A Chinese Odyssey Part Two Cinderell
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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. -
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. -
Download Heroic Grace: the Chinese Martial Arts Film Catalog (PDF)
UCLA Film and Television Archive Hong Kong Economic and Trade Office in San Francisco HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Front and inside cover: Lau Kar-fai (Gordon Liu Jiahui) in THE 36TH CHAMBER OF SHAOLIN (SHAOLIN SANSHILIU FANG ) present HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Heroic Grace: The Chinese Martial Arts Film catalog (2003) is a publication of the UCLA Film and Television Archive, Los Angeles, USA. Editors: David Chute (Essay Section) Cheng-Sim Lim (Film Notes & Other Sections) Designer: Anne Coates Printed in Los Angeles by Foundation Press ii CONTENTS From the Presenter Tim Kittleson iv From the Presenting Sponsor Annie Tang v From the Chairman John Woo vi Acknowledgments vii Leaping into the Jiang Hu Cheng-Sim Lim 1 A Note on the Romanization of Chinese 3 ESSAYS Introduction David Chute 5 How to Watch a Martial Arts Movie David Bordwell 9 From Page to Screen: A Brief History of Wuxia Fiction Sam Ho 13 The Book, the Goddess and the Hero: Sexual Bérénice Reynaud 18 Aesthetics in the Chinese Martial Arts Film Crouching Tiger, Hidden Dragon—Passing Fad Stephen Teo 23 or Global Phenomenon? Selected Bibliography 27 FILM NOTES 31-49 PROGRAM INFORMATION Screening Schedule 51 Print & Tape Sources 52 UCLA Staff 53 iii FROM THE PRESENTER Heroic Grace: The Chinese Martial Arts Film ranks among the most ambitious programs mounted by the UCLA Film and Television Archive, taking five years to organize by our dedicated and intrepid Public Programming staff. -
Bamcinématek Presents Stephen Chow: the King of Comedy, Oct 6—12
BAMcinématek presents Stephen Chow: The King of Comedy, Oct 6—12 “The reigning king of Hong Kong comedy.”—J. Hoberman Co-presented with the Hong Kong Economic and Trade Office in New York. The Wall Street Journal is the title sponsor for BAM Rose Cinemas and BAMcinématek. Brooklyn, NY/Sep 8, 2014—From Monday, October 6 through Sunday, October 12, BAMcinématek presents Stephen Chow: The King of Comedy, an eight-film retrospective of the Hong Kong actor, writer, and director. Chow’s audaciously anarchic comedies combine surreal sight gags, non sequiturs, extensive pop culture quoting, and gravity-defying martial arts to sublimely silly effect. Endlessly inventive, the reigning king of Hong Kong mo lei tau (―nonsense comedy‖) yields unfiltered cinematic pleasure. Initially prominent as a children’s television star, Chow became synonymous with mo lei tau, a style of film comedy in which traditional melodramas and kung fu tales are peppered with rapid- fire, fourth-wall-breaking slapstick bits and corny puns. A bigger box-office draw in his homeland than Jackie Chan or Jet Li, Chow—who cites Spielberg and Kubrick, along with Jim Carrey, as influences—has used his clout in recent years to fashion himself as an auteur, scripting, editing, and directing a series of high-budget, homage-filled blockbusters. Typical of Chow’s earliest hits, Johnnie To’s Justice, My Foot! (1992—Oct 8) casts the actor as a fast-talking lawyer whose mouth gets him into trouble, and whose kung fu-fighting wife gets him out of it—one of many tough, smart heroines Chow uses as foils for his feckless alter egos. -
Killing Time: the Handover and Its Afterlives
Hong Kong Studies, Vol. 1, No. 1 (Spring 2018), 100–115 Killing Time: The Handover and ,ts Afterlives Copyrighted Material of The Chinese University Press | AllCarlos Rights ReservedRojas Abstract This essay uses an analysis of Fruit Chan’s 2016 film Kill Time to reflect on the legacy of the Handover, and on the significance of its upcoming twentieth—and, later, fiftieth—anniversaries. Although Chan’s film is set in contemporary Beijing, is based on a novel by a Painland Chinese author, and at first glance appears to have little to do with Hong Kong, this essay argues that if we look beyond the film’s surface narrative, we find that the work explores a set of concerns relevant to the Handover and its legacies. Of particular interest is the sense of anticipation and anxiety that the Handover has generated, as well as the sense of potentiality and foreboding contained in the 1984 Sino-British Joint Declaration’s guarantee that Hong Kong would enjoy a post-Handover moratorium of “fifty years without change.” At the same time, [the Handover] also should not become a black hole that we pretend doesn’t exist so that we don’t need to approach it or touch it. Therefore, in 1997 I resolved to write not about its present, but rather about its past while at the same time writing about its future. From a future vantage point I sought to reconstruct the past; and from a past vantage point I sought to project the future. From this deliberate interweaving of past and future, I hope that a present that is more full of possibility might gradually emerge. -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Film Studies Hong Kong Cinema Since 1997: The Response of Filmmakers Following the Political Handover from Britain to the People’s Republic of China by Sherry Xiaorui Xu Thesis for the degree of Doctor of Philosophy December 2012 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Film Studies Doctor of Philosophy HONG KONG CINEMA SINCE 1997: THE RESPONSE OF FILMMAKERS FOLLOWING THE POLITICAL HANDOVER FROM BRITAIN TO THE PEOPLE’S REPUBLIC OF CHINA by Sherry Xiaorui Xu This thesis was instigated through a consideration of the views held by many film scholars who predicted that the political handover that took place on the July 1 1997, whereby Hong Kong was returned to the sovereignty of the People’s Republic of China (PRC) from British colonial rule, would result in the “end” of Hong Kong cinema. -
California State University, Northridge
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE THE LOTTERY A graduate project submitted in partial fulfillment of the requirements For the degree of Master of Arts in Art By Wei-Chun Yang December 2009 The graduate project of Wei-Chun Yang is approved: Craig Ashby, fv\F .A. Date Magdy Rizk, M.F.A. Date Ron Saito, Ph.D., Chair Date California State University, Northridge 11 DEDICATION For CL. Lee and CH Yang Special thanks to my graduate committee members, Professor Ron Saito, Magdy Rizk and Craig Ashby 111 TABLE OF CONTENTS SIGNATURE PAGE ...................................................................................... .............. ii DEDICATION ......................................... .......... .................... ...................................... iii ABSTRACT ........................................... ...................................................................... v INTRODUCTION ... ................................... ..... .. ........................................................... 1 AESTHETIC APPROACHES ........................................................... ...... ........... .......... 3 STILL IMAGES FROM THE FILM ............................................................................ 8 REFERENCES ............................................................................................................ 10 lV ABSTRACT THE LOTTERY By Wei-Chun Yang Master of Arts in Art THE LOTTERY IS A SHORT NARRATIVE FILM CONSISTING OF THREE segments delineating the misconceptions that many new immigrants from Taiwan -
A Different Brilliance—The D & B Story
1. Yes, Madam (1985): Michelle Yeoh 2. Love Unto Wastes (1986): (left) Elaine Jin; (right) Tony Leung Chiu-wai 3. An Autumn’s Tale (1987): (left) Chow Yun-fat; (right) Cherie Chung 4. Where’s Officer Tuba? (1986): Sammo Hung 5. Hong Kong 1941 (1984): (from left) Alex Man, Cecilia Yip, Chow Yun-fat 6. It’s a Mad, Mad, Mad World (1987): (front row from left) Loletta Lee, Elsie Chan, Pauline Kwan, Lydia Sum, Bill Tung; (back row) John Chiang 7. The Return of Pom Pom (1984): (left) John Sham; (right) Richard Ng 8. Heart to Hearts (1988): (from left) Dodo Cheng, George Lam, Vivian Chow Pic. 1-8 © 2010 Fortune Star Media Limited All Rights Reserved Contents 4 Foreword Kwok Ching-ling, Wong Ha-pak 〈Chapter I〉 Production • Cinema Circuits 10 D & B’s Development: From Production Company to Theatrical Distribution Po Fung Circuit 19 Retrospective on the Big Three: Dickson Poon and the Rise-and-Fall Story of the Wong Ha-pak D & B Cinema Circuit 29 An Unconventional Filmmaker—John Sham Eric Tsang Siu-wang 36 My Days at D & B Shu Kei In-Depth Portraits 46 John Sham Diversification Strategies of a Resolute Producer 54 Stephen Shin Targeting the Middle-Class Audience Demographic 61 Linda Kuk An Administrative Producer Who Embodies Both Strength and Gentleness 67 Norman Chan A Production Controller Who Changes the Game 73 Terence Chang Bringing Hong Kong Films to the International Stage 78 Otto Leong Cinema Circuit Management: Flexibility Is the Way to Go 〈Chapter II〉 Creative Minds 86 D & B: The Creative Trajectory of a Trailblazer Thomas Shin 92 From -
Annual Report 2013/14
Sa Sa International Holdings Limited 莎莎國際控股有限公司 Stock Code: 178 Annual Report 2013/14 Sense of style Partner in beauty Being trendy is contemporary, shows refined sensibility; inner beauty is beautiful, is charming. Combining the two together allows your natural beauty to shine through. Keeping abreast of trends, targeted market expansion, personalized beauty consultation, professional service, extraordinary shopping experience; as always, Sa Sa will be your beauty partner. Hand in hand with the community and our shareholders, Sa Sa will continue to grow and flourish. Contents Corporate Profile 4 Corporate Information 7 Five-Year Financial Summary 8 Footprint in Asia 11 Awards and Recognition 14 Milestones 24 Chairman’s Statement 28 Management Discussion & Analysis 34 Financial Review 43 Biographical Information of Directors and Senior Management 46 Environmental, Social and Governance Report 54 Investor Relations Report 90 Corporate Governance Report 105 Enterprise Risk Management Report 135 Report of the Directors 141 Independent Auditor’s Report 156 Consolidated Income Statement 158 Consolidated Statement of Comprehensive Income 159 Consolidated Statement of Financial Position 160 Statement of Financial Position 162 Consolidated Statement of Cash Flows 163 Consolidated Statement of Changes in Equity 164 Significant Accounting Policies 165 Notes to the Consolidated Financial Statements 180 Glossary 223 Sa Sa International Holdings Limited Annual Report 2013/14 3 Corporate Profile Sa Sa International Holdings Limited is a leading cosmetics retailing group in Asia. According to the “Retail Asia- Pacific Top 500” ranking of Retail Asia Magazine, KPMG and Euromonitor in 2013, Sa Sa is the largest cosmetics retail chain in Asia and one of the top ten retail groups in Hong Kong. -
The Quint : an Interdisciplinary Quarterly from the North 1 the Quint Volume Eleven Issue Three
the quint : an interdisciplinary quarterly from the north 1 the quint volume eleven issue three an interdisciplinary quarterly from the north guest editor Ying Kong ISSN 1920-1028 editor Sue Matheson the quint welcomes submissions. See our guide- lines or contact us at: film review editor the quint Antonio Sanna University College of the North P.O. Box 3000 The Pas, Manitoba Canada R9A 1K7 We cannot be held responsible for unsolicited material production: Sue Matheson cover photo: Jian Tang A quarterly journal, the quint is housed in the Faculty of Arts, Business and Science at the Uni- versity of the North. The encouragement and support of this project by the Vice President Aca- demic of the University College of the North is deeply appreciated. Copyright 2019© the quint for the contributors. No part of this publication may be reproduced. 2 Volume 11.3 (June 2019) Editorial Advisory Board Moshen Ashtiany, Columbia University Joseph Atoyebi, University College of the North Brenda Austin-Smith, University of Manitoba Keith Batterbe. University of Turku Donald Beecher, Carleton University Melanie Belmore, University College of the North Gerald Bowler, Independent Scholar Robert Budde, University Northern British Columbia John Butler, Independent Scholar David Carpenter, Professor Emeritus, University of Saskatchewan Terrence Craig, Mount Allison University Lynn Echevarria, Yukon College Erwin Erdhardt, III, University of Cincinnati Peter Falconer, University of Bristol Peter Geller, University of the Fraser Valley Susan Gold, University -
028-036 Day 1 Market Buzz US and UK G.Indd
CANNES BUZZ THE LOWDOWN As international buyers arrive on the Croisette clutching their shopping lists, Screen picks through some of the hottest titles, at various stages of production, available at the Marché BUZZ NORTH AMERICAN SELLERS By Jeremy Kay FilmNation Entertainment arrives with Don’t Worry, He Won’t Get Far On Foot from Gus Van Sant, which stars Joaquin Phoenix as a man who turns to drawing Mobile Homes when he is paralysed in a car crash. Rooney Mara, Jonah Hill and Jack Black Mongrel International will tempt buy- round out the cast. ers with Directors’ Fortnight selection Voltage Pictures has I Feel Pretty with Mobile Homes. Imogen Poots plays a comedy star Amy Schumer as a career young mother drifting across the US woman who learns that beauty is only who finds a new lease of life in a mobile- The White Orchid skin-deep after she suffers a life-changing home community. Vladimir de Fontenay accident. Abby Kohn directs, and Nicolas directs and CAA holds US rights. Chartier and McG are among the produc- Visit Films title M.F.A. stars Francesca ers. Voltage and UTA represent US rights. Eastwood and Clifton Collins Jr in the Lionsgate International will talk up story of an art student who seeks sci-fiChaos Walking. Doug Liman directs revenge when a classmate sexually Daisy Ridley from Star Wars: The Force assaults her. Visit Films is also screening Awakens and Tom Holland, star of July The Maze for the first time. tentpole Spider-Man: Homecoming. The Seville International will introduce story takes place in a world without Skin starring Jamie Bell and Danielle women where all living things can hear Macdonald, the breakout star of each other’s thoughts. -
Junior School Headmistress' Report 2011-2012
Junior School Headmistress’ Report 2011-2012 Farmer’s Plot in the Middle Garden, the Club’s next step is to grow vegetables using the organic farming method. The 2011-2012 school year was a very memorable year in the history of the School. It marked the first year of operation in the A recently conducted survey revealed that the girls’ favourite redeveloped Jordan Road Campus. The transition to the new place in the School is the library. The reading castle has been turned premises was smooth, allowing teaching and learning to be continued into a reading cottage, which sparks imagination and creativity. effectively. All major activities at the beginning of the school year Each morning, the whole school begins with the Assembly in the were not affected by the relocating process. On top of the regular spacious Junior School Hall. At last, all teachers and students can school schedule was the different logistics planning for the new assemble comfortably to be nurtured by Christian sharing, and enjoy environment. The School worked out specific dates for each primary different presentations and performances after our worship. level to attend school at the new campus on the first two days in September, 2011. The School provided different opportunities for The state-of-the-art school campus is equipped with a number staff members, parents and students to familiarise themselves with of new facilities. As you enter the Gascoigne Road entrance to the the new school environment. The timetables of the Junior School and Junior School, you will see at once a landscaped courtyard.