Danny Lee (Actor) Филм ÑÐ​ ¿Ð¸ÑÑ​ ŠÐº (ФилмографиÑ)​

Total Page:16

File Type:pdf, Size:1020Kb

Danny Lee (Actor) Филм ÑÐ​ ¿Ð¸ÑÑ​ ŠÐº (ФилмографиÑ)​ Danny Lee (actor) Филм ÑÐ​ ¿Ð¸ÑÑ​ ŠÐº (ФилмографиÑ)​ OCTB https://bg.listvote.com/lists/film/movies/octb-3347519/actors Law with Two Phases https://bg.listvote.com/lists/film/movies/law-with-two-phases-6503536/actors Melody of Love https://bg.listvote.com/lists/film/movies/melody-of-love-61103020/actors The Big Score https://bg.listvote.com/lists/film/movies/the-big-score-65243061/actors The House of 72 Tenants https://bg.listvote.com/lists/film/movies/the-house-of-72-tenants-3521323/actors The Mighty Peking Man https://bg.listvote.com/lists/film/movies/the-mighty-peking-man-1763849/actors Tragic Hero https://bg.listvote.com/lists/film/movies/tragic-hero-7832639/actors The Battle Wizard https://bg.listvote.com/lists/film/movies/the-battle-wizard-7715838/actors Hong Kong 73 https://bg.listvote.com/lists/film/movies/hong-kong-73-7193506/actors The Killer https://bg.listvote.com/lists/film/movies/the-killer-269326/actors The Teahouse https://bg.listvote.com/lists/film/movies/the-teahouse-7768190/actors Fatal Move https://bg.listvote.com/lists/film/movies/fatal-move-1003782/actors To Be No. 1 https://bg.listvote.com/lists/film/movies/to-be-no.-1-27643503/actors The Brothers https://bg.listvote.com/lists/film/movies/the-brothers-7720358/actors All Men Are Brothers https://bg.listvote.com/lists/film/movies/all-men-are-brothers-4729069/actors Just Heroes https://bg.listvote.com/lists/film/movies/just-heroes-3190284/actors The Super Inframan https://bg.listvote.com/lists/film/movies/the-super-inframan-3085370/actors Aces Go Places 5: The Terracotta https://bg.listvote.com/lists/film/movies/aces-go-places-5%3A-the-terracotta-hit- Hit 3275147/actors Final Justice https://bg.listvote.com/lists/film/movies/final-justice-7195590/actors The Untold Story https://bg.listvote.com/lists/film/movies/the-untold-story-1254221/actors Shark Busters https://bg.listvote.com/lists/film/movies/shark-busters-64515585/actors Red River https://bg.listvote.com/lists/film/movies/red-river-7304815/actors Bruce Lee and I https://bg.listvote.com/lists/film/movies/bruce-lee-and-i-4977866/actors Dr. Lamb https://bg.listvote.com/lists/film/movies/dr.-lamb-5304247/actors Iron Bodyguard https://bg.listvote.com/lists/film/movies/iron-bodyguard-64398278/actors https://bg.listvote.com/lists/film/movies/867713/actors.
Recommended publications
  • Download This PDF File
    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.
    [Show full text]
  • Chapter 6 Hong Kong
    CHAPTER 6 HONG KONG Key Findings • The Hong Kong government’s proposal of a bill that would allow for extraditions to mainland China sparked the territory’s worst political crisis since its 1997 handover to the Mainland from the United Kingdom. China’s encroachment on Hong Kong’s auton- omy and its suppression of prodemocracy voices in recent years have fueled opposition, with many protesters now seeing the current demonstrations as Hong Kong’s last stand to preserve its freedoms. Protesters voiced five demands: (1) formal with- drawal of the bill; (2) establishing an independent inquiry into police brutality; (3) removing the designation of the protests as “riots;” (4) releasing all those arrested during the movement; and (5) instituting universal suffrage. • After unprecedented protests against the extradition bill, Hong Kong Chief Executive Carrie Lam suspended the measure in June 2019, dealing a blow to Beijing which had backed the legislation and crippling her political agenda. Her promise in September to formally withdraw the bill came after months of protests and escalation by the Hong Kong police seeking to quell demonstrations. The Hong Kong police used increasingly aggressive tactics against protesters, resulting in calls for an independent inquiry into police abuses. • Despite millions of demonstrators—spanning ages, religions, and professions—taking to the streets in largely peaceful pro- test, the Lam Administration continues to align itself with Bei- jing and only conceded to one of the five protester demands. In an attempt to conflate the bolder actions of a few with the largely peaceful protests, Chinese officials have compared the movement to “terrorism” and a “color revolution,” and have im- plicitly threatened to deploy its security forces from outside Hong Kong to suppress the demonstrations.
    [Show full text]
  • Gender Trouble in Hongkong Cinema Tammy Cheung and Michael Gilson
    Document generated on 09/25/2021 4:23 p.m. Cinémas Revue d'études cinématographiques Journal of Film Studies Gender Trouble in Hongkong Cinema Tammy Cheung and Michael Gilson Le nouveau cinéma chinois Article abstract Volume 3, Number 2-3, Spring 1993 The authors conduct a brief survey of some recent examples of the Hongkong cinema, focusing on questions surrounding the portrayals of female and male URI: https://id.erudit.org/iderudit/1001198ar characters in them. Today's Hongkong films, society and culture are just now DOI: https://doi.org/10.7202/1001198ar taking tentative steps towards an awareness of gay and lesbian themes, and in some measure, of feminism. How are different types of female characters See table of contents presented in contemporary Hongkong cinema? How does the traditional Chinese view of "male" differ from the West's? The recent trend that has "gender-bending" characters appearing in a number of Hongkong feature films is also examined. The authors maintain that stereotypical representations of Publisher(s) women, men, and homosexual characters persist in the Hongkong film Cinémas industry, that honest portrayals of gay and lesbian characters are mostly absent from the movie screens of the Crown Colony. ISSN 1181-6945 (print) 1705-6500 (digital) Explore this journal Cite this article Cheung, T. & Gilson, M. (1993). Gender Trouble in Hongkong Cinema. Cinémas, 3(2-3), 181–201. https://doi.org/10.7202/1001198ar Tous droits réservés © Cinémas, 1993 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • Shaw Brothers Films List
    The Shaw Brothers Collection of Films on DVD Distributed by Celestial Pictures Collection 23 Titles grouped by year of original theatrical release (Request titles by ARSC Study Copy No.) ARSC Study Film Id English Title Chinese Title Director Genre Year Casts Copy No. Lin Dai 林黛, Chao Lei 趙雷, Yang Chi-ching 楊志卿, Lo Wei 1 DVD5517 M 156012 Diau Charn 貂蟬 Li Han-hsiang 李翰祥 Huangmei Opera 1956 羅維 DVD5518 M 1.1 (Karaoke Diau Charn 貂蟬 disc) Lin Dai 林黛, Chao Lei 趙雷, Chin Chuan 金銓, Yang Chi- 2 DVD5329 M 158005 Kingdom And The Beauty, The 江山美人 Li Han-hsiang 李翰祥 Huangmei Opera 1958 ching 楊志卿, Wong Yuen-loong 王元龍 Enchanting Shadow Lo Tih 樂蒂, Chao Lei 趙雷, Yang Chi-ching 楊志卿, Lo Chi 3 DVD5305 M 159005 倩女幽魂 Li Han-hsiang 李翰祥 Horror 1959 洛奇 Rear Entrance Butterfly Woo 胡蝶, Li Hsiang-chun 李香君, Chao Ming 趙明, 4 DVD5149 M 159016 後門 Li Han-hsiang 李翰祥 Drama 1959 (B/W) Chin Miao 井淼, Wang Ai-ming 王愛明, Wang Yin 王引 Lin Dai 林黛, Chao Lei 趙雷, Hung Por 洪波,Wang Yueh-ting 5 DVD5212 M 159021 Beyond The Great Wall 王昭君 Li Han-hsiang 李翰祥 Huangmei Opera 1959 王月汀, Chang Tsui-yin 張翠英, Li Yin 李英 Lin Dai 林黛, Chen Ho 陳厚, Fanny Fan 范麗, Kao Pao-shu 6 DVD5209 M 160004 Les Belles 千嬌百媚 Doe Chin 陶秦 Musical 1960 高寶樹, Mak Kay 麥基 7 DVD5433 M 160006 Magnificent Concubine, The 楊貴妃 Li Han-hsiang 李翰祥 Huangmei Opera 1960 Li Li-hua 李麗華, Yen Chuan 嚴俊, Li Hsiang-chun 李香君 Li Li-hua 李麗華, Chao Lei 趙雷, Chiao Chuang 喬莊, Lo Chi 8 DVD5452 M 160011 Empress Wu 武則天 Li Han-hsiang 李翰祥 Period Drama 1960 洛奇, Yu Feng-chi 俞鳳至 Loh Tih 樂蒂, Diana Chang Chung-wen 張仲文, Ting Ning 9 DVD5317 M 160020 Bride Napping, The
    [Show full text]
  • China Perspectives, 2009/3 | 2009 Kenneth E
    China Perspectives 2009/3 | 2009 The Deadlock in Tibet Kenneth E. Hall, John Woo’s The Killer, Hong Kong, HKU Press, 2009, 124 pp. Kristof Van Den Troost Édition électronique URL : http://journals.openedition.org/chinaperspectives/4879 DOI : 10.4000/chinaperspectives.4879 ISSN : 1996-4617 Éditeur Centre d'étude français sur la Chine contemporaine Édition imprimée Date de publication : 1 septembre 2009 ISSN : 2070-3449 Référence électronique Kristof Van Den Troost, « Kenneth E. Hall, John Woo’s The Killer, Hong Kong, HKU Press, 2009, 124 pp. », China Perspectives [En ligne], 2009/3 | 2009, mis en ligne le 16 octobre 2009, consulté le 24 septembre 2020. URL : http://journals.openedition.org/chinaperspectives/4879 ; DOI : https://doi.org/ 10.4000/chinaperspectives.4879 Ce document a été généré automatiquement le 24 septembre 2020. © All rights reserved Kenneth E. Hall, John Woo’s The Killer, Hong Kong, HKU Press, 2009, 124 pp. 1 Kenneth E. Hall, John Woo’s The Killer, Hong Kong, HKU Press, 2009, 124 pp. Kristof Van Den Troost 1 The most recent addition to the New Hong Kong Cinema Series published by Hong Kong University Press is dedicated to The Killer (1989), the film that virtually blasted open the way to Hollywood for famed Hong Kong director John Woo and his favourite star, Chow Yun-fat. In this film Chow is a lone assassin, who after accidentally blinding a singer (Sally Yeh) takes on one last assignment in order to pay for the eye surgery she needs. Things do not go quite as planned, and the killer finds himself on the run from his treacherous employer, as well as from the tough cop (Danny Lee) hot on his trail.
    [Show full text]
  • Shaw-Tarantino Connection: Rolling Thunder Pictures and the Exploitation Aesthetics of Cool Kenneth Chan University of Northern Colorado
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Department of English Faculty Publications Department of English 2008 Shaw-Tarantino Connection: Rolling Thunder Pictures and the Exploitation Aesthetics of Cool Kenneth Chan University of Northern Colorado Follow this and additional works at: http://digscholarship.unco.edu/engfacpub Recommended Citation Chan, Kenneth, "Shaw-Tarantino Connection: Rolling Thunder Pictures and the Exploitation Aesthetics of Cool" (2008). Department of English Faculty Publications. 1. http://digscholarship.unco.edu/engfacpub/1 This Article is brought to you for free and open access by the Department of English at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Department of English Faculty Publications by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. The Shaw-Tarantino Connection: Rolling Thunder Pictures and the Exploitation Aesthetics of Cool By Kenneth Chan Introduction The opening credit sequence of Quentin Tarantino’s Kill Bill Vol. 1 features the Shaw Brothers logo—the letters “SB” encased within a crest symbol not unlike the one used by Warner Bros.—emblazoned across a multicolored frosted-glass backdrop, accompanied by the words “Shaw Scope” and a cheesy trumpet fanfare. For many mainstream American moviegoers, this is probably their first encounter with this iconic symbol from Hong Kong’s cinematic history. But for Hong Kong and diasporic Chinese audiences (in countries such as Taiwan, Thailand, Malaysia, and Singapore; and in Chinatowns across North America and Europe), this highly familiar branding sequence heralds the movie pleasures ethnic Chinese audiences have come to expect and love from the Shaw films produced during the late-1950s to the mid-1980s in Hong Kong.
    [Show full text]
  • A Better Tomorrow II Laughing Times a Better Tomorrow
    July 20 (Sun) 1 pm Laughing Times (1981 - Comedy) (G) Starring Dean Shek Tin, Wu Ma Synopsis: Director John Woo directed this “Charlie Chaplin” like comedy starring Hong Kong Economic and Trade Office (Canada) Shek Tin and Wu Ma. Presents Characteristics: John Woo began his career directing comedies and in some way he never really abandon his comedy roots. You will find his comic genius here. (Courtesy of Golden Princess Amusement Co Ltd) July 20 (Sun) 4:30 pm A Better Tomorrow (1986 - Action / Drama) (R) Starring Ti Lung, Leslie Cheung, Chow Yun-fat Synopsis: Ho (Ti Lung) is a gangster while his younger brother Kit (Leslie Cheung) is a police inspector. Kit looks down upon Ho when he learns that the latter is a criminal. Ho makes effort to reform but both he and Mark (Chow Yun-fat), his buddy, suffer great pressure by the gang boss. Characteristics: Exciting action sequences and touching portrayal of friendship, loyalty and brotherhood. This ballistic and violent gangster movie set the trend of “heroic fraternity” films which was to be cloned July 18, 19 and 20, 2003 by other film makers. The Uptown Awards: Best Actor at 1987 Hong Kong Film Awards (Chow Yun-fat), Best Picture at 1987 Hong Kong Film Awards (612 – 8th Avenue SW, Calgary) (Courtesy of Golden Princess Amusement Co Ltd) July 20 (Sun) 7:30 pm Closing movie A Better Tomorrow II (1987- Action / Drama) (R) Starring Ti Lung, Leslie Cheung, Chow Yun-fat Synopsis: Ho (Ti Lung) is persuaded to go undercover to bust the gang he used to work for.
    [Show full text]
  • Where in the World Is Andy Lau? Putting the Popular
    WHERE IN THE WORLD IS ANDY LAU? PUTTING THE POPULAR BACK INTO STUDIES OF HONG KONG POPULAR ENTERTAINMENT Joyleen Johanna Christensen BEc, BA (Hons 1), GDPTT, GDipArts A thesis submitted in fulfilment of the requirements of the degree of PhD (Film, Media & Cultural Studies) June 2013 University of Newcastle, Australia STATEMENT OF ORIGINALITY The thesis contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to the final version of my thesis being made available worldwide when deposited in the University’s Digital Repository**, subject to the provisions of the Copyright Act 1968. **Unless an Embargo has been approved for a determined period. 2 ACKNOWLEDGEMENTS I wish to begin by thanking Dr Hamish Ford and Associate Professor David Boyd for their time, patience, and sage advice. I have little doubt that I would still be struggling with this research if you both had not agreed to come on board as my supervisors when you did and I will be forever indebted to your significant contributions to this work. In addition to his input into this thesis, I will be eternally grateful to Associate Professor Boyd for introducing me to Film Studies and providing me with the opportunity to embark on a career that I love. I would also like to acknowledge what an exceptional source of inspiration and support Dr Ford has been since he took over the primary supervision of this thesis in 2010.
    [Show full text]
  • Please Turn Off Cellphones During Screening March 27, 2012 (XXIV:10) John Woo, the KILLER (1989, 111 Min.)
    Please turn off cellphones during screening March 27, 2012 (XXIV:10) John Woo, THE KILLER (1989, 111 min.) Written & Directed by John Woo Produced by Hark Tsui Original Music by Lowell Lo (as Lowell Lowe) Cinematography by Peter Pau (as Peter Pao) and Wing-Hung Wong (as Wong Wing Hang) Film Editing by Kung Wing Fan (as Fan Kung Ming) Art Direction by Man-Wah Luk (as Luk Man Wah) Set Decoration by Chun-Ching Tai Stunt action coordinators Siu-Tung Ching (as Ching Siu Tung) and Chi-Ho Lau (as Lau Chi Ho) Yun-Fat Chow…Ah Jong (as Chow Yun Fat) Danny Lee…Insp. Li Ying / Little Eagle Sally Yeh…Jennie Kong Chu…Fung Sei (as Chu Kong) Kenneth Tsang…Sgt. Tsang Yeh (as Tsang Kong) Fui-On Shing…Wong Hoi (as Shing Fui On) Wing-Cho Yip…Wong Dung-Yu 1992 The Legend of the Swordsman, 1991 Once Upon a Time in JOHN WOO (b. Yusen Wu, September 23, 1946, Guangzhou, China, 1990 Zhong Ri nan bei he, 1990 The Swordsman, 1989 A China) has directed 39 films, some of which are 2009 Red Cliff Better Tomorrow III: Love and Death in Saigon, 1989 The Killer II, 2008 Red Cliff, 2003 Paycheck, 2002 Hostage, 2002 (as Tsui Hark), 1988 Gunmen, 1988 The Big Heat, 1987 A Better Windtalkers, 2000 Mission: Impossible II, 1997 Face/Off, 1996 Tomorrow II, 1986 Peking Opera Blues, 1986 A Better Broken Arrow, 1993 Hard Target, 1992 Hard Boiled, 1991 Once Tomorrow (as Tsui Hark), and 1985 King Worker. a Thief, 1990 Bullet in the Head, 1989 The Killer, 1987 A Better Tomorrow II, 1986 A Better Tomorrow, 1985 Liang zhi lao hu, PETER PAU (1952, Hong Kong) won a Best Cinematography 1981 Hua ji shi dai (as Wu Hsiang-fei), 1979 Last Hurrah for Oscar for Crouching Tiger, Hidden Dragon (2000).
    [Show full text]
  • VI. Developments in Hong Kong and Macau
    VI. Developments in Hong Kong and Macau Findings • The Commission observed a further erosion of Hong Kong’s autonomy and fundamental freedoms under the ‘‘one country, two systems’’ framework. The Hong Kong government sought to advance changes to the territory’s extradition ordinance to allow the surrender of individuals to mainland China and to empower the Chief Executive to make decisions on fugitive ar- rangements on a case-by-case basis without a vetting process in the Legislative Council (LegCo). If passed, the bill would ex- pose local and foreign citizens transiting, visiting, or residing in Hong Kong to the risk of being extradited to mainland China. • A series of large-scale anti-extradition bill and pro-democ- racy demonstrations took place in Hong Kong beginning in late March 2019. Protests continued despite the Hong Kong govern- ment’s decision to suspend—but not withdraw—consideration of the extradition bill. Protesters demanded that the govern- ment withdraw the extradition bill, retract the characterization of protests on June 12 as a ‘‘riot,’’ drop charges against all ar- rested protesters, establish an independent commission of in- quiry on police conduct, and enact democratic reforms toward universal suffrage in Hong Kong’s Chief Executive and LegCo elections. • International and Hong Kong human rights groups, journal- ists, and crowd-control experts noted that the Hong Kong Po- lice Force (HKPF) used excessive force and inappropriately op- erated crowd-control equipment in instances during the 2019 protests. The HKPF fired projectiles including rubber bullets, bean bag rounds, and pepper balls at close range; launched tear gas canisters into crowded and enclosed areas and from high buildings, did not give warning before firing tear gas, and struck individuals with tear gas canisters; and misused batons against protesters, causing blunt force trauma.
    [Show full text]