Filmart Daily Mar

Total Page:16

File Type:pdf, Size:1020Kb

Filmart Daily Mar FILMART DAILY MAR. 23, 2015 №1 THR.COM/FILMART Contents Panda Cover D1 032315.indd 1 3/18/15 1:52 PM MARCH 23, 2015 THR.COM/FILMART HONG KONG №1 HK TODAY TOMORROW WEATHER AND HIGH 72° F 71° F TEMPS 22° C 22° C KOREA’S MBC U.S. Pins Asia Hopes on Filmart INKS ISLAND The Hong Kong market sees a record number of Hollywood dealmakers looking to crack the TV DEAL world’s hottest film sector. “It’s essential to attend” says one insider By Clifford Coonan By Clifford Coonan ollywood-Asia links are in focus as a accessing the China market given its prime location erenity Media Group’s record 47 American companies and as one of the most bustling, cosmopolitan cities in Christie Hsiao has signed Hindividuals have signed up to take part the region,” she tells THR. Sa partnership with South in Filmart this year. She is in the territory with two titles announced Korea’s Munhwa Broadcasting Links between Hollywood and China are deep- at Berlin: Chronically Metropolitan with Shiloh Corporation (MBC) network ening: in the last week alone Huayi Bros. partnered Fernandez, Chris Noth, Mary-Louise Parker to make a TV series and stage with Robert Simonds’ STX Entertainment, while and Ashley Benson and Untot with Hayden musical of her novel Journey to Lionsgate signed a $375 million film financing Christensen. Rainbow Island. deal with Hunan TV. “Filmart has grown in importance over Hsiao believes the Korean Hollywood companies hoping to move the years as Asia continues to dominate and deal will be a stepping stone to their projects in the region include The exert its force in the international market- further sales in Asia. Asylum, IM Global, Electric Entertainment, Anisi place. It’s now become essential for me to The deal involves the pro- Lakeshore International, MarVista attend and establish a direct relationship with duction of a children’s musical Entertainment and XYZ Pictures, which is rep- buyers there and understand their individual terri- TV series, as well as a transla- ping Kevin Smith’s forthcoming Yoga Hosers with tory needs,” she adds. tion of the novel into Korean. Johnny Depp at Filmart. Filmart features a panel discussion organized by The Korean language book Tannaz Anisi, president of 13 Films, is attending the Hong Kong Trade Development Council and will come out in October 2015, Filmart for the first time. the Producers’ Guild of America called Making followed by a stage musical in “Hong Kong is definitely a primary way of CONTINUED ON PAGE 2 the first half of 2016. “I have always envisioned Journey to Rainbow Island as review an international project that The Taking of Tiger Mountain can reach audiences all over In Tsui Hark’s actioner, a People’s Liberation Army soldier infiltrates a clan of bandits CONTINUED ON PAGE 2 by clarence tsui SUI HARK’S THE TAKING Mak’s Neon of Tiger Mountain — based Makes Market T on a 1957 novel about a communist soldier’s battle of By Karen Chu Bow wits with bandits during the igor Mortis director Chinese Civil War in the late Juno Mak will unveil 1940s — is a straightforward RSons of the Neon Night spectacle motored by high-oc- to buyers at Filmart. The $15 tane action sequences featuring million crime thriller is pro- simplistic heroes and grotesque duced by Mak’s Kudos Films, villains. Amid the and Hong Kong-based FC blinding visuals SEE PAGE 10 FOR A Q&A Movies, a member of the Shaw and ear-splitting WITH DIRECTOR Brothers Group. firepower, Tsui’s TSUI HARK The film is written, pro- adaptation stays duced and directed by Mak. very close to the simplistic moral Filming is planned to com- binary that shaped its source mence in the fourth quarter of material — hardly a surprise, as 2015 for a late 2016 release. the director counts among his Mak reinvented the Chinese backers the August First Film “jumping vampire” genre in his Studio, the Chinese military’s Military leader Lin directorial debut Rigor Mortis does his best to moviemaking unit. in 2013, and subsequently take down a group Tiger Mountain revolves around of thieves. garnered nominations for best CONTINUED ON PAGE 15 CONTINUED ON PAGE 2 THE HOLLYWOOD REPORTER 1 D1_HK_news1+2+leadrev.inddC.indd 1 3/22/15 10:08 PM theREPORT U.S AT FILMART XYZ Pictures will be CONTINUED FROM PAGE 1 shopping Kevin Smith’s HEAT INDEX Yoga Hosers at Filmart. Asian Films in America, featur- ing Elizabeth Dell, head of the PGA’s China Task Force, and Stu Levy, who chairs the Guild’s International Committee, Online Video Committee and the PGA ProShow. The Digital Entertainment Summit will also use ANDY LAU The Hong Kong mega star’s Love and Lost, Transformers and Avatar as a tale of a man looking for his abducted case studies in another panel, son, written and directed by Peng Sanyan, opened strong in China on March 20, T for Transmedia: Immersive taking $6.4 million on its first day. Storyworld and A New Way of Audience Engagement. While relations are expanding, IFTA, which puts on the annual companies that skipped the and Americans come here look- American Film Market, has European Film Market in Berlin ing for Asian content, so we also been vocal in calling for China to in Feb. The German event’s always try to keep an open eye honor the terms of a 2012 trade proximity to Chinese New Year for local content with Universal deal and allow Hollywood films to means many Asians don’t attend. themes. Filmart is a hub for compete on a transparent basis. “As Asia has grown, so has tons of new fresh material in the Katie Irwin, VP of interna- the competition for Asian distrib- region,” says Hoiseth. tional at Fortitude International utors’ attention,” adds Irwin. While Chinese companies CHEN GUANGBIAO The Chinese philanthropist and would-be says Filmart offers useful access “But nothing builds a better are increasingly reaching out media mogul, who once tried to buy The to the China market, which last bond than taking the time to get directly, Filmart remains a good NY Times, is in hot water – literally – after admitting he faked a 30-minute-long Ice year chalked up a 36-percent to know them, their company place to meet investors from Bucket Challenge by using water that was rise to reach $4.76 billion in total and their market.” mainland China. “as warm as a hotel swimming pool.” box office. Kevin Hoiseth, director of sales “It’s important to stay up to “There are many mainland at International Film Trust, says date on the marketplace with your know your dealmaker Chinese distributors, production Filmart offers a look at Asian partners. It’s also a great place to companies, financing entities, etc. content that can travel. see what’s working and what’s not who attend Filmart with an appe- “Everybody is trying to diver- working in the region,” he says. tite to do business,” says Irwin. sify in a global way and several Filmart also offers valu- markets in Asia are thriving at Karen Chu contributed able face time with Chinese the moment. Many European to this report. ISLAND NEON CONTINUED FROM PAGE 1 CONTINUED FROM PAGE 1 FRED WANG the world,” Hsiao tells new director at the Hong Kong Film Awards and CHAIRMAN, SALON FILMS THR. “My plan is to develop Taiwan’s Golden Horse Awards. The film grossed Filmart regular Wang will host the working digital gaming and merchandise over $6 million worldwide, and was awarded the group meeting of the upcoming Asia Content Business Summit in Manila in based on Journey to Rainbow FIPRESCI Prize at the Golden Horse Awards. October, where government officials and Island, as well as the film. With “I’ve created a new world for the story. I’m industry insiders from nine countries across Asia will discuss topics ranging the launch of Journey to Rainbow attempting to re-establish the cops and robbers from film financing and tariff issues to how Island in Korea, it is my belief genre, and to redefine the boundaries of a crime to prevent online piracy. that it will generate success throughout Asia.” thriller,” Mak tells THR. “I’ll deconstruct then A spokesperson for MBC said it was in talks reconstruct the rules of the crime thriller genre, MEANWHILE, IN THE REAL WORLD … with major Chinese film companies and distribu- and hope to bring a breath of fresh air into a genre tion on a co-production based on Island. that audiences have watched for decades.” • Lionsgate’s Insurgent opened The spokesperson added that the company was With Rigor Mortis being a festival favorite, strong with $21.3 million in particularly attracted to the prospect of using invited to be screened at over 30 international North America, while Sean Penn’s Island as the basis for a theme park. The follow-up film festivals, including a premiere at Venice The Gunman misfired with only book will see the main female character, Yu-ning, and screening in Toronto, Mak’s frequent flying $1.8 million. • Snoop Dogg is developing an travel to Korea and China. became a catalyst for writing Sons of the Neon autobiographical drama series MBC is considering using its links to Hebei Night. “I had the concept of Sons of the Neon Night for HBO about growing up in Long TV in China to develop the project there because before Rigor Mortis,” says Mak, “and during the Beach, California in the 1980s. Island fits well with China’s need for “positive, promotional period of Rigor Mortis, I travelled • Taylor Swift says she bought the educational and inspiring content.” for a year and three months to festivals around domain names TaylorSwift.porn and TaylorSwift.adult to prevent “Our main focus is Journey to Rainbow Island the world.
Recommended publications
  • 1 Cycle Cinéma Chinois De L'écrit À L'écran 6Ème Saison
    Institut Confucius de l'université Paris Diderot en collaboration avec le Centre de documentation sur le cinéma chinois de Paris Cycle cinéma chinois De l’écrit à l’écran 6ème saison Programme de l’année 2015-2016 Présentation Cette 6ème édition du cycle ‘De l’écrit à l’écran’ est placée sous le signe de la transmission du patrimoine culturel, thème du film de Wu Tianming en ouverture du programme : c’est également l’une des préoccupations qui anime ce cycle. La première partie du programme est consacrée, justement, à des grands films méconnus du patrimoine cinématographique chinois, en commençant par deux classiques rares des années 1950 et 1960 : - un film de 1956 qui revisite le grand roman de Ba Jin qu’est « Famille » ; - et un film de 1962 consacré à Li Shuangshuang, modeste mais enthousiaste héroïne du Grand Bond en avant. Toujours dans les années 1960, le programme met ensuite en valeur deux aspects de l’œuvre d’un cinéaste aussi brillant que prolifique dont on parle peu aujourd’hui, mais qui a exercé une énorme influence sur les réalisateurs chinois, de son temps et ultérieurs : Li Han-hsiang, dans la transcription usuelle de son nom. Le premier des deux films est en outre l’une des meilleures adaptations à cette heure d’un conte du Liaozhai, ce qui permettra d’aborder l’œuvre de Pu Songling. L’actualité nous fournira par ailleurs l’occasion de rendre hommage à l’une des grandes actrices du cinéma chinois des années 1950 et 1960 : Li Lihua. Un prix lui sera en effet décerné en novembre au festival du Golden Horse pour l’ensemble de sa carrière, et le CDCC, qui a des copies uniques de certains de ses films, est heureux de se joindre à cet hommage avec l’un de ses meilleurs rôles, dans un film qui est de surcroît l’une des nombreuses adaptations de la célèbre histoire de l’Orphelin des Zhao.
    [Show full text]
  • 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.
    [Show full text]
  • Chinese Film Industry Visit to Uk 2015
    CHINESE FILM INDUSTRY VISIT TO UK 2015 ALIBABA PICTURES WEI ZHANG Ms. Wei Zhang is President of Alibaba Pictures and Senior Vice President of Alibaba Group. She joined Alibaba Group in 2008 to lead the Group’s investment and acquisition activities. She has also worked in the Group’s strategy department and led Alibaba corporate social responsibility efforts. Currently she is in charge of Alibaba Pictures’ international business and investment and acquisition activities. From 2005 to 2008, Ms. Zhang was the Chief Operating Officer of News Corporation STAR China, responsible for managing China operations, revenue, new media, and business development. From 2002 to 2005, Ms. Zhang was Managing Director of CNBC China, a division of General Electric Company, overseeing CNBC’s operations in China. She worked at News Corporation China from 2000 to 2002 in the role of Director of Business Development. Prior to that, Ms. Zhang was a Strategic Consultant at Bain & Company, and a Finance Specialistat General Electric Company and GE Capital. Company Profile Alibaba Pictures Group’s mission is to create happiness. Alibaba Pictures’ core businesses have been categorized into four main segments: film and television production centred on IP (intellectual property); internet-based promotion and distribution combining internet technologies and traditional off-line distribution; the building and operation of e-commerce platforms for entertainment as an extension of the Alibaba Group ecosystem and international operations that consolidate global resources, technologies and talents in order to participate in the global entertainment industry. www.alibabagroup.com BONA FILM GROUP LIMITED JEFFREY CHAN Jeffrey is currently the COO and a board member of Bona Film Group (NASDAQ: BONA).
    [Show full text]
  • 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”.
    [Show full text]
  • Warriors As the Feminised Other
    Warriors as the Feminised Other The study of male heroes in Chinese action cinema from 2000 to 2009 A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Chinese Studies at the University of Canterbury by Yunxiang Chen University of Canterbury 2011 i Abstract ―Flowery boys‖ (花样少年) – when this phrase is applied to attractive young men it is now often considered as a compliment. This research sets out to study the feminisation phenomena in the representation of warriors in Chinese language films from Hong Kong, Taiwan and Mainland China made in the first decade of the new millennium (2000-2009), as these three regions are now often packaged together as a pan-unity of the Chinese cultural realm. The foci of this study are on the investigations of the warriors as the feminised Other from two aspects: their bodies as spectacles and the manifestation of feminine characteristics in the male warriors. This study aims to detect what lies underneath the beautiful masquerade of the warriors as the Other through comprehensive analyses of the representations of feminised warriors and comparison with their female counterparts. It aims to test the hypothesis that gender identities are inventory categories transformed by and with changing historical context. Simultaneously, it is a project to study how Chinese traditional values and postmodern metrosexual culture interacted to formulate Chinese contemporary masculinity. It is also a project to search for a cultural nationalism presented in these films with the examination of gender politics hidden in these feminisation phenomena. With Laura Mulvey‘s theory of the gaze as a starting point, this research reconsiders the power relationship between the viewing subject and the spectacle to study the possibility of multiple gaze as well as the power of spectacle.
    [Show full text]
  • 7015 B Program P.Indd
    From the Queen to the Chief Executive: May 4–6 Hong Kong Films 2007 10 Years After the Handover 香港電影縱橫﹕ 展與談 1 I am absolutely thrilled to welcome you to our fi rst Hong Kong fi lm Schedule at a glance festival, From the Queen to the Chief Executive: Hong Kong Films Ten Years After the Handover. This important event fi rst and foremost celebrates the friday, may 4 2:30 pm–4:15 pm achievements of Hong Kong fi lm and its impact on a new and ever- Banana Bruises; Royal Ontario Museum changing global culture. From the Queen to the Chief Executive also provides Dumplings Theatre, 100 Queen’s Park a forum to contemplate developments on Hong Kong since its historic 4:15 pm–5:15 pm 6:15 pm–7:15 pm return to China in 1997. Film is a lens through which to understand the Horror Panel VIP Reception dynamics of a changing society and the world around it. Film provides 5:15 pm–6:30 pm Royal Ontario Museum – an important platform, a medium, for telling peoples’ stories. In this Dinner Break Glass Room on the respect, fi lm is both critical and celebratory, it challenges and re- 4th Floor 6:30 pm–8:35 pm affi rms. Its impact is political, social, economic, cultural and often Venues 7:00 pm Eastbound; Welcome leaves legacies of historical import. Doors Open Lost in Time to the First 7:30 pm–7:40 pm 8:35 pm–9:00 pm The Asian Institute is an inter-disciplinary home to scholars working iiX iiX iiX iiX Break Waddg Waddg Welcoming Remarks University on Asia, comprising leading scholars in the humanities and social VkZcjZgY YZdch]^gZea 7:40 pm–9:30 pm 9:00 pm–11:00 pm sciences.
    [Show full text]
  • Association for Asian Studies, Inc., Committee on East Asian Libraries
    Journal of East Asian Libraries Volume 1991 Number 94 Article 16 10-1-1991 No. 094 Bulletin - Association for Asian Studies, Inc., Committee on East Asian Libraries Committee on East Asian Libraries Follow this and additional works at: https://scholarsarchive.byu.edu/jeal BYU ScholarsArchive Citation Libraries, Committee on East Asian (1991) "No. 094 Bulletin - Association for Asian Studies, Inc., Committee on East Asian Libraries," Journal of East Asian Libraries: Vol. 1991 : No. 94 , Article 16. Available at: https://scholarsarchive.byu.edu/jeal/vol1991/iss94/16 This Full Issue is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Journal of East Asian Libraries by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. ISS^C 0148 - 6225 Committee on 'East Asian Libraries <B<ULL<BlI9t 9{p.94 October 1991 The Association for Asian Studies, Inc. COMMITTEE ON EAST ASIAN LIBRARIES (CEAL) Association for Asian Studies, Inc. Chairperson Maureen H. Donovan (Ohio State) 1991-1994 Executive Group TerukoKyumaChin (Washington) 1989- 1992 BoksoonHahn (Yale) 1991- 1994 Thomas H. Lee (Indiana) 1991 - 1994 Tai-loi Ma (Chicago) 1989 - 1992 Antony Marr (Princeton) 1990 - 1993 Raymond Tang (UC-Berkeley) 1989- 1992 Marsha L. Wagner (Columbia) 1990 - 1993 Subcommittees Subcommittee on Chinese Materials Chairperson: Chi Wang (Library of Congress) 1989- 1993 Subcommittee on Japanese Materials Chairperson: MihokoMiki
    [Show full text]
  • List of Films Considered the Best
    Create account Log in Article Talk Read View source View history Search List of films considered the best From Wikipedia, the free encyclopedia Main page This list needs additional citations for verification. Please Contents help improve this article by adding citations to reliable sources. Featured content Current events Unsourced material may be challenged and removed. (November Random article 2008) Donate to Wikipedia Wikimedia Shop While there is no general agreement upon the greatest film, many publications and organizations have tried to determine the films considered the best. Each film listed here has been mentioned Interaction in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources Help About Wikipedia focus on American films or were polls of English-speaking film-goers, but those considered the Community portal greatest within their respective countries are also included here. Many films are widely considered Recent changes among the best ever made, whether they appear at number one on each list or not. For example, Contact page many believe that Orson Welles' Citizen Kane is the best movie ever made, and it appears as #1 Tools on AFI's Best Movies list, whereas The Shawshank Redemption is #1 on the IMDB Top 250, whilst What links here Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. Related changes None of the surveys that produced these citations should be viewed as a scientific measure of the Upload file Special pages film-watching world. Each may suffer the effects of vote stacking or skewed demographics.
    [Show full text]
  • Stock Code: 2125
    (INCORPORATED IN THE CAYMAN ISLANDS WITH LIMITED LIABILITY) STOCK CODE: 2125 JOINT GLOBAL COORDINATORS, JOINT BOOKRUNNERS AND JOINT LEAD MANAGERS IMPORTANT IMPORTANT: If you are in any doubt about any of the contents of this prospectus, you should seek independent professional advice. Strawbear Entertainment Group 稻草熊娛樂集團 (Incorporated in the Cayman Islands with limited liability) GLOBAL OFFERING Number of Offer Shares under : 165,780,000 Shares (subject to the the Global Offering Over-allotment Option) Number of Hong Kong Offer Shares : 16,578,000 Shares (subject to reallocation) Number of International Offer Shares : 149,202,000 Shares (subject to reallocation and the Over-allotment Option) Maximum Offer Price : HK$6.16 per Offer Share, plus brokerage of 1%, SFC transaction levy of 0.0027% and Hong Kong Stock Exchange trading fee of 0.005% (payable in full on application in Hong Kong dollars and subject to refund) Nominal Value : US$0.000025 per Share Stock Code : 2125 Joint Sponsors and Joint Representatives Joint Global Coordinators, Joint Bookrunners and Joint Lead Managers Joint Bookrunners and Joint Lead Managers Hong Kong Exchanges and Clearing Limited, The Stock Exchange of Hong Kong Limited and Hong Kong Securities Clearing Company Limited take no responsibility for the contents of this prospectus, make no representation as to its accuracy or completeness and expressly disclaim any liability whatsoever for any loss howsoever arising from or in reliance upon the whole or any part of the contents of this prospectus. A copy of this prospectus, having attached thereto the documents specified in “Appendix V — Documents Delivered to the Registrar of Companies and Available for Inspection,” has been registered by the Registrar of Companies in Hong Kong as required by Section 342C of the Companies (Winding Up and Miscellaneous Provisions) Ordinance (Chapter 32 of the Laws of Hong Kong).
    [Show full text]
  • Journal of Asian Studies Contemporary Chinese Cinema Special Edition
    the iafor journal of asian studies Contemporary Chinese Cinema Special Edition Volume 2 – Issue 1 – Spring 2016 Editor: Seiko Yasumoto ISSN: 2187-6037 The IAFOR Journal of Asian Studies Volume 2 – Issue – I IAFOR Publications Executive Editor: Joseph Haldane The International Academic Forum The IAFOR Journal of Asian Studies Editor: Seiko Yasumoto, University of Sydney, Australia Associate Editor: Jason Bainbridge, Swinburne University, Australia Published by The International Academic Forum (IAFOR), Japan Executive Editor: Joseph Haldane Editorial Assistance: Rachel Dyer IAFOR Publications. Sakae 1-16-26-201, Naka-ward, Aichi, Japan 460-0008 Journal of Asian Studies Volume 2 – Issue 1 – Spring 2016 IAFOR Publications © Copyright 2016 ISSN: 2187-6037 Online: joas.iafor.org Cover image: Flickr Creative Commons/Guy Gorek The IAFOR Journal of Asian Studies Volume 2 – Issue I – Spring 2016 Edited by Seiko Yasumoto Table of Contents Notes on contributors 1 Welcome and Introduction 4 From Recording to Ritual: Weimar Villa and 24 City 10 Dr. Jinhee Choi Contested identities: exploring the cultural, historical and 25 political complexities of the ‘three Chinas’ Dr. Qiao Li & Prof. Ros Jennings Sounds, Swords and Forests: An Exploration into the Representations 41 of Music and Martial Arts in Contemporary Kung Fu Films Brent Keogh Sentimentalism in Under the Hawthorn Tree 53 Jing Meng Changes Manifest: Time, Memory, and a Changing Hong Kong 65 Emma Tipson The Taste of Ice Kacang: Xiaoqingxin Film as the Possible 74 Prospect of Taiwan Popular Cinema Panpan Yang Subtitling Chinese Humour: the English Version of A Woman, a 85 Gun and a Noodle Shop (2009) Yilei Yuan The IAFOR Journal of Asian Studies Volume 2 – Issue 1 – Spring 2016 Notes on Contributers Dr.
    [Show full text]
  • Day 1 001 Ad Cover.Indd
    MONDAY, MARCH 24 2014 DAY 1 AT FILMART www.ScreenDaily.com Editorial +852 2582 8959 Advertising +852 2582 8958 fatal_encounter-ad_245x266_fin_전달용 1 2014.3.14 5:41:12 PM MONDAY, MARCH 24 2014 TODAY DAY 1 AT FILMART Hot titles: Korea, page 16 www.ScreenDaily.com Editorial +852 2582 8959 Advertising +852 2582 8958 NEWS Pan-Asia Academy expands Hong Kong, Busan and Toyko outline Academy plans » Page 4 Desen teams with Weta REVIEWS The Midnight After Fruit Chan’s opening night film proves a quirky apocalyptic horror on 3D epic Zhong Kui » Page 10 Jamie Marks Is Dead BY LIZ SHACKLETON Weta Workshop is providing FEATURE China’s Desen International Media character and scenery design for Hot titles Celluloid Dreams has brought on board top VFX the fi lm, while its sister company Screen profiles Korean cinema houses including Peter Jackson’s Park Road Post works on compos- highlights acquires Jamie Weta Workshop for $27m 3D fan- iting. The film is one of the first » Page 16 tasy adventure Zhong Kui: Snow Chinese films to use full perfor- Marks Is Dead Girl And The Dark Crystal. mance capture, which will be han- SCREENINGS Acclaimed Hong Kong DoP dled by leading Korean VFX house » Page 19 BY JEAN NOH Peter Pau is serving as producer, Li Bingbing Macrograph (Journey To The West: France’s Celluloid Dreams has DoP and VFX director on the fi lm, Conquering The Demons). picked up international rights on which is currently shooting in stereographer Vincent E Toto Other behind-the-scenes talent Sundance competitor Jamie Marks China with Chen Kun, Li Bingbing, (Dredd).
    [Show full text]
  • Xiaoqingxin Film As the Possible Prospect of Taiwan Popular Cinema
    The IAFOR Journal of Asian Studies Volume 2 – Issue 1 – Spring 2016 The Taste of Ice Kacang: Xiaoqingxin Film as the Possible Prospect of Taiwan Popular Cinema Panpan Yang Abstract Although Xiaoqingxin Film has been widely recognized as a new sub-genre in Chinese- language film circle, it rarely received sustained academic attention in either Chinese or English publications. In this article, I would explore the contours of Xiaoqingxin Film in four aspects: (1) a tentative definition; (2) a style analysis; (3) a cause analysis: why Taiwan has overwhelming superiority in making this sub-genre; (4) a unique distribution mode. To provide a style analysis of Xiaoqingxin Film, I will not only observe its script, sound and cinematography, but also look into its genre bending. To conduct a media capital analysis of Xiaoqingxin Film, I would borrow the concept of “media capital” from Michael Curtin and pay particular attention to the fact that co-productions between Taiwan and Mainland China are popping up as Taiwan has relaxed trade embargoes with Mainland China. As shown by the successive box-office hits, the pan-Asian commercial success of Xiaoqingxin Film is not a one- hit wonder. Rather, in this sub-genre, I believe, lies the possible prospect of Taiwan popular cinema. Key Words: Xiaoqingxin, genre, media capital, Taiwan cinema, J-style photography, Pan- Asian Cinema 74 The IAFOR Journal of Asian Studies Volume 2 – Issue 1 – Spring 2016 Introduction: A Fresh Wind on Taiwan Screens Much has been said about the long-standing sickness of Taiwan’s popular cinema. For instance, Yueh-yu Yeh (2006) wrote in a pessimistic tone, “There was a popular Taiwan cinema until 1994” (165).
    [Show full text]