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Wendy Gan Hong Kong University Press the University of Hong Kong Pokfulam Road Hong Kong
Wendy Gan Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2005 Hong Kong University Press ISBN 978-962-209-743-8 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 Pre-Press Limited in Hong Kong, China Contents Series Preface vii Acknowledgments xi 1 Introduction 1 2 Contexts: Independent Filmmaking and Hong Kong 11 Cinema 3 Contexts: Social Realism in Hong Kong Cinema 25 4 The Representation of the Mainland Chinese Woman 43 in Durian Durian 5 Durian Adrift: The Contiguities of Identity in Durian 59 Durian ● vi CONTENTS 6 The Prostitute Trilogy So Far 81 7 Conclusion 91 Notes 97 Filmography 103 Bibliography 107 ●1 Introduction Durian Durian is not the film one immediately thinks of when the name of Hong Kong film director Fruit Chan is brought up. The stunning success, both locally and internationally, of his low-budget debut as an independent director, Made in Hong Kong, has ensured that Chan’s reputation will always be tied to that film. Yet Durian Durian has much to offer the lover of Hong Kong cinema and the admirer of Fruit Chan’s work. A post-1997 film set both in Hong Kong and mainland China, with mainland Chinese protagonists, the film is a fine example of a Hong Kong tradition of socially sensitive realist films focused on the low-caste outsider, and is the result of a maturing director’s attempt to articulate the new, often still contradictory, realities of ‘one country, two systems’ in action. -
Message from Dorothy Wong CISC
annual report 2012 CISC helps Chinese and other Asian immigrants make the transition to a 2012new life while keeping later generations message from Dorothy Wong in touch with the rich heritage of their EXECUTIVE DIRECTOR homelands. For its client base, it offers As I assume the helm of CISC, words cannot express the admiration I have for the the broadest available set of social, dedication of the board and staff to ensure that CISC continues to provide quality family, employment, education, and services to the clients we serve. This has been especially the case as CISC grappled cultural programs in King County. with the challenges of the economic downturn of the past few years – funding for services being threatened with cuts while there was a growing need for our services Founded in 1972 by student in the community. CISC has been fortunate in being able to retain most of its funding and is in stable financial standing. While I am excited about the prospect volunteers to meet the needs of Chinese of forging a viable future for the agency, let us take the time to reflect on what has immigrants, particularly seniors, CISC transpired in the year just past. has grown to become one of the area’s 2012 was a major milestone for CISC. It marked the 40th year of operations largest and most effective providers of for the agency and CISC celebrated that achievement in a big way. Its annual Friendship Dinner had record attendance and raised the highest level of donations referral and direct services to bilingual/ for this event. -
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. -
Entire Dissertation Noviachen Aug2021.Pages
Documentary as Alternative Practice: Situating Contemporary Female Filmmakers in Sinophone Cinemas by Novia Shih-Shan Chen M.F.A., Ohio University, 2008 B.F.A., National Taiwan University, 2003 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of Gender, Sexuality, and Women’s Studies Faculty of Arts and Social Sciences © Novia Shih-Shan Chen 2021 SIMON FRASER UNIVERSITY SUMMER 2021 Copyright in this work rests with the author. Please ensure that any reproduction or re-use is done in accordance with the relevant national copyright legislation. Declaration of Committee Name: Novia Shih-Shan Chen Degree: Doctor of Philosophy Thesis title: Documentary as Alternative Practice: Situating Contemporary Female Filmmakers in Sinophone Cinemas Committee: Chair: Jen Marchbank Professor, Department of Gender, Sexuality and Women’s Studies Helen Hok-Sze Leung Supervisor Professor, Department of Gender, Sexuality and Women’s Studies Zoë Druick Committee Member Professor, School of Communication Lara Campbell Committee Member Professor, Department of Gender, Sexuality and Women’s Studies Christine Kim Examiner Associate Professor, Department of English The University of British Columbia Gina Marchetti External Examiner Professor, Department of Comparative Literature The University of Hong Kong ii Abstract Women’s documentary filmmaking in Sinophone cinemas has been marginalized in the film industry and understudied in film studies scholarship. The convergence of neoliberalism, institutionalization of pan-Chinese documentary films and the historical marginalization of women’s filmmaking in Taiwan, Hong Kong, and the People’s Republic of China (PRC), respectively, have further perpetuated the marginalization of documentary films by local female filmmakers. -
Art Night on the Mall Visitor Study – Summer 2001
ART NIGHT ON THE MALL VISITOR STUDY – SUMMER 2001 OFFICE OF POLICY & ANALYSIS NOVEMBER 2001 ART NIGHT ON THE MALL VISITOR STUDY –SUMMER 2001 OFFICE OF POLICY &ANALYSIS SMITHSONIAN INSTITUTION 900 JEFFERSON DRIVE,SW WASHINGTON, DC 20560 (202) 786-2289 PROJECT STAFF KERRY BUTTON KERRY DIGIACOMO KATHY ERNST i TABLE OF CONTENTS BACKGROUND 1 Art Night on the Mall 1 The Study 1 Organization of the Report 3 KEY FINDINGS AND CONCLUSIONS 4 DATA ANALYSIS AND REPORT 6 APPENDICES A. The Survey Instrument 16 B. Questionnaire Responses, 2001, and Comparative 1997 Survey Responses 17 C. Selective Responses of Visitors by Age, Residence, and Minority Identification 23 D. Sales Data 27 E. Exit Survey Design 29 F. Art Night 2001 Schedule and Programming 30 LIST OF FIGURES 1. South Side of Mall with IAMD Museums 1 2. Art Night Audience by Gender 6 3. Art Night Audience by Age, 2001 and 1997 7 4. Art Night Audience by Groupings 7 5. Art Night Audience by Race/Ethnicity, 2001, and 1997 8 6. Art Night Audience by Residence 8 7. Art Night Attendance 9 8. Art Night Office of Protection Services Visit Counts, 1999 to 2001 10 9. Overall Art Night Attendance, 1999 to 2001 10 10. First, Repeat, and No Visits to Museums 11 11. Why Visitors Entered a Museum 12 12. How Visitors Heard about Art Night 13 13. Visitor Satisfaction with Outdoor Food/Drink, Service, and Music 14 14. Overall visitor satisfaction with Art Night 15 ii BACKGROUND Art Night on the Mall For the sixth consecutive summer, the Smithsonian’s four international art museums – the Arthur M. -
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”. -
Chinese Immigrant Transnational Organizations in the United States1
Draft, 05-10-2012 Traversing Ancestral and New Homelands: Chinese Immigrant Transnational Organizations in the United States1 Min Zhou and Rennie Lee University of California, Los Angeles [To be presented at the Transnational Network Meeting, Center for Migration and Development, Princeton University, May 11-12, 2012; to be included in Portes, Alejandro (ed.), Development at a Distance: The Role of Immigrant Organizations in the Development of Sending Nations. New York: Russell Sage Foundation.] Over the past three decades, immigrant transnational organizations in the United States have proliferated with accelerated international migration and the rise of new transportation and communication technologies that facilitate long-distance and cross-border ties. Their impact and influence have grown in tandem with immigrants’ drive to make it in America—their new homeland—as well as with the need for remittances and investments in sending countries—their ancestral homelands. Numerous studies of immigrant groups found that remittances and migrant investments represented one of the major sources of foreign exchange of sending countries and were used as “collateral” for loans from international financial institutions (Basch et al. 1994; Glick-Schiller et al. 1992; Portes et al. 1999). Past studies also found that transnational flows were not merely driven by individual behavior but by collective forces via organizations as well (Goldring 2002; Landolt 2000; Moya 2005; Piper 2009; Popkin 1999; Portes et al. 2007; Portes and Zhou 2012; Schrover and Vermeulen 2005; Waldinger et al. 2008). But the density and strength of the economic, sociocultural, and political ties of immigrant groups across borders vary, and the effects of immigrant transnational organizations on homeland development vary (Portes et al. -
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. -
Portland Chinese Scholarship Foundation
1 Prosper Portland is honored to collaborate on projects that celebrate the past and support the Old Town/Chinatown community now and into the future. Find out more at prosperportland.us/otct THANK YOU to our 2020 Awesome Advertisers P. 36 Canton Grill P. 36 NW Natural P. 33 Capital Hill Mortgage P. 24 Ocean City Seafood Restaurant P. 22 Chang Fa Supermarket P. 38 Omega Services P. 22 Chen’s Good Taste Restaurant P. 12 OnPoint Community Credit Union P. 23 Chin’s Import & Export Co., Inc P. 29 Oregon Chinese Coalition P. 19 China Delight P. 24 OTA Tofu P. 22 China Wind Restaurant P. 34 Pacific Seafood P. 27 CT Auto Body & Paint P. 18 PCT Print & Design P. 38 Dignity – Sisi Zhang P. 37 Phoenix City Seafood Restaurant P. 24 Farmer’s Ins – Diane L Koelling P. 33 Pinon Insurance Agency - Jody Chan P. 27 Golden Horse Restaurant P. 22 Portland Chinatown Museum P. 32 Grace Insurance Services P. 34 Portland Lee’s Association P. 32 Great World Travel P. 02 Prosper Portland P. 32 Happy Dragon Chinese Restaurant P. 32 Red Robe Tea House and Cafe P. 28 HK Café P. 39 River View Cemetery Funeral Home P. 32 Hop Sing Association P. 12 Selfie Pod Photo Booth P. 18 Huber’s P. 30 Smart Foodservice P. 33 Imperial House P. 14 Taipei Economic and Cultural Office P. 27 J & P Accounting and Tax Services in Seattle P. 19 Keller Williams – Felicia C Louie P. 37 United CPAs & Co, LLC P. 24 Kern Park Flower Shoppe P. -
Miramax's Asian Experiment: Creating a Model for Crossover Hits Lisa Dombrowski , Wesleyan University, US
Miramax's Asian Experiment: Creating a Model for Crossover Hits Lisa Dombrowski , Wesleyan University, US Prior to 1996, no commercial Chinese-language film had scored a breakout hit in the United States since the end of the 1970s kung fu craze. In the intervening period, the dominant distribution model for Asian films in America involved showcasing subtitled, auteur-driven art cinema in a handful of theaters in New York and Los Angeles, then building to ever more screens in a platform fashion, targeting college towns and urban theaters near affluent, older audiences. With the American fan base for Hong Kong action films steadily growing through video and specialized exhibition during the 1980s, Miramax chieftain Harvey Weinstein recognized the opportunity to market more commercial Chinese-language films to a wider audience outside the art cinema model as a means of generating crossover hits. Beginning in 1995, Weinstein positioned Miramax to become the primary distributor of Hong Kong action films in the United States. Miramax's acquisition and distribution strategy for Hong Kong action films was grounded in a specific set of assumptions regarding how to appeal to mass-market American tastes. The company targeted action-oriented films featuring recognizable genre conventions and brand- name stars, considering such titles both favorites of hardcore Hong Kong film fans and accessible enough to attract new viewers. Rather than booking its Hong Kong theatrical acquisitions into art cinemas, Miramax favored wide releases to multiplexes accompanied by marketing campaigns designed to highlight the action and hide the "foreignness" of the films. Miramax initially adopted a strategy of dubbing, re-scoring, re-editing, and often re-titling its Hong Kong theatrical and video/DVD releases in order to make them more appealing to mainstream American audiences. -
Va.Orgjackie's MOVIES
Va.orgJACKIE'S MOVIES Jackie starred in his first movie at the age of eight and has been making movies ever since. Here's a list of Jackie's films: These are the films Jackie made as a child: ·Big and Little Wong Tin-Bar (1962) · The Lover Eternal (1963) · The Story of Qui Xiang Lin (1964) · Come Drink with Me (1966) · A Touch of Zen (1968) These are films where Jackie was a stuntman only: Fist of Fury (1971) Enter the Dragon (1973) The Himalayan (1975) Fantasy Mission Force (1982) Here is the complete list of all the rest of Jackie's movies: ·The Little Tiger of Canton (1971, also: Master with Cracked Fingers) · CAST : Jackie Chan (aka Chen Yuen Lung), Juan Hsao Ten, Shih Tien, Han Kyo Tsi · DIRECTOR : Chin Hsin · STUNT COORDINATOR : Chan Yuen Long, Se Fu Tsai · PRODUCER : Li Long Koon · The Heroine (1971, also: Kung Fu Girl) · CAST : Jackie Chan (aka Chen Yuen Lung), Cheng Pei-pei, James Tien, Jo Shishido · DIRECTOR : Lo Wei · STUNT COORDINATOR : Jackie Chan · Not Scared to Die (1973, also: Eagle's Shadow Fist) · CAST : Wang Qing, Lin Xiu, Jackie Chan (aka Chen Yuen Lung) · DIRECTOR : Zhu Wu · PRODUCER : Hoi Ling · WRITER : Su Lan · STUNT COORDINATOR : Jackie Chan · All in the Family (1975) · CAST : Linda Chu, Dean Shek, Samo Hung, Jackie Chan · DIRECTOR : Chan Mu · PRODUCER : Raymond Chow · WRITER : Ken Suma · Hand of Death (1976, also: Countdown in Kung Fu) · CAST : Dorian Tan, James Tien, Jackie Chan · DIRECTOR : John Woo · WRITER : John Woo · STUNT COORDINATOR : Samo Hung · New Fist of Fury (1976) · CAST : Jackie Chan, Nora Miao, Lo Wei, Han Ying Chieh, Chen King, Chan Sing · DIRECTOR : Lo Wei · STUNT COORDINATOR : Han Ying Chieh · Shaolin Wooden Men (1976) · CAST : Jackie Chan, Kam Kan, Simon Yuen, Lung Chung-erh · DIRECTOR : Lo Wei · WRITER : Chen Chi-hwa · STUNT COORDINATOR : Li Ming-wen, Jackie Chan · Killer Meteors (1977, also: Jackie Chan vs. -
CHSA HP2010.Pdf
The Hawai‘i Chinese: Their Experience and Identity Over Two Centuries 2 0 1 0 CHINESE AMERICA History&Perspectives thej O u r n a l O f T HE C H I n E s E H I s T O r I C a l s OCIET y O f a m E r I C a Chinese America History and PersPectives the Journal of the chinese Historical society of america 2010 Special issUe The hawai‘i Chinese Chinese Historical society of america with UCLA asian american studies center Chinese America: History & Perspectives – The Journal of the Chinese Historical Society of America The Hawai‘i Chinese chinese Historical society of america museum & learning center 965 clay street san francisco, california 94108 chsa.org copyright © 2010 chinese Historical society of america. all rights reserved. copyright of individual articles remains with the author(s). design by side By side studios, san francisco. Permission is granted for reproducing up to fifty copies of any one article for educa- tional Use as defined by thed igital millennium copyright act. to order additional copies or inquire about large-order discounts, see order form at back or email [email protected]. articles appearing in this journal are indexed in Historical Abstracts and America: History and Life. about the cover image: Hawai‘i chinese student alliance. courtesy of douglas d. l. chong. Contents Preface v Franklin Ng introdUction 1 the Hawai‘i chinese: their experience and identity over two centuries David Y. H. Wu and Harry J. Lamley Hawai‘i’s nam long 13 their Background and identity as a Zhongshan subgroup Douglas D.