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Written & Directed by and Starring Stephen Chow
CJ7 Written & Directed by and Starring Stephen Chow East Coast Publicity West Coast Publicity Distributor IHOP Public Relations Block Korenbrot PR Sony Pictures Classics Jeff Hill Melody Korenbrot Carmelo Pirrone Jessica Uzzan Judy Chang Leila Guenancia 853 7th Ave, 3C 110 S. Fairfax Ave, #310 550 Madison Ave New York, NY 10019 Los Angeles, CA 90036 New York, NY 10022 212-265-4373 tel 323-634-7001 tel 212-833-8833 tel 212-247-2948 fax 323-634-7030 fax 212-833-8844 fax 1 Short Synopsis: From Stephen Chow, the director and star of Kung Fu Hustle, comes CJ7, a new comedy featuring Chow’s trademark slapstick antics. Ti (Stephen Chow) is a poor father who works all day, everyday at a construction site to make sure his son Dicky Chow (Xu Jian) can attend an elite private school. Despite his father’s good intentions to give his son the opportunities he never had, Dicky, with his dirty and tattered clothes and none of the “cool” toys stands out from his schoolmates like a sore thumb. Ti can’t afford to buy Dicky any expensive toys and goes to the best place he knows to get new stuff for Dicky – the junk yard! While out “shopping” for a new toy for his son, Ti finds a mysterious orb and brings it home for Dicky to play with. To his surprise and disbelief, the orb reveals itself to Dicky as a bizarre “pet” with extraordinary powers. Armed with his “CJ7” Dicky seizes this chance to overcome his poor background and shabby clothes and impress his fellow schoolmates for the first time in his life. -
1 Lisa Funnell. Warrior Women: Gender, Race, and the Transnational Chinese Action Star. New York: SUNY Press, 2014. 294Pp. ISBN1
1 Lisa Funnell. Warrior Women: Gender, Race, and the Transnational Chinese Action Star. New York: SUNY Press, 2014. 294pp. ISBN13: 978-1-4384-5249-4 (hardcover). Warrior Women: Gender, Race and the Transnational Chinese Action Star is a welcome entry into the literature on gender in action film, examining female identity from the perspective of a globalising Chinese identity reflected in its popular culture over the past forty years. Funnell's exploration of the topic takes a historical perspective, looking at female actors in wuxia (martial arts) movies, and in movies which draw on wuxia tropes, from the 1970s through to the early 2000s. One of its unique selling points is that it also takes a transnational view, rather than focusing simply on mainland China, Hong Kong or Taiwan. To this end, it looks at the genre's different iterations in these three areas, and also explores wuxia's entry into global cinema, as diaspora Chinese from Canada and the USA increasingly populate the genre, and as Hollywood borrows tropes and actors from Chinese cinema. The book emphasises that women have been key players in Chinese martial-arts cinema from the very beginning; the genre embodies women differently to men, but this distinctive female embodiment is crucial to the visual language of Chinese martial-arts cinema. This book is particularly valuable in pointing up the transnational nature of wuxia, particularly regarding the boundary-spanning careers of Chinese-Canadian and Chinese-American stars. Significantly, local discourses continue to affect transnational ones, for instance the fact that Canadian actresses tend to downplay their Canadian connections, reflecting the (self-) perception that Canadians are not “interesting” or “exotic” in the way that Americans are, and yet Canada is an increasingly dominant node in the Chinese diaspora. -
Bamcinématek Presents Stephen Chow: the King of Comedy, Oct 6—12
BAMcinématek presents Stephen Chow: The King of Comedy, Oct 6—12 “The reigning king of Hong Kong comedy.”—J. Hoberman Co-presented with the Hong Kong Economic and Trade Office in New York. The Wall Street Journal is the title sponsor for BAM Rose Cinemas and BAMcinématek. Brooklyn, NY/Sep 8, 2014—From Monday, October 6 through Sunday, October 12, BAMcinématek presents Stephen Chow: The King of Comedy, an eight-film retrospective of the Hong Kong actor, writer, and director. Chow’s audaciously anarchic comedies combine surreal sight gags, non sequiturs, extensive pop culture quoting, and gravity-defying martial arts to sublimely silly effect. Endlessly inventive, the reigning king of Hong Kong mo lei tau (―nonsense comedy‖) yields unfiltered cinematic pleasure. Initially prominent as a children’s television star, Chow became synonymous with mo lei tau, a style of film comedy in which traditional melodramas and kung fu tales are peppered with rapid- fire, fourth-wall-breaking slapstick bits and corny puns. A bigger box-office draw in his homeland than Jackie Chan or Jet Li, Chow—who cites Spielberg and Kubrick, along with Jim Carrey, as influences—has used his clout in recent years to fashion himself as an auteur, scripting, editing, and directing a series of high-budget, homage-filled blockbusters. Typical of Chow’s earliest hits, Johnnie To’s Justice, My Foot! (1992—Oct 8) casts the actor as a fast-talking lawyer whose mouth gets him into trouble, and whose kung fu-fighting wife gets him out of it—one of many tough, smart heroines Chow uses as foils for his feckless alter egos. -
Tunneling, Propping, and Expropriation: Evidence from Connected Party Transactions in Hong Kong$
ARTICLE IN PRESS Journal of Financial Economics 82 (2006) 343–386 www.elsevier.com/locate/jfec Tunneling, propping, and expropriation: evidence from connected party transactions in Hong Kong$ Yan-Leung Cheunga, P. Raghavendra Raub,Ã, Aris Stouraitisc aCity University of Hong Kong, 83 Tat Chee Avenue, Kowloon Tong, Hong Kong, People’s Republic of China bKrannert Graduate School of Management, Purdue University,403 West State Street, West Lafayette, IN, 47907-2056, USA cCity University of Hong Kong, 83 Tat Chee Avenue, Kowloon Tong, Hong Kong, People’s Republic of China Received 9 December 2003; received in revised form 30 June 2004; accepted 2 August 2004 Available online 18 September 2006 Abstract We examine a sample of connected transactions between Hong Kong listed companies and their controlling shareholders. We address three questions: What types of connected transactions lead to expropriation of minority shareholders? Which firms are more likely to expropriate? Does the market anticipate the expropriation by firms? On average, firms announcing connected transactions earn significant negative excess returns, significantly lower than firms announcing similar arm’s length transactions. We find limited evidence that firms undertaking connected transactions trade at discounted valuations prior to the expropriation, suggesting that investors cannot predict expropriation and revalue firms only when expropriation does occur. r 2006 Elsevier B.V. All rights reserved. JEL classification: G15; G34; K33 Keywords: International corporate governance; Legal -
The Neolithic Ofsouthern China-Origin, Development, and Dispersal
The Neolithic ofSouthern China-Origin, Development, and Dispersal ZHANG CHI AND HSIAO-CHUN HUNG INTRODUCTION SANDWICHED BETWEEN THE YELLOW RIVER and Mainland Southeast Asia, southern China1 lies centrally within eastern Asia. This geographical area can be divided into three geomorphological terrains: the middle and lower Yangtze allu vial plain, the Lingnan (southern Nanling Mountains)-Fujian region,2 and the Yungui Plateau3 (Fig. 1). During the past 30 years, abundant archaeological dis coveries have stimulated a rethinking of the role ofsouthern China in the prehis tory of China and Southeast Asia. This article aims to outline briefly the Neolithic cultural developments in the middle and lower Yangtze alluvial plain, to discuss cultural influences over adjacent regions and, most importantly, to examine the issue of southward population dispersal during this time period. First, we give an overview of some significant prehistoric discoveries in south ern China. With the discovery of Hemudu in the mid-1970s as the divide, the history of archaeology in this region can be divided into two phases. The first phase (c. 1920s-1970s) involved extensive discovery, when archaeologists un earthed Pleistocene human remains at Yuanmou, Ziyang, Liujiang, Maba, and Changyang, and Palaeolithic industries in many caves. The major Neolithic cul tures, including Daxi, Qujialing, Shijiahe, Majiabang, Songze, Liangzhu, and Beiyinyangying in the middle and lower Yangtze, and several shell midden sites in Lingnan, were also discovered in this phase. During the systematic research phase (1970s to the present), ongoing major ex cavation at many sites contributed significantly to our understanding of prehis toric southern China. Additional early human remains at Wushan, Jianshi, Yun xian, Nanjing, and Hexian were recovered together with Palaeolithic assemblages from Yuanmou, the Baise basin, Jianshi Longgu cave, Hanzhong, the Li and Yuan valleys, Dadong and Jigongshan. -
Gender Trouble in Hongkong Cinema Tammy Cheung Et Michael Gilson
Document généré le 28 sept. 2021 10:00 Cinémas Revue d'études cinématographiques Journal of Film Studies Gender Trouble in Hongkong Cinema Tammy Cheung et Michael Gilson Le nouveau cinéma chinois Résumé de l'article Volume 3, numéro 2-3, printemps 1993 Cet article fait le point sur le cinéma contemporain de Hongkong en se penchant plus particulièrement sur des questions entourant les URI : https://id.erudit.org/iderudit/1001198ar représentations de personnages féminins et masculins. Les films, la société et DOI : https://doi.org/10.7202/1001198ar la culture du Hongkong d’aujourd’hui commencent à peine à s’intéresser à la réalité gaie et lesbienne, et, dans une certaine mesure, au féminisme. Comment Aller au sommaire du numéro les différents types de personnages féminins sont-ils présentés dans le cinéma contemporain de Hongkong? Comment le concept traditionnel chinois de « mâle » diffère-t-il de celui que nous connaissons en Occident? La popularité récente de personnages transsexuels dans plusieurs films est aussi examinée. Éditeur(s) Les auteurs soutiennent que des représentations stéréotypées de personnages Cinémas féminins, masculins et homosexuels prédominent dans l’industrie cinématographique de Hongkong et que les représentations positives de gais et de lesbiennes y sont le plus souvent absentes. ISSN 1181-6945 (imprimé) 1705-6500 (numérique) Découvrir la revue Citer cet 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 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. -
Semana De Cine De Hong Kong a Side, B Side, Seaside
Semana de Cine de Hong Kong Martes 26 de septiembre, 21.00 h (87 min.) A Side, B Side, Seaside (2005) A Side, B Side, Seaside narra dos historias sobre el paso a la edad adulta de dos adolescentes de diecisiete años. La película, dividida en dos partes, narra las historias de Chen Tian y de Ah Mui. Chen Tian es una estudiante de Hong Kong, quien está a punto de dejar la ciudad para ir a estudiar a Beijing. Antes de partir, decide realizar un viaje inolvidable a un pueblo de pescadores con sus mejores amigas. Allí descubre el amor por primera vez. En el mismo lugar, Ah Mui, una joven que ha sufrido las consecuencias de vivir en una gran ciudad, regresa a su pueblo natal para revisar su pasado. Ah Mui se reencuentra con dos amigos de su infancia. El tiempo no ha cambiado la amistad y juntos muestran que la inocencia aún no se ha perdido. Director: Wing-Chiu Chan Intérpretes: Wai-Leung Chan, Yan-Ting Fu, Ling Kong, Ho-man Lee, Ching-yi Mak Miércoles, 27 de septiembre, 19:00 h (102 min.) Crazy N’ the City (2004) La tensión crece cuando Chris (Eason Chan), un agente de policía sin carácter, que ve su actividad como un trabajo y no como una carrera, es enviado a realizar una labor con Man Liu (Joey Yung), una enérgica y decidida mujer policía. Cuando aparece un asesino en serie en Hong Kong, Man Liu jura atraparlo. Chris está impresionado por su valentía y decide protegerla en secreto. Director: James Yuen Intérpretes: Eason Chan, Francis Ng, Joey Yung Miércoles, 27 de septiembre, 21:00 h (109 min.) Everlasting Regret (2005) Basada en Chenghen Ge, la novela de Wang Anyi premiada por la crítica y la obra más influyente de los noventa, Everlasting Regret narra la historia de Qiyao, una bella mujer de Shanghai, desde su época más glamorosa hasta la etapa de su vida más simple y cotidiana, mientras ella lucha por preservar la dignidad de su pasado, sobreviviendo a las constantes traiciones de sus parejas. -
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. -
Reading Ambiguity and Ambivalence: the Asymmetric Structure of Crouching Tiger, Hidden Dragon Felicia Chan, University of Nottingham, UK
Reading Ambiguity and Ambivalence: The Asymmetric Structure of Crouching Tiger, Hidden Dragon Felicia Chan, University of Nottingham, UK Bordwell and Thompson write that: "Looking is purposeful; what we look at is guided by our assumptions and expectations about what to look for" (Bordwell and Thompson, 1990: 141). Bordwell and Thompson's statement about what they refer to as "film art" resonates against the remarkable variety of responses to Ang Lee's Crouching Tiger, Hidden Dragon (2000) from various media. Roger Ebert of the Chicago Sun-Times, for instance, calls the film, "the most exhilarating martial arts movie I have seen", while a Beijing newspaper describes it "as unrealistic and exaggerated as a video game" (Ebert quoted in Chu, 2001: A1: 1). The opening fight sequence, which has the actors flying across rooftops, is widely reported to have produced spontaneous applause at its Cannes Film Festival screening; in Shanghai, however, "audiences hissed its fantasy flight scenes" (Rennie, 2001: 30). Hong Kong viewer, Maria Wong, says: For Hong Kong Chinese there's simply not enough action… I grew up with this type of film. You can see them everyday on TV. It's nothing new, even the female angle. But Crouching Tiger is so slow, it's a bit like listening to grandma telling stories. (Wong quoted in Rose, 2001) The first chase sequence does indeed take place about fifteen or twenty minutes into the film -- far too late by Hong Kong standards. In contrast, many Western critics have praised its gravity-defying stunts. For instance, CNN.com reviewer, Paul Tatara gushes: "The first fight, which springs to sudden, exquisite life… surely will elicit rounds of applause from audiences the world over -- action, after all, has become cinema's universal language" (Tatara, 2000). -
Movie Data Analysis.Pdf
FinalProject 25/08/2018, 930 PM COGS108 Final Project Group Members: Yanyi Wang Ziwen Zeng Lingfei Lu Yuhan Wang Yuqing Deng Introduction and Background Movie revenue is one of the most important measure of good and bad movies. Revenue is also the most important and intuitionistic feedback to producers, directors and actors. Therefore it is worth for us to put effort on analyzing what factors correlate to revenue, so that producers, directors and actors know how to get higher revenue on next movie by focusing on most correlated factors. Our project focuses on anaylzing all kinds of factors that correlated to revenue, for example, genres, elements in the movie, popularity, release month, runtime, vote average, vote count on website and cast etc. After analysis, we can clearly know what are the crucial factors to a movie's revenue and our analysis can be used as a guide for people shooting movies who want to earn higher renveue for their next movie. They can focus on those most correlated factors, for example, shooting specific genre and hire some actors who have higher average revenue. Reasrch Question: Various factors blend together to create a high revenue for movie, but what are the most important aspect contribute to higher revenue? What aspects should people put more effort on and what factors should people focus on when they try to higher the revenue of a movie? http://localhost:8888/nbconvert/html/Desktop/MyProjects/Pr_085/FinalProject.ipynb?download=false Page 1 of 62 FinalProject 25/08/2018, 930 PM Hypothesis: We predict that the following factors contribute the most to movie revenue. -
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 -
Die Macht Des Yoga
Fernsehen 14 Tage TV-Programm 10. bis 23.1.2019 Kevin Smiths „Yoga Hosers“ am 21.1. um 20.15 Uhr bei Tele 5 Die Macht des Yoga Der Majdan in Kiew Die Brücke – Das Finale Vor dem Krieg war die Revolution Stafel 4 der Ausnahmeserie als Blu-ray – Feature beim Kulturradio und in der ZDF-Mediathek tipTV_0219_01_Titel [P]_20874009.indd 1 19.12.18 16:09 FERNSEHEN 10. – 23.1. TELEVISOR Das Ende ist nahe? VON LUTZ GÖLLNER ZDF / FILMLANCE / ZDF Eigentlich brauche ich weder das FOTO öffentlich-rechtliche noch das private Fernsehen wirklich. Beim ersten gucke ich fast nur noch Nachrichten und Sport, bei den werbefinanzierten Programmen gibt es mein guilty pleasure, die „Navy CIS“-Serien (speziell die Fol- gen aus New Orleans), und einmal im Jahr füttere ich den inneren disten und freue mich auf 14 HOLLY STEIN / 2014 YOGA HOSERS Sa Tage „Dschungelcamp“. Den Rest FOTO meines TV-Konsums bestreite ich Mädels, Bratzis, Hammermörder – in Kanada ist was los mit Netflix, Prime Video und – ganz neu – DZON. HORRORKOMÖDIE Glaubt man den Börsenanalysten, könnte das jedoch bald vorbei sein, denn im Zuge der Erfolge von HBO, Starz, FX und wie die Strea- Die Macht des Yoga ming-Portale alle heißen, wurden hier jede Menge Begehrlichkeiten Mit „Yoga Hosers“ kehrt Kultregisseur Kevin Smith zu alter Stärke geweckt. Disney etwa hat seine und neuen Geschmacklosigkeiten zurück Marvel-Serien gerade aus dem Netflix-Portfolio entfernt und plant uf der einen Seite ist der US-ame- lerstück und der Film hatte die gewünsch- einen eigenen Dienst. Der soll A rikanische Independent-Regisseur te Aufmerksamkeit.