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Icons, Culture and Collective Identity of Postwar Hong Kong
Intercultural Communication Studies XXII: 1 (2013) R. MAK & C. CHAN Icons, Culture and Collective Identity of Postwar Hong Kong Ricardo K. S. MAK & Catherine S. CHAN Hong Kong Baptist University, Hong Kong S.A.R., China Abstract: Icons, which take the form of images, artifacts, landmarks, or fictional figures, represent mounds of meaning stuck in the collective unconsciousness of different communities. Icons are shortcuts to values, identity or feelings that their users collectively share and treasure. Through the concrete identification and analysis of icons of post-war Hong Kong, this paper attempts to highlight not only Hong Kong people’s changing collective needs and mental or material hunger, but also their continuous search for identity. Keywords: Icons, Hong Kong, Hong Kong Chinese, 1997, values, identity, lifestyle, business, popular culture, fusion, hybridity, colonialism, economic takeoff, consumerism, show business 1. Introduction: Telling Hong Kong’s Story through Icons It seems easy to tell the story of post-war Hong Kong. If merely delineating the sky-high synopsis of the city, the ups and downs, high highs and low lows are at once evidently remarkable: a collective struggle for survival in the post-war years, tremendous social instability in the 1960s, industrial take-off in the 1970s, a growth in economic confidence and cultural arrogance in the 1980s and a rich cultural upheaval in search of locality before the handover. The early 21st century might as well sum up the development of Hong Kong, whose history is long yet surprisingly short- propelled by capitalism, gnawing away at globalization and living off its elastic schizophrenia. -
The New Hong Kong Cinema and the "Déjà Disparu" Author(S): Ackbar Abbas Source: Discourse, Vol
The New Hong Kong Cinema and the "Déjà Disparu" Author(s): Ackbar Abbas Source: Discourse, Vol. 16, No. 3 (Spring 1994), pp. 65-77 Published by: Wayne State University Press Stable URL: http://www.jstor.org/stable/41389334 Accessed: 22-12-2015 11:50 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Wayne State University Press is collaborating with JSTOR to digitize, preserve and extend access to Discourse. http://www.jstor.org This content downloaded from 142.157.160.248 on Tue, 22 Dec 2015 11:50:37 UTC All use subject to JSTOR Terms and Conditions The New Hong Kong Cinema and the Déjà Disparu Ackbar Abbas I For about a decade now, it has become increasinglyapparent that a new Hong Kong cinema has been emerging.It is both a popular cinema and a cinema of auteurs,with directors like Ann Hui, Tsui Hark, Allen Fong, John Woo, Stanley Kwan, and Wong Rar-wei gaining not only local acclaim but a certain measure of interna- tional recognitionas well in the formof awards at international filmfestivals. The emergence of this new cinema can be roughly dated; twodates are significant,though in verydifferent ways. -
Paper Number: 63 May 2007 Before and After the Fall: Mapping Hong
Paper Number: 63 May 2007 Before and after the Fall: Mapping Hong Kong Cantopop in the Global Era Stephen Yiu-wai Chu Hong Kong Baptist University The author welcome comments from readers. Contact details: Stephen Yiu-wai Chu, Department of Chinese Language and Literature, Hong Kong Baptist University, Hong Kong Email: [email protected] David C. Lam Institute for East-West Studies (LEWI) Hong Kong Baptist University (HKBU) LEWI Working Paper Series is an endeavour of David C. Lam Institute for East-West Studies (LEWI), a consortium with 28 member universities, to foster dialogue among scholars in the field of East-West studies. Globalisation has multiplied and accelerated inter-cultural, inter-ethnic, and inter-religious encounters, intentionally or not. In a world where time and place are increasingly compressed and interaction between East and West grows in density, numbers, and spread, East-West studies has gained a renewed mandate. LEWI’s Working Paper Series provides a forum for the speedy and informal exchange of ideas, as scholars and academic institutions attempt to grapple with issues of an inter-cultural and global nature. Circulation of this series is free of charge. Comments should be addressed directly to authors. Abstracts of papers can be downloaded from the LEWI web page at http://www.hkbu.edu.hk/~lewi/publications.html. Manuscript Submission: Scholars in East-West studies at member universities who are interested in submitting a paper for publication should send an article manuscript, preferably in a Word file via e-mail, as well as a submission form (available online) to the Series Secretary at the address below. -
Exploring Temporality and Identity in Wong Kar‐Wai's Days Of
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by PDXScholar PSU McNair Scholars Online Journal Volume 3 Issue 1 Identity, Communities, and Technology: On the Article 18 Cusp of Change 2009 Time after Time: Exploring Temporality and Identity in Wong Kar‐wai’s Days of Being Wild, In the Mood for Love, and 2046 Julie Nakama Portland State University Let us know how access to this document benefits ouy . Follow this and additional works at: http://pdxscholar.library.pdx.edu/mcnair Recommended Citation Nakama, Julie (2009) "Time after Time: Exploring Temporality and Identity in Wong Kar‐wai’s Days of Being Wild, In the Mood for Love, and 2046," PSU McNair Scholars Online Journal: Vol. 3: Iss. 1, Article 18. 10.15760/mcnair.2009.127 This Article is brought to you for free and open access. It has been accepted for inclusion in PSU McNair Scholars Online Journal by an authorized administrator of PDXScholar. For more information, please contact [email protected]. Portland State University McNair Research Journal 2009 Time after Time: Exploring Temporality and Identity in Wong Kar‐wai’s Days of Being Wild, In the Mood for Love, and 2046 by Julie Nakama Faculty Mentor: Mark Berrettini Citation: Nakama, Julie. Time after Time: Exploring Temporality and Identity in Wong Kar‐wai’s Days of Being Wild, In the Mood for Love, and 2046. Portland State University McNair Scholars Online Journal, Vol. 3, 2009: pages [127‐153] McNair Online Journal Page 1 of 27 Time after Time: Exploring Temporality and Identity in Wong Kar-wai’s Days of Being Wild, In the Mood for Love, and 2046 Julie Nakama Mark Berrettini, Faculty Mentor Wong Kar-wai is part of a generation of Hong Kong filmmakers whose work can be seen in response to two pivotal events in Hong Kong, the 1984 signing of the Sino-British Joint Declaration detailing Hong Kong’s return to China in 1997 and the events of Tiananmen Square in 1989. -
Cheung, Leslie (1956-2003) by Linda Rapp
Cheung, Leslie (1956-2003) by Linda Rapp Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2003, glbtq, inc. Reprinted from http://www.glbtq.com Leslie Cheung first gained legions of fans in Asia as a pop singer. He went on to a successful career as an actor, appearing in sixty films, including the award-winning Farewell My Concubine. Androgynously handsome, he sometimes played sexually ambiguous characters, as well as romantic leads in both gay- and heterosexually-themed films. Leslie Cheung, born Cheung Kwok-wing on September 12, 1956, was the tenth and youngest child of a Hong Kong tailor whose clients included Alfred Hitchcock and William Holden. At the age of twelve Cheung was sent to boarding school in England. While there he adopted the English name Leslie, in part because he admired Leslie Howard and Gone with the Wind, but also because the name is "very unisex." Cheung studied textiles at Leeds University, but when he returned to Hong Kong, he did not go into his father's profession. He entered a music talent contest on a Hong Kong television station and took second prize with his rendition of Don McLean's American Pie. His appearance in the contest led to acting roles in soap operas and drama series, and also launched his singing career. After issuing two poorly received albums, Day Dreamin' (1977) and Lover's Arrow (1979), Cheung hit it big with The Wind Blows On (1983), which was a bestseller in Asia and established him as a rising star in the "Cantopop" style. He would eventually make over twenty albums in Cantonese and Mandarin. -
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. -
3D423bbe0559a0c47624d24383
BENDS straddles the Hong Kong- Shenzhen border and tells the story of ANNA, an affluent housewife and FAI, her chauffeur, and their unexpected friendship ABOUT as they each negotiate the pressures of Hong Kong life and the city’s increasingly complex relationship to mainland China. Fai is struggling to find a way to bring his THE pregnant wife and young daughter over the Hong Kong border from Shenzhen to give birth to their second child, even though he crosses the border easily every FILM day working as a chauffeur for Anna. Anna, in contrast, is struggling to keep up the facade of her ostentatious lifestyle into which she has married, after the sudden disappearance of her husband amid financial turmoil. Their two lives collide in a common space, the car. PRODUCTION NoteS SHOOT LOCATION: Hong Kong TIMELINE: Preproduction, July/August 2012 Principal Photography, September/October 2012 (23 days) Completion, Spring 2013 PREMIERE: Cannes Film Festival 2013, Un Certain Regard (Official Selection) LANGUAGE: Cantonese & Mandarin FORMAT: HD, Colour LENGTH: 92 minutes THE CaST ANNA - Lead Female Role Carina Lau 劉嘉玲 SelecTED FILMOGRAPHY: Detective Dee and the Mystery Phantom Flame Let the Bullets Fly 2046 Flowers of Shanghai Ashes of Time Days of Being Wild FAI - Lead Male Role Chen Kun 陳坤 SelecTED FILMOGRAPHY: Painted Skin I & II, Rest On Your Shoulder, Flying Swords of Dragon Gate 3D Let the Bullets Fly Balzac and the Little Chinese Seamstress Writer/Director Flora Lau 劉韻文 Cinematographer Christopher Doyle (H.K.S.C.) 杜可風 A Very Special Thanks To William Chang Suk Ping 張叔平 Flora was born and raised in Hong Kong. -
Movie Tv Sho Audio Radio
70 FILM REVIEWS MOVIES 71 NEW MOVIES ONBOARD 72 MOVIES TV SHOWS 74 TV SHOWS AUDIO Entertainment 76 AUDIO/RADIO RADIO © 2018 20TH CENTURY FOX. ALL RIGHTS RESERVED. BAD TIMES AT THE EL ROYALE FILM REVIEWS WANT HELP WITH WHAT TO WATCH THIS MONTH? FILMMAKER AND DIRECTOR KAM RASLAN MAKES THE CASE FOR THESE THREE MOVIES. THE INCREDIBLES Is The Incredibles the best animated movie ever? Yes. Yes, it is. It’s hilariously funny, exciting, moving and visually beautiful. A family of superheroes have to live in witness protection as normal people because superheroes have been deemed a menace to society. Naturally, Mr Incredible hates his boring life as an insurance salesman and his goingplacesmagazine.com children have to hide their superhero skills. But when an opportunity for a return to the old life comes knocking, Mr Incredible puts his entire family at risk, which sounds like a job LOGAN for Elastigirl. Is Logan the best superhero movie ever? EDGE OF TOMORROW Probably. A thunderous Hugh Jackman Because it was made all the way back in Is Edge of Tomorrow the best science fiction | 70 is Wolverine one last time as he plays a 2004, the animation for The Incredibles may movie ever? Maybe not, but it’s definitely | January 2019 January | reluctant father figure to the stunningly not seem quite as plush as, say, Zootopia, the best science fiction movie starring Tom intense young actress Dafne Keen. On a but director Brad Bird (who made his name Cruise, and when it comes to big-budget desperate journey from Mexico to the far with The Simpsons) created such a complete action Hollywood movies, nobody delivers north, the pair are perfectly matched as universe that you instantly forget. -
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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. -
Award-Winning Hong Kong Film Gallants to Premiere at Hong Kong
FOR IMMEDIATE RELEASE Award-winning Hong Kong film Gallants to premiere at Hong Kong Film Festival 2011 in Singapore One-week festival to feature a total of 10 titles including four new and four iconic 1990s Hong Kong films of action and romance comedy genres Singapore, 30 June 2011 – Movie-goers can look forward to a retro spin at the upcoming Hong Kong Film Festival 2011 (HKFF 2011) to be held from 14 to 20 July 2011 at Cathay Cineleisure Orchard. A winner of multiple awards at the Hong Kong Film Awards 2011, Gallants, will premiere at HKFF 2011. The action comedy film will take the audience down the memory lane of classic kung fu movies. Other new Hong Kong films to premiere at the festival include action drama Rebellion, youthful romance Breakup Club and Give Love. They are joined by retrospective titles - Swordsman II, Once Upon A Time in China II, A Chinese Odyssey: Pandora’s Box and All’s Well, Ends Well. Adding variety to the lineup is Quattro Hong Kong I and II, comprising a total of eight short films by renowned Hong Kong and Asian filmmakers commissioned by Brand Hong Kong and produced by the Hong Kong International Film Festival Society. The retrospective titles were selected in a voting exercise that took place via Facebook and SMS in May. Public were asked to select from a list of iconic 1990s Hong Kong films that they would like to catch on the big screen again. The list was nominated by three invited panelists, namely Randy Ang, local filmmaker; Wayne Lim, film reviewer for UW magazine; and Kenneth Kong, film reviewer for Radio 100.3. -
A Brief Analysis of the Narrative Characteristics of Karwai Wong Film with “Days of Being Wild” As an Example
Art and Design Review, 2020, 8, 170-175 https://www.scirp.org/journal/adr ISSN Online: 2332-2004 ISSN Print: 2332-1997 A Brief Analysis of the Narrative Characteristics of Karwai Wong Film with “Days of Being Wild” as an Example Bo Zhang, Weiqing Sun Department of Film and Television Arts, Shanghai Publishing and printing College, Shanghai, China How to cite this paper: Zhang, B., & Sun, Abstract W. Q. (2020). A Brief Analysis of the Narr- ative Characteristics of Karwai Wong Film As a leading figure of Hong Kong film, Karwai Wong has contributed nu- with “Days of Being Wild” as an Example. merous outstanding works to the Chinese film circle and even the world film Art and Design Review, 8, 170-175. circle. Behind his highly abstract image world, it reflects people’s bewilder- https://doi.org/10.4236/adr.2020.83013 ment of rootless drifting in modern cities. Through the analysis of the movie Received: July 8, 2020 “Days of Being Wild”, this paper reveals the narrative characteristics of Kar- Accepted: July 31, 2020 wai Wong film. Published: August 3, 2020 Keywords Copyright © 2020 by author(s) and Scientific Research Publishing Inc. Leading Figure, Rootless, Narrative Characteristics This work is licensed under the Creative Commons Attribution International License (CC BY 4.0). http://creativecommons.org/licenses/by/4.0/ 1. Introduction Open Access As a representative of melodrama movies directors in Hong Kong, Karwai Wong has his own unique style in selecting creative themes. From his first film “As Tears Go by” to “The Grandmaster”, he has always maintained a balance be- tween business and art, personal style and the requirement of audience in the 30 years of his movie career. -
Chungking Express.Pdf
Chungking Express BEFORE VIEWING – BEFORE READING SYNOPSIS TASK ■ With a partner, discuss and record your expectations of a film called Chungking Express which has been made in Hong Kong. After viewing the film you should compare notes with your partner to see how many of your expectations have been confirmed or contradicted. SYNOPSIS Cult Hong Kong filmmaker Wong Kar Wai’s Chungking Express is a stylish combination of romance, dead-pan comedy and film noir set in and around Hong Kong’s notorious Chunking Mansions, a complex of shabby hostels, bars and clubs teaming with illegal immigrants. The story centres on a small takeaway stall, the Midnight Express, which is frequented by two lovelorn Cops (223, Takeshi Kaneshiro and 633, Tony Leung Chiu Wai). They become involved with a mysterious drug dealer dressed in a blonde wig and sunglasses (Brigitte Lin), on the run from drug traffickers, and an impulsive young dreamer (Faye Wong) who works behind the counter of the Midnight Express. The central concerns of the film are identity and our reluctance to show, or to accept, who we truly are. The Brigitte Lin character wears a wig and sunglasses to hide her true self. Cop 223 refuses to accept the fact that his girlfriend has left him. The waitress (Faye Wong) secretly cleans the apartment for Cop 633 who avoids reading a goodbye note from his ex- girlfriend and is unable to realise that his apartment is getting cleaner and cleaner. BACKGROUND FOR WONG KAR WAI Wong Kar Wai belongs to the mid-1980s Second New Wave of Hong Kong filmmakers who continued to develop the innovative approaches initiated by the original Hong Kong New Wave, which included directors such as Tsui Hark, Ann Hui and Patrick Tam.