DOCSLIB.ORG

Johnnie to Co-Presented by the Asian Film Awards Academy 22 June 2015 at Princess Anne Theatre, BAFTA, 195 Piccadilly, London

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Johnnie to Co-Presented by the Asian Film Awards Academy 22 June 2015 at Princess Anne Theatre, BAFTA, 195 Piccadilly, London BAFTA A Life in Pictures: Johnnie To co-presented by the Asian Film Awards Academy 22 June 2015 at Princess Anne Theatre, BAFTA, 195 Piccadilly, London Announcer: Good evening ladies and like to thank our partners who have gentlemen and welcome to this helped to make tonight possible. In evening’s Life In Pictures with Johnnie To. London we’re grateful to Taittinger, in As the event is taking place in both Hong Kong we thank Create Hong Kong English and Cantonese we are providing and the Hong Kong Film Development simultaneous translation for you on the Fund, Brand Hong Kong and the Hong headsets and packs you will find next to Kong Economic and Trade Office, that’s your seats. If you would like to the Trade Office, London. Thanks also to experience the event in English please Mr. To’s production company Milkyway turn your sets to Channel One, and if you Image. I’d also like to recognise and would like to experience the event in thank Roger Garcia who is the Executive Cantonese please turn your packs to Director of the Hong Kong International Channel Two. This evening’s event is Film Festival who helped make tonight being filmed for the BAFTA Guru website, possible, and in particular Dr. Wilfred so please ensure that all mobile phones Wong, Chairman of the Asian Film are switched off and you refrain from Awards Academy and the Hong Kong taking any photos during this evening’s International Film Festival Society for his event. At the end of the event there will support, and for making a special trip be a short Q&A session, and should you from Hong Kong to be here tonight. So wish to ask a question, please raise your I’d now like you to welcome Dr. Wilfred hand and wait for the mic to get to you Wong, Chairman of the Asian Film before you speak. Now please join me in Awards Academy to say a few words. welcoming to the stage Duncan Kenworthy. Wilfred Wong: Good evening ladies and gentlemen, it is indeed a pleasure to be Duncan Kenworthy: Good evening, and here tonight to support one of Hong it is a pleasure to welcome you to this Kong’s most loved director, Johnnie To. BAFTA Life in Pictures event. Tonight The Asian Film Awards Academy was marks a historic first collaboration with established two years ago. It was a new the Hong Kong-based Asian Film Awards initiative between the Busan Academy. Together with them, BAFTA is International Film Festival, the Tokyo delighted to present one of the most International Film Festival, and the Hong versatile and respected filmmakers in Kong International Film Festival. We aim Asia, Mr. Johnnie To. Mr. To is one of to promote Asian films to the world, Hong Kong’s leading and busiest promote collaboration between Asian filmmakers with an enviable number of countries, nurture young filmmakers and films to his name. He’s worked in a range the audience. So hopefully we will be an of genres but is best known organisation that could serve the diverse internationally for his action and crime movie industry in Asia. The collaboration movies such as The Mission, Election and tonight started a couple of years ago Vengeance which have earned him cult when BAFTA visited Hong Kong, and status and critical acclaim, as well as looking into Hong Kong as a base for commercial success and recognition at BAFTA in Asia, and we felt that this kind major film festivals around the world of collaboration, introducing leading including Berlin, Cannes and Venice. filmmakers to the world through BAFTA, He’s also served on the jury in Cannes it’s a very important step in the work of and Venice, and in 2012 he received the Asian Film Awards Academy. A big lifetime achievement awards at the thank to all of you for coming tonight to Locarno International Film Festival and support this historic event for us, because the Udine Far East Film Festival. Mr. To we’re a very young organisation. And to also plays an active role in the thank all the supporting organisations development of film culture in Hong including the Hong Kong Economic and Kong, previously through the Arts Trade Office, led by Erica Ng, the Create Development Council and currently as Hong Kong and Brand Hong Kong, and Vice Chairman of the Hong Kong a very important gesture has to go to International Film Festival Society. The Johnnie To and his company because Academy, BAFTA I should say to Johnnie is in the middle of making a distinguish between academies, would movie. He has to take a break and 1 BAFTA A Life in Pictures: Johnnie To co-presented by the Asian Film Awards Academy 22 June 2015 at Princess Anne Theatre, BAFTA, 195 Piccadilly, London come here because he I think somehow is this film that he’s known for around the he has went over time and the set was world, like these great directors from the there waiting for him to go back. And past and also the present that have had that’s the Hong Kong movie style, you a huge influence over him, he’s know. You add scenes and you subtract understood one thing, particularly when scenes, and this is not a very typical it comes to the action sequences that Hollywood style of production, but that’s Johnnie To is most famous for. It’s not just why Hong Kong films are special. So a case of visceral entertainment, about really Hong Kong has been in the the wham bam, the action moment, it’s forefront of introducing Asian films to the also understanding that that needs to be world. The Hong Kong International Film tempered with silence. It’s the calm Festival has done this since the 1970s, before the storm that we see exploding and this step taken by the Asian Film across the screen, and this is one of the Awards Academy is yet another reasons why I think the cinema of important step for Hong Kong and the Johnnie To is so exciting. Let’s see some other Asian movie industries. I hope that examples of his cinema. we would do this more often, and not just Hong Kong directors or actors and [Clip plays] actresses, but from Japan, from Korea, from China, hopefully we will let the Can you please welcome Johnnie To. world know the latest development in Asia, and hopefully our collaboration [Applause] with BAFTA would grow day by day. And thank you again for coming tonight and I Welcome to London and BAFTA. hope you have a great time with Johnnie To. Thank you. Johnnie To: [Attempts to plug in his headset] Sorry. Ian Haydn Smith: Good evening ladies and gentlemen, my name’s Ian Haydn IHS: Put the big one, I think the big one Smith and I would like to welcome you to goes in. Okay, let’s have a look. this Life in Pictures with Johnnie To. Johnnie To’s Life in Pictures is a JT: Okay. remarkable body of work that is as diverse as it is prolific, as artful as it is IHS: I’m glad I’m not the only one who’s entertaining. It’s quite astonishing to see terrible with technology. You started in that since his feature debut in 1980 with cinema in the 1970s, which is regarded The Enigmatic Case, he has directed a as the golden age of Hong Kong remarkable 50 films. 50 films in 35 years. In cinema. What was it like working during 2003 alone five Johnnie To films were that period? released. I should say it’s incredibly hard work to prepare for this event, but to sit JT: In those days Hong Kong TV down and watch most of the 50 Johnnie broadcast was very strong, so a lot of To films has been one of the great talent came from the TV broadcasters, pleasures of this year so far. He’s also a TV channels, and they developed, producer. In 1996 he set up Milkyway started going into film industry, so it was a Image, his production company, that strong time for Hong Kong film and TV. has allowed him to continue making commercial films, but also the artful films IHS: And was there a lot of movement that are much closer to his heart, and between television and film? Was it easy these are the films that have broke out to move from one area to the other? internationally. First of all in 1999 with The Mission, which really was his international JT: Back then TV directors were already breakthrough. Since then he’s been at starting to move into the film industry so it festivals and awards ceremonies, not just wasn’t that difficult, as long as you had in Asia, but also in Europe and around the chance to do it you would take it. the world, such prestigious festivals as Venice and Berlin and Cannes. And like IHS: And let’s look at your first film, The the great crime directors, because crime Enigmatic Case, which you directed in 2 BAFTA A Life in Pictures: Johnnie To co-presented by the Asian Film Awards Academy 22 June 2015 at Princess Anne Theatre, BAFTA, 195 Piccadilly, London 1980. Did you always know you wanted breakthrough year. And this was the year to be a director? that The Mission came out, which was such an international success, and really JT: No I didn’t know.
Load more

Recommended publications
  • I Am Just Member in the Comedy (Johnnie) to Kei-Fung Again and Again Had No Idea of Where to Go, Where to Hrun Papa Run; a Hapless to Give Me a Part in the Movie
    13 p eople This man of many identities could great success as an actor, he says it has not NICOLE PU be just any middle-aged man on the always been easy adapting to the drastic street. He wears a black sports jacket, changes in his life. N jeans and black sneakers, the spare tyre “I am a small potato! I couldn’t around his midriff clearly visible under believe what had happened right in front his over-sized white T-shirt. Dragging of me,” he says of his first walk down on a cigarette at the bus station where the red carpet. “The whole thing was he arranged to meet Varsity, Lam jokes like a dream.” that we can ask whatever we want and The first time Lam attended warns us foul language may slip out of the annual Hong Kong Film Award his mouth during the interview. The ceremony, he put on a tuxedo, and 45-year-old actor takes us through his arrived at a venue in Tsim Sha Tsui at journey from working as a porter at the 5 p.m. sharp. There was hardly anyone Yau Ma Tei Wholesale Fruit Market around. Worried that he had gone to the to his nomination for Best Supporting wrong place, Lam phoned his company Actor in the Hong Kong Film Awards. to make sure he had not mixed up After Lam had been working as a the venue and time. But his colleague porter for two years, a chance meeting told him no one would be on time and with the martial arts film master Lam celebrities usually arrived at 5:30 p.m.
    [Show full text]
  • Hong Kong 20 Ans / 20 Films Rétrospective 20 Septembre - 11 Octobre
    HONG KONG 20 ANS / 20 FILMS RÉTROSPECTIVE 20 SEPTEMBRE - 11 OCTOBRE À L’OCCASION DU 20e ANNIVERSAIRE DE LA RÉTROCESSION DE HONG KONG À LA CHINE CO-PRÉSENTÉ AVEC CREATE HONG KONG 36Infernal affairs CREATIVE VISIONS : HONG KONG CINEMA, 1997 – 2017 20 ANS DE CINÉMA À HONG KONG Avec la Cinémathèque, nous avons conçu une programmation destinée à célé- brer deux décennies de cinéma hongkongais. La période a connu un rétablis- sement économique et la consécration de plusieurs cinéastes dont la carrière est née durant les années 1990, sans compter la naissance d’une nouvelle génération d’auteurs. PERSISTANCE DE LA NOUVELLE VAGUE Notre sélection rend hommage à la créativité persistante des cinéastes de Hong Kong et au mariage improbable de deux tendances complémentaires : l’ambitieuse Nouvelle Vague artistique et le film d’action des années 1980. Bien qu’elle soit exclue de notre sélection, il est utile d’insister sur le fait que la production chinoise 20 ANS / FILMS KONG, HONG de cinéastes et de vedettes originaires de Hong Kong, tels que Jackie Chan, Donnie Yen, Stephen Chow et Tsui Hark, continue à caracoler en tête du box-office chinois. Les deux films Journey to the West avec Stephen Chow (le deuxième réalisé par Tsui Hark) et La Sirène (avec Stephen Chow également) ont connu un immense succès en République Populaire. Ils n’auraient pas été possibles sans l’œuvre antérieure de leurs auteurs, sans la souplesse formelle qui caractérise le cinéma de Hong Kong. L’histoire et l’avenir de l’industrie hongkongaise se lit clairement dans la carrière d’un pionnier de la Nouvelle Vague, Tsui Hark, qui a rodé son savoir-faire en matière d’effets spéciaux d’arts martiaux dans ses premières productions télévisuelles et cinématographiques à Hong Kong durant les années 70 et 80.
    [Show full text]
  • Johnnie to Kei-Fung's
    JOHNNIE TO KEI-FUNG’S PTU Michael Ingham Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2009 Michael Ingham ISBN 978-962-209-919-7 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 Ltd. in Hong Kong, China Contents Series Preface vii Acknowledgements xi 1 Introducing the Film; Introducing Johnnie — 1 ‘One of Our Own’ 2 ‘Into the Perilous Night’ — Police and Gangsters 35 in the Hong Kong Mean Streets 3 ‘Expect the Unexpected’ — PTU’s Narrative and Aesthetics 65 4 The Coda: What’s the Story? — Morning Glory! 107 Notes 127 Appendix 131 Credits 143 Bibliography 147 ●1 Introducing the Film; Introducing Johnnie — ‘One of Our Own’ ‘It is not enough to think about Hong Kong cinema simply in terms of a tight commercial space occasionally opened up by individual talent, on the model of auteurs in Hollywood. The situation is both more interesting and more complicated.’ — Ackbar Abbas, Hong Kong Culture and the Politics of Disappearance ‘Yet many of Hong Kong’s most accomplished fi lms were made in the years after the 1993 downturn. Directors had become more sophisticated, and perhaps fi nancial desperation freed them to experiment … The golden age is over; like most local cinemas, Hong Kong’s will probably consist of a small annual output and a handful of fi lms of artistic interest.
    [Show full text]
  • 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.
    [Show full text]
  • Download This PDF File
    Humanity 2012 Papers. ~~~~~~ “‘We are all the same, we are all unique’: The paradox of using individual celebrity as metaphor for national (transnational) identity.” Joyleen Christensen University of Newcastle Introduction: This paper will examine the apparently contradictory public persona of a major star in the Hong Kong entertainment industry - an individual who essentially redefined the parameters of an industry, which is, itself, a paradox. In the last decades of the 20th Century, the Hong Kong entertainment industry's attempts to translate American popular culture for a local audience led to an exciting fusion of cultures as the system that was once mocked by English- language media commentators for being equally derivative and ‘alien’, through translation and transmutation, acquired a unique and distinctively local flavour. My use of the now somewhat out-dated notion of East versus West sensibilities will be deliberate as it reflects the tone of contemporary academic and popular scholarly analysis, which perfectly seemed to capture the essence of public sentiment about the territory in the pre-Handover period. It was an explicit dichotomy, with commentators frequently exploiting the notion of a culture at war with its own conception of a national identity. However, the dwindling Western interest in Hong Kong’s fate after 1997 and the social, economic and political opportunities afforded by the reunification with Mainland China meant that the new millennia saw Hong Kong's so- called ‘Culture of Disappearance’ suddenly reconnecting with its true, original self. Humanity 2012 11 Alongside this shift I will track the career trajectory of Andy Lau – one of the industry's leading stars1 who successfully mimicked the territory's movement in focus from Western to local and then regional.
    [Show full text]
  • 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]
  • Distribution Agreement in Presenting This
    Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: _____________________________ ______________ Tianyi Yao Date Crime and History Intersect: Films of Murder in Contemporary Chinese Wenyi Cinema By Tianyi Yao Master of Arts Film and Media Studies _________________________________________ Matthew Bernstein Advisor _________________________________________ Tanine Allison Committee Member _________________________________________ Timothy Holland Committee Member _________________________________________ Michele Schreiber Committee Member Accepted: _________________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date Crime and History Intersect: Films of Murder in Contemporary Chinese Wenyi Cinema By Tianyi Yao B.A., Trinity College, 2015 Advisor: Matthew Bernstein, M.F.A., Ph.D. An abstract of
    [Show full text]
  • IFFAM 2943 – East & West Masterpieces on the Big Screen
    SUPPLEMENT THU 07.12.2017 SHOWING INSIDE Crossfire Special Presentation Flying Daggers FAQs II Int’l Film Festival EAST & WEST MASTERPIECES ON THE BIG SCREEN he Crossfire feature of the IFFAM, described by organizers as a “retrospective” element of the festival, will showcase six master films selected by renowned filmmakers. From the black and white motion pictures of the 1940s to Kubrick’s sci-fi masterpiece “2001: Space Odyssey” of the 60s and the psychological thriller “Silence of the Lambs”, the genre films hail from THollywood and Asia, the latter represented with seminal works from Kurosawa, Johnnie To and Derek Yee. International Film Festival & Awards Macao CROSSFIRE: A RETROSPECTIVE OF CINEMA FROM KUBRICK TO KUROSAWA The Crossfire feature of the IFFAM will showcase six master films selected by renowned filmmakers. The pictures will be shown on the big screen at The Cinematheque Passion, from December 8 to 12 ONE NITE IN MONGKOK Mongkok, Hong Kong: a densely populated hot- KIND HEARTS AND CORONETS MAD DETECTIVE bed of criminal activity. Mainland Chinese farm Hotshot Inspector Ho seeks out his former boss Bun boy Lai Fu is a hired killer who enters the neon-lit English actors Dennis Price and Sir Alec Guinness underbelly of this infamous district. When he res- star in this 1949 black comedy. Price plays the for help in cracking a serial murder case. Bun, a gifted criminal profiler, went mad years ago and now lives cues a call girl from gangsters, the two must go lead role of Louis d’Ascoyne Mazzini, ninth in line on the run from policemen and triads alike.
    [Show full text]
  • Contract Killer Jet Li Full Movie
    Contract Killer Jet Li Full Movie Renaldo nebulizing sporadically. Indistinguishable Byron mistitled, his adorations parallelizing glided slaughterously. Leon individualising her foldboats evangelically, she translates it pryingly. The license for uncle, the dark force called the earths crust, china and much more delivered to do You can be killers full movie, jet li still kicks in. Contract Killer featuring Jet Li and Eric Tsang Chi-Wai is streaming with subscription on Prime Video. The movie is an extraordinary piece of the moviemaking top class. He delivered his acceptance speech in clear native language of Mandarin. Revenge Fund award that was put into play after a high level Yakuza boss was murdered. Register a callback that fires when user data is done loading. It was the third time he had teamed up with Statham. DVDs conveniently delivered to you with free shipping both ways. This message is based on the user agent string reported by your browser. Eiji and jet li, full movie available to kill eiji. Jay hernandez as he keep a killer full movies after pleas from soul society meet every month. Contract Killer 199 Technical Specifications ShotOnWhat. Tung inszeniert das konto eines prima aufgelegten eric tsang. Why do they fold their pizza before eating it? Contract Killer by jet li AmazoncaCustomer reviews. Please upgrade to check if you when they have a human beings worth a woman demon who built it difficult to products and demands to scroll through a cruel barbarian king. Tough guy Thomas Beckett is an US soldier working in the Panamanian jungle. Hired to assassinate a killer on amazon or infected devices.
    [Show full text]
  • Punished (2011) Dopo Il Sequestro Della Figlia L'imprenditore Wong Ricorre a Ogni Mezzo Per Stanare I Rapitori E Vendicarsi
    Punished (2011) Dopo il sequestro della figlia l'imprenditore Wong ricorre a ogni mezzo per stanare i rapitori e vendicarsi. Un film di Wing-Cheong Law con Anthony Chau-Sang Wong, Richie Ren, Janice Man, Maggie Cheung Ho Yee, Candy Lo, Charlie Cho. Genere Thriller durata 94 minuti. Produzione Hong Kong 2011. Quando la figlia di un magnate viene trovata morta per overdose di cocaina, lui cercherà in ogni modo di vendicarla. Emanuele Sacchi - www.mymovies.it Mentre il mogul Johnnie To sembra sempre più incline alle deviazioni nel campo della commedia e a pregevoli estetismi cinefili, lo zoccolo duro della sua creatura, ossia la Milkyway Image, resta fedele al noir made in Hong Kong. Law Wing-cheong è un fedelissimo di To, uno che da sempre sopperisce con l'umiltà dell'allievo coscienzioso alla mancanza di personalità. Quando si è trattato di uscire dagli schemi di genere ('2 Become 1') i risultati sono stati disastrosi, ma 'Punished' appartiene a quell'artigianato action di qualità che un tempo era prerogativa di Hong Kong. Quasi "coreano" nella sua ossessione per la vendetta, il film di Law delega buona parte della sua forza dirompente all'interpretazione ancora una volta superba di Anthony Wong: un personaggio tutt'altro che monodimensionale quello del palazzinaro miliardario che paga a caro prezzo le manchevolezze della sua dimensione privata. L'insaziabile sete di vendetta dapprima ne esalta i lati più ferini e pare allontanarlo da ogni residuo di umanità, per poi portarlo a uno spietato confronto con se stesso. Indicativo in questo senso il cambio di registro di Wong, alle prese con i rovesciamenti della sottotrama sugli scontri tra imprenditori edili e abitanti dei Nuovi Territori di Hong Kong.
    [Show full text]
  • Mercredi 21 Novembre 5
    4 MERCREDI 21 NOVEMBRE 5 KATORZA 1 KATORZA 2 KATORZA 3 CINÉMATOGRAPHE CONCORDE 1 CONCORDE 4 GAUMONT 6 LE GRAND T 9H 9H30 9H30 LE CAIRE, RACONTÉ THE WORLD 10H 10H 10H PAR YOUSSEF Jia Zhang-ke 10H CHAHINE FICTION / 133’ / 35MM THE FRIENDS BEAUTY * BONJOUR CHINE Shinji Sômai Daniela Seggiaro Yasujiro Ozu Youssef Chahine FICTION / 113’ / 35MM FICTION / 83’ / BLURAY FICTION / 94’ / 35MM FICTION / 23’ / 35MM JAPON ARGENTINE JAPON ÉGYPTE 11H GARE CENTRALE Youssef Chahine FICTION / 73’ / BETA SP ÉGYPTE 12H 13H 13H BOROM SARRET Ousmane Sembène 13H30 13H30 FIC / 20’ / 16 MM / SÉNÉGAL MEMORIES THE LAST FRIDAY RAPSODIA EN BOGOTA * José Maria Arzuaga LOOK AT ME * Yahya Alabdallah DOC / 24’ / 35MM / COLOMBIE 14H 14H Song Fang FICTION / 88’ / HDCAM JORDANIE, AVRIL ELECTION 1 DOC / 87’ / DCP Otar Iosseliani Johnnie To CHINE ÉMIRATS ARABES UNIS FIC / 46’ / 35MM / GÉORGIE FICTION / 101’ / 35MM HONG KONG 15H 15H CONTES PERSANS 15H30 ANIMATION / 52’ / 35MM GIMME GIMME IRAN * (À PARTIR DE 4 ANS) 16H Lawrence Ah-Mon 16H FICTION / 101’ / 35MM Q/A HONG KONG MAI MORIRE * Enrique Rivero 16H30 FICTION / 84’ / DCP THE TERRIBLE MEXIQUE COUPLE 17H Shinji Sômai FICTION / 122’ / 35MM 17H30 JAPON FAT CHOI SPIRIT * Johnnie To & Ka-Fai Wai 18H FICTION / 96’ / 35MM HONG KONG 18H15 RIO DE ORO * Pablo Aldrete FICTION / 100’ / 35MM 19H MEXIQUE 19H 19H FILATURES MOVING * Yau Nai-Hoi Shinji Sômai FICTION / 90’ / 35MM FICTION / 124’ / 35MM HONG KONG JAPON 20H 20H 20H 20H WADJDA MILLENNIUM UNE PAGE FOLLE Haifaa Al-Mansour 20H30 MAMBO Teinosuke Kinugasa FICTION / 98’ / DCP Hou Hsiao-hsien FICTION / 59’ / 35MM ARABIE SAOUDITE SLEEPLESS NIGHT * 20H45 JAPON Jang Kun-Jae FICTION / 105’ / 35MM 21H STUDENT TAÏWAN FICTION / 65’ / HDCAM Darejan Omirbaev CORÉE DU SUD 21H30 FICTION / 90’ / 35MM SAILOR SUIT AND KAZAKHSTAN MACHINE GUN * 22H 22H 22H 22H Shinji Sômai TOKYO HEAVEN EXPECT THE P.T.U.
    [Show full text]
  • “China Factor” in Contemporary Hong Kong Genre Cinema
    Concentric: Literary and Cultural Studies 46.1 March 2020: 11-37 DOI: 10.6240/concentric.lit.202003_46(1).0002 Re-Negotiations of the “China Factor” in Contemporary Hong Kong Genre Cinema Ting-Ying Lin Department of Information and Communication Tamkang University, Taiwan Abstract Given the long-existing and multifaceted negotiations of the “China factor” in Hong Kong film history, this article centers on the political function of genre films by exploring how contemporary Hong Kong filmmakers utilize filmmaking as a flexible strategy to re-negotiate and reflect on the China factor concerning current post-handover political dynamics. By focusing on several recent Hong Kong genre films as case studies, it examines how the China factor is negotiated in Vulgaria (低俗喜劇 Disu xiju, 2012) and The Midnight After (那夜凌晨，我坐上了旺角開往大埔的紅 VAN Naye lingchen, wo zuoshang le Wangjiao kaiwang Dapu de hong van, 2014), considering the politics of languages alongside the imaginary of the disappearance of Hong Kong’s local cultures in the post-handover era. It also highlights two post-Umbrella- Revolution films, Trivisa ( 樹大招風 Shuda zhaofeng, 2016) and The Mobfathers (選老頂 Xuan lao ding, 2016), to explore how the China factor is negotiated in light of the collective anxieties of Hongkongers regarding the handover and controversies in the current electoral system of Hong Kong. By doing so, this article argues that the re-negotiations of the China factor in contemporary Hong Kong genre cinema have become more and more politically reflexive given the increasingly severe political interference of the Beijing sovereignty that has violated the autonomy of Hong Kong, while forming a discourse of resistance of Hongkongers against possible neo- colonialism from the Chinese authorities in the postcolonial city.
    [Show full text]