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Yeo, Su-Anne. 2016. Transnational Screens and Asia Pacific Public
Yeo, Su-Anne. 2016. Transnational Screens and Asia Pacific Public Cultures: Vancouver, Toronto, and Hong Kong, 1997-2007. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/18872/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] 1 Transnational Screens and Asia Pacific Public Cultures: Vancouver, Toronto, and Hong Kong, 1997-2007 Su-Anne YEO Thesis submitted to Goldsmiths, University of London for the Degree of Doctor of Philosophy July 2016 2 Declaration I declare that the work presented in this thesis is my own. Name: Su-Anne Yeo Signature: __________________________________ Date: __________________________________ 3 Acknowledgements This thesis would not have been possible with the generosity of several organizations and many individuals both in the UK and overseas. First, I would like to acknowledge the contribution of the many people who agreed to participate in this study by being interviewed or by sharing archival materials. Their assistance has been invaluable. For financial support, I thank the Overseas Research Student Award (ORSAS), the University of London Central Research Fund, and the Daiwa Charitable Foundation of Hong Kong. I am forever indebted to my thesis supervisor, Chris Berry, who taught by example, read closely and critically, and never lost faith in my abilities, especially when I doubted myself. -
Migration, Memory, and Hong Kong: As a ‘Space of Transit’ in Clara Law’S Autumn Moon by Tony Mitchell
Migration, Memory, and Hong Kong: as a ‘space of transit’ in Clara Law’s Autumn Moon by Tony Mitchell. Summary: Macau-born and Melbourne-based film maker Clara Law and her screenwriter-producer-director hu- band Eddie Fong have produced an idiosyncratically transnational output of films which are beginning to receive critical recognition as major contributions to a contemporary cinema of Chinese migration which explores what Gina Marchetti has encapsulated as ‘the Chinese experience of dislocation, relocation, emi- gration, immigration, cultural hybridity, migrancy, exile, and nomadism – together termed the “Chinese diaspora”. This essay looks at the “Chinese diaspora” through the lens of Clara Law’s 1996 feature film Autumn Moon, and particularly how it relates to the city-space of Hong Kong which is characterised as a ‘space of transit’. Stable URL: This text is available online at http://www.localnoise.net.au/site-directory/papers/migration-memory- and-hong-kong-as-a-space-of-tansit-in-clara-laws-autumn-moon/ About: This text is licensed under a Creative Commons Attributed-Sharealike-Noncommercial license. For details on the terms of this license, please see http://www.creativecommons.org/nc-sa-a2.0/ LOCAL NOISE Migration, Memory, and Hong Kong Introduction: Clara Law’s Films of Migration Macau-born and Melbourne-based film maker Clara Law and her screenwriter-producer-director hus- band Eddie Fong have produced an idiosyncratically transnational output of films which are beginning to receive critical recognition as major contributions to a contemporary cinema of Chinese migration which explores what Gina Marchetti has encapsulated as ‘the Chinese experience of dislocation, relocation, emi- gration, immigration, cultural hybridity, migrancy, exile, and nomadism – together termed the “Chinese diaspora”.1 Their own self-imposed ‘relocation’ in Australia since 1994 was the result of increasing frustra- tion with the rampantly commercial imperatives of Hong Kong cinema and its lack of appreciation for the auteur cinema they wanted to pursue. -
Martial Arts Cinema and Hong Kong Modernity
Martial Arts Cinema and Hong Kong Modernity Aesthetics, Representation, Circulation Man-Fung Yip Hong Kong University Press Th e University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2017 Hong Kong University Press ISBN 978-988-8390-71-7 (Hardback) 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 infor- mation storage or retrieval system, without prior permission in writing from the publisher. An earlier version of Chapter 2 “In the Realm of the Senses” was published as “In the Realm of the Senses: Sensory Realism, Speed, and Hong Kong Martial Arts Cinema,” Cinema Journal 53 (4): 76–97. Copyright © 2014 by the University of Texas Press. All rights reserved. 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 Paramount Printing Co., Ltd. in Hong Kong, China Contents Acknowledgments viii Notes on Transliteration x Introduction: Martial Arts Cinema and Hong Kong Modernity 1 1. Body Semiotics 24 2. In the Realm of the Senses 56 3. Myth and Masculinity 85 4. Th e Diffi culty of Diff erence 115 5. Marginal Cinema, Minor Transnationalism 145 Epilogue 186 Filmography 197 Bibliography 203 Index 215 Introduction Martial Arts Cinema and Hong Kong Modernity Made at a time when confi dence was dwindling in Hong Kong due to a battered economy and in the aft ermath of the SARS epidemic outbreak,1 Kung Fu Hustle (Gongfu, 2004), the highly acclaimed action comedy by Stephen Chow, can be seen as an attempt to revitalize the positive energy and tenacious resolve—what is commonly referred to as the “Hong Kong spirit” (Xianggang jingshen)—that has allegedly pro- pelled the city’s amazing socioeconomic growth. -
提名名單獎項award Title 候選者nominee 最佳電影best Film 1. 十
提名名單 Nomination List of The 29th Hong Kong Film Awards (下列次序以電影的中文片名筆劃排名) The following list is in order of strokes of Chinese Characters of Film Titles. 獎項 候選者 Award Title Nominee 最佳電影 1. 十月圍城 Bodyguards And Assassins Best Film 出品:人人電影有限公司 Presented by : Cinema Popular Ltd 監製:陳可辛、黃建新、許月珍 Produced by : Peter Chan Ho Sun, Huang Jian Xin & Jojo Hui 2. 赤壁 決戰天下 Red Cliff II 聯合出品:中國電影集團公司、 艾回娛樂有限公司、 橙天娛樂國際集團有限公司、 中環國際娛樂事業股份有限公司、 Showbox 、獅子山製作有限公司 Co-presented by : China Film Group Corportation, Avex Entertainment Inc, Chengtian Entertainment International Holdings Ltd, CMC Entertainment, Showbox , Lion Rock Productions Ltd 監製:張家振、吳宇森 Produced by : Terence Chang & John Woo 3. 音樂人生 KJ 出品:視納華仁文化傳播 Presented by : CNEX Foundation Ltd 監製:蔣顯斌、張經緯 Produced by : Ben Tsang & Cheung King Wai 4. 新宿事件 Shinjuku Incident 出品:英皇‧龍影業有限公司 Presented by : Emperor Dragon Movie Ltd 監製:陳自強、蘇志鴻 Produced by : Willie Chan & Solon So 5. 竊聽風雲 Overheard 聯合出品:博納影視娛樂有限公司、 銀都機構有限公司、 上海天娛傳媒有限公司、 西安曲江影視投資(集圍)有限公司、 強片製片廠私人有限公司 Co-presented by : Bona Entertainment Co Ltd, Sil-Metropole Organization Ltd, Shanghai EE-Media Co Ltd, Xi’An Qujiang Film & TV Investment Group Co Ltd, Neo Studios Pte Ltd 監製:爾冬陞、方平 Produced by : Derek Yee Tung Sing & Fong Ping 最佳導演 1. 陳德森(十月圍城)Teddy Chen (Bodyguards And Assassins) Best Director 2. 許鞍華(天水圍的夜與霧)Ann Hui (Night & Fog) 3. 吳宇森(赤壁 決戰天下)John Woo (Red Cliff II) 4. 爾冬陞(新宿事件)Derek Yee Tung Sing (Shinjuku Incident) 5. 麥兆輝、莊文強(竊聽風雲) Alan Mak & Felix Chong (Overheard) 香港電影金像奬協會 電郵:[email protected] 電話:2367 7892 傳真:2723 9597 網址:www.hkfaa.com 提名名單 Nomination List of The 29th Hong Kong Film Awards (下列次序以電影的中文片名筆劃排名) The following list is in order of strokes of Chinese Characters of Film Titles. -
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. -
A Different Brilliance—The D & B Story
1. Yes, Madam (1985): Michelle Yeoh 2. Love Unto Wastes (1986): (left) Elaine Jin; (right) Tony Leung Chiu-wai 3. An Autumn’s Tale (1987): (left) Chow Yun-fat; (right) Cherie Chung 4. Where’s Officer Tuba? (1986): Sammo Hung 5. Hong Kong 1941 (1984): (from left) Alex Man, Cecilia Yip, Chow Yun-fat 6. It’s a Mad, Mad, Mad World (1987): (front row from left) Loletta Lee, Elsie Chan, Pauline Kwan, Lydia Sum, Bill Tung; (back row) John Chiang 7. The Return of Pom Pom (1984): (left) John Sham; (right) Richard Ng 8. Heart to Hearts (1988): (from left) Dodo Cheng, George Lam, Vivian Chow Pic. 1-8 © 2010 Fortune Star Media Limited All Rights Reserved Contents 4 Foreword Kwok Ching-ling, Wong Ha-pak 〈Chapter I〉 Production • Cinema Circuits 10 D & B’s Development: From Production Company to Theatrical Distribution Po Fung Circuit 19 Retrospective on the Big Three: Dickson Poon and the Rise-and-Fall Story of the Wong Ha-pak D & B Cinema Circuit 29 An Unconventional Filmmaker—John Sham Eric Tsang Siu-wang 36 My Days at D & B Shu Kei In-Depth Portraits 46 John Sham Diversification Strategies of a Resolute Producer 54 Stephen Shin Targeting the Middle-Class Audience Demographic 61 Linda Kuk An Administrative Producer Who Embodies Both Strength and Gentleness 67 Norman Chan A Production Controller Who Changes the Game 73 Terence Chang Bringing Hong Kong Films to the International Stage 78 Otto Leong Cinema Circuit Management: Flexibility Is the Way to Go 〈Chapter II〉 Creative Minds 86 D & B: The Creative Trajectory of a Trailblazer Thomas Shin 92 From -
Cinematic Hong Kong of Wong Kar-Wai
CINEMATIC HONG KONG OF WONG KAR-WAI by HAIHONG LI ABSTRACT In order to promote an understanding of the centrality of space and the intimate relationship between space and identity in Wong Kar-wai’s films, this dissertation examines the director’s construction of cinematic space and the characters’ sense of who they are in relation to Hong Kong in his six films Days of Being Wild, In the Mood for Love, 2046, As Tears Go by, Chungking Express, and Fallen Angels. The investigation of Wong’s use of cinematic space involves the analysis of his selection of location and strategic employment of the mise-en-scène, camera angles, lenses, lighting, and music, which constitute his fictional world. It is my assertion that Wong’s construction of Hong Kong in these films responds to the formation and transformation of identity and showcases the impact of colonialism, modernization, decolonization, globalization, and postmodern culture upon the lives of Hong Kong inhabitants. INDEX WORDS: Wong Kar-wai, Hong Kong, Cinematic space, Identity CINEMATIC HONG KONG OF WONG KAR-WAI by HAIHONG LI B.A., Fu Zhou University, China, 2000 M.A., Truman State University, 2004 A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ATHENS, GEORGIA 2012 © 2012 Haihong Li All Rights Reserved CINEMATIC HONG KONG OF WONG KAR-WAI by HAIHONG LI Major Professor: Hyangsoon Yi Committee: Richard Neupert Ronald Bogue Masaki Mori Karim Traore Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2012 ACKNOWLEDGEMENTS I wish to extend my sincere gratitude to my supervisor, Hyangsoon Yi, who helped me develop research skills and understanding of the subject during the completion of the project. -
Hong Kong Cinema MOOC
VF106_Subject Index Master 03/03/2017 13:01 Page 8 feature HONG KONG CINEMA MOOC Gina Marchetti, Aaron Han ost MOOCs originate in transnational American studies, and institutions with international women’s studies, Stacilee Ford’s Troubling Joon Magnan-Park and M reputations in specific fields, American Women: Narratives of Gender so a course devoted to Hong Kong cinema and Nation in Hong Kong (2011) includes Stacilee Ford, from the proposed by a department (Comparative connections between Hong Kong and US Literature) known for its teaching and cinema as well as analyses of Hong Kong University of Hong Kong, research in that area seems logical. In women in the US. In the MOOC, we also fact, as the major stakeholder and source showcase research and teaching on Hong explain the thinking behind of funding for the MOOC, the University Kong film carried out by other HKU of Hong Kong (HKU) benefits most from colleagues, including Jason Ho their brand new MOOC, making this fact better-known by (Comparative Literature), Esther Yau publicising research and teaching on a (Comparative Literature), Wendy Gan Hong Kong Cinema Through subject of interest to many learners (English), and Giorgio Biancorosso (Music) across the globe. through recommended readings, a Global Lens. When bringing together the core quotations, interviews and guest lectures. teaching staff for the MOOC, showcasing Of course, many other HKU colleagues original scholarship on Hong Kong cinema conduct research on Hong Kong cinema, as well as making that research accessible and we plan to feature their scholarship to a wide variety of learners were in future online courses (Mirana Szeto, primary concerns. -
Jackie Chan and His Lost Family
IFB 2003 TRACES OF THE DRAGON: Panorama Dokumente JACKIE CHAN AND HIS LOST FAMILY TRACES OF THE DRAGON TRACES OF THE DRAGON TRACES OF THE DRAGON Regie:Mabel Cheung Hongkong, China 2002 Dokumentarfilm Länge 96 Min. Format 35 mm, 1:1.85 Farbe Stabliste Kamera Arthur Wong Schnitt Maurice Li Ton Kinson Tsang Musik Henry Lai Recherche Henry Ng Heman Peng Cheung Wing Hung Produzenten Willie Chan Solon So Executive Producer Alex Law Associate Producer Doris Tse Produktion Jackie & Willie Productions Ltd. Lee Lee Chan, Jackie Chan 145 Waterloo Road HK-Kowloon TRACES OF THE DRAGON Weltvertrieb Wer Jackie Chan ist, weiß mittlerweile jedes Kind. Doch wer Jackie Chan in Fortissimo Film Sales Wirklichkeit ist, das wusste der Action-Held des Hongkong-Kinos und Veemarkt 77-79 erfolgreiche Hollywood-Star bis vor kurzem tatsächlich selber nicht. NL-1019 DA Amsterdam Bislang war über sein Herkunft Folgendes bekannt: 1954 in Hongkong Tel.:20-627 32 15 Fax:20-626 11 55 geboren,als Kind einfacher Leute in ärmlichen Verhältnissen aufgewachsen. [email protected] Der Vater Koch,die Mutter Hausangestellte,keine Geschwister.Zugleich kur- sierten Gerüchte: Er sei nicht der leibliche Sohn seiner Eltern, er habe sogar Brüder und Schwestern in der Volksrepublik China. 1999 lässt bei Jackie Chans Mutter die Gesundheit nach und der Vater beschließt, seinem Sohn die ganze Familiengeschichte zu erzählen. Jackie Chan besucht ihn in Australien, Mabel Cheungs Filmteam begleitet ihn. Überraschendes kommt ans Tageslicht: Jackie Chan hat tatsächlich Geschwister in der Volksrepublik,sein Nachname war ursprünglich gar nicht Chan. Sein Vater arbeitete während der Regierung Chiang Kai-sheks als Spion für dessen Nationalpartei und seine Mutter war alles andere als eine einfache Hausangestellte. -
Hong Kong & Singapore 1997
Hong Kong & Singapore 1997 By Toh, Hai Leong Fall 1997 Issue of KINEMA THE PRESTIGIOUS 21st HONG KONG International Film Festival, which concluded on 9 April 1997, presented its largest and perhaps the greatest collection of global cinema with some 280 films and video works. This year, this non-competitive festival attracted more than three hundred festival guests and major critics from all over the world with more than half of them coming from Japan and East Asia. Its humbler counterpart, the Singapore International Film Festival (SIFF) is now in its 10th year. Some 220 films were shown there (including a number of fringe films and videos presented at the Goethe Institute, and a retrospective of François Truffaut’s films screened at the Alliance Française). Film critics and festival directors flew over to the Republic to view the sensitive selection of Asian cinema by the festival programmer Philip Cheah. In its competitive section for Asian films, the SIFF honours the winners with its Silver Screen awards. The HKIFF, though without film awards, proved to the world that it is serious about showing good films with good stories. 1997 also reflected the uncertainty regarding the British Colony’s transfer to Chinese rule in June 1997; critics and the media people can only speculate over its future and staying power. Personally, I am sure the festival will proceed as normal into 1998 and plans are being discussed to make it a five-year cultural affair. Hong Kong FF celebrated the Handover with an intensive 3-day seminar appropriately titled Conference on the Hong Kong Cinema: Fifty Years of Electric Shadows, held at the Science Museum Lecture Hall, between 10-12 April 1997. -
Contemporary Pan-Chinese Cinematic Urbanism in Taiwan and Hong Kong
Contemporary Pan-Chinese Cinematic Urbanism in Taiwan and Hong Kong By Ying-Fen Chen 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 Margaret L. Crawford, Chair Professor Greig Crysler Professor Weihong Bao Summer 2019 Abstract Contemporary Pan-Chinese Cinematic Urbanism in Taiwan and Hong Kong by Ying-Fen Chen Doctor of Philosophy in Architecture University of California, Berkeley Professor Margret L. Crawford, Chair After World War II, Chinese films shot in Taiwan and Hong Kong began to play a significant role constructing and disseminating images of Chinese culture and its urban environments to pan-Chinese regions of the world and beyond. To comprehend the relationship between those Chinese films and their urban settings, particularly in Taipei and Hong Kong, numerous scholars in the field of Chinese cinematic urbanism engaged in analyses of the highly aestheticized spatial representations in the films, as well as on the cultural negotiation of Chineseness within a context of political tension, and the issues arising from the rapid capitalization of Chinese cities. However, from the 1990s, the global popularity of Hollywood movies threatened the film industry both in Taiwan and Hong Kong. Concurrently, Mainland China rose in stature to supplant Taiwan and Hong Kong as the seat of political, economic, and cultural “Chineseness”. To respond to these changes, film industry executives in Taiwan and Hong Kong began to seek new ways to survive, sparking a process in which the relationship between cities and the film industries grew more complex. -
Hong Kong Film Week London 12Th – 16Th September 2011
Organiser : HONG KONG FILM WEEK LONDON 12TH – 16TH SEPTEMBER 2011 Hong Kong Film Week in London will introduce five celebrated Hong Kong films as part of the Think Asia, Think Hong Kong campaign, organised by the Hong Kong Trade Development Council. London, 12th to 16th September: Hong Kong Trade Development Council (HKTDC) will screen some of the best films to come from Hong Kong, including box office hits and contemporary classics. Opening with the international premiere of the mystery thriller Overheard 2 (co-directed by Alan Mak and Felix Chong) at The May Fair Hotel, there will also be a series of screenings at the Prince Charles Cinema featuring Ip Man (Wilson Yip), Love in a Puff (Pang Ho-cheung), Echoes of the Rainbow (Alex Law), and The Beast Stalker (Dante Lam). The official opening ceremony of Hong Kong Film Week is to be hosted by the Honourable Andrew Leung, GBS, JP Council member of the HKTDC. Alan Mak, Writer/ Director of Overheard 2 will also be present to introduce the film. “Hong Kong Film Week in London”, organised by the HKTDC and supported by CreateHK and Hong Kong Film Development Council, is part of the Think Asia, Think Hong Kong promotion to inform UK companies of business opportunities in Asia, particularly the Chinese mainland. As part of this overall event, Hong Kong Film Week will screen five Hong Kong films from 12-16 September, including Overheard 2, followed by showings of the remaining four films during the rest of the week at the Prince Charles Cinema. Ip Man is a Kung Fu classic, and Echoes of the Rainbow is the heart-warming late-1960s tale that was honoured at the 2010 Berlin International Film Festival.