, which may never be able to satisfy particular standards for completeness. You can help by expanding it (//en.wikipedia.org /w/index.php?title=List_of_action_films_of_the_2010s&action=edit) with reliably sourced entries. This is chronological list of action films originally released in the 2010s. Often there may be considerable overlap particularly between action and other genres (including, horror, comedy, and science fiction films); the list should attempt to document films which are more closely related to action, even if it bends genres. Title Director Cast Country Sub-Genre/Notes 2010 13 Assassins Takashi Miike Koji Yakusho, Takayuki Yamada, Yusuke Iseya Martial Arts[1] 14 Blades Daniel Lee Donnie Yen, Vicky Zhao, Wu Chun Martial Arts[2] The A-Team Joe Carnahan Liam Neeson, Bradley Cooper, Quinton Jackson [3] Alien vs Ninja Seiji Chiba Masanori Mimoto, Mika Hijii, Shuji Kashiwabara [4][5] Bad Blood Dennis Law Simon Yam, Bernice Liu, Andy On [6] Sorapong Chatree, Supaksorn Chaimongkol, Kiattisak Bangkok Knockout Panna Rittikrai, Morakot Kaewthanee [7] Udomnak Blades of Blood Lee Joon-ik Cha Seung-won, Hwang Jung-min, Baek Sung-hyun [8] The Book of Eli Albert Hughes, Allen Hughes Denzel Washington, Gary Oldman, Mila Kunis [9] The Bounty Hunter Andy Tennant Jennifer Aniston, Gerard Butler, Giovanni Perez Action comedy[10] The Butcher, the Chef and the Wuershan Masanobu Ando, Kitty Zhang, You Benchang [11] Swordsman Centurion Neil Marshall Michael Fassbender, Olga Kurylenko, Dominic West [12] City Under Siege Benny Chan [13] The Crazies Breck Eisner Timothy Olyphant, Radha Mitchell, Danielle Panabaker Action thriller[14] Date Night Shawn Levy Steve Carell, Tina Fey, Mark Wahlberg Action comedy[15] The Expendables Sylvester Stallone Sylvester Stallone, Jason Statham, Jet Li [16] Faster George Tillman, Jr.
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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.
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Chinese Face/Off
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Negotiating East Asian Identity in Hong Kong Night Club and Moonlight Express
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Humanities Commons 67 Transnational Film and the Politics of Becoming: Negotiating East Asian Identity in Hong Kong Night Club and Moonlight Express Lori D. Hitchcock Cultural Transnationalism in the East Asian Context Recent years have witnessed the growth of a body of literature concerned with what Sheldon Hsiao-peng Lu has termed "Chinese cinemas,"1 sparked by the increased international visibility of films from mainland China, Taiwan, and Hong Kong, and characterized by an emerging interest in the ways that such works negotiate both "the triumphantly universal and the resiliency particular"2 in their unique situatedness within both regional Chinese and global media mar kets. In the context of the 1997 return of Hong Kong to mainland China, this emphasis has engendered significant critical attention to issues of local Hong Kong identity within a dramatically altered political, social, and cultural climate, represented by two discursive trends that at once implicitly and explicitly refer ence 1997 as the seminal turning-point of Hong Kong's media industries. The first of these discourses reads 1997 as an ambiguous end-date, with critics such as Stephen Teo arguing the "end of Hong Kong cinema"3 through his observation that recent developments, both economic and industrial, "appear...to signal the closing of an era and the beginning of the age of uncertainty."4 Teo describes Hong Kong films as embodying specific local aesthetics and industrial practices that have gradually come to constitute it as a discrete regional (in the absence of the national) cinema; against this, 1997 is characterized as an indis tinct threat to Hong Kong's precarious local (cultural) identity, sandwiched be tween the hegemonic forces of both colonial Great Britain and communist China.
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