DOCSLIB.ORG

Filmmakers' FILMS and LISTS of AWARD RECORDS of FILMS

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Filmmakers' FILMS and LISTS of AWARD RECORDS of FILMS APPENDICES: FILmmaKERS’ FILMS AND LISTS OF AWARD RECORDS OF FILMS DISCUSSED IN THIS MONOGRAPH APPENDIX A: HIGHEST GROSSING MOVIES IN TAIWAN’S BOX OFFICE SALES UP TO 2012 1 2009 Avatar NT$1.1 billion 2 1997 Titanic NT$789 million 3 2011 Transformers: Dark of the Moon NT$762 million 4 2012 Marvel’s The Avengers NT$600 million 5 2009 Transformers: Revenge of the Fallen NT$570 million 6 2012 Life of Pi NT$550 million 7 2008 Cape No.7 NT$530 million 8 2011 Seediq Bale NT$472 million 9 1993 Jurassic Park NT$460 million 10 2009 2012 NT$450 million From https://zh.wikipedia.org/wiki/%E5%8F%B0%E7%81%A3%E6%9C%80%E9%AB%98%E9%9B%BB% E5%BD%B1%E7%A5%A8%E6%88%BF © The Editor(s) (if applicable) and The Author(s) 2019 231 I. I. Chang, Taiwan Cinema, Memory, and Modernity, https://doi.org/10.1007/978-981-13-3567-9 232 APPENDICES: FILMMAKERS’ FILMS AND LISTS OF AWARD … APPENDIX B: HIGHEST GROSSING FILMS MADE IN TAIWAN UP TO 2015 1 2008 Cape No. 7 NT$530 million (海角七號) 2 2011 Seediq Bale: Part 1 NT$472 million (賽德克 巴萊(上):太陽旗) · 3 2013 David Loman NT$430 million (大尾鱸鰻) 4 2011 You're The Apple Of My Eye NT$425 million (那些年,我們一起追的女孩) 5 2015 Our Times NT$410 million (我的少女時代) 6 2014 KANO (KANO) NT$340 million 7 2011 Seediq Bale: Part 2 NT$318 million (賽德克 巴萊(下):彩虹橋) · 8 2012 Din Tao:Leader of the Parade NT$317 million (陣頭) 9 2013 Zone Pro Site NT$310 million (總舖師) 10 2007 Lust, Caution NT$280 million (色,戒) 11 2014 Café·Waiting·Love NT$270 million (等一個人咖啡) 12 2010 Monga NT$260 million (艋舺) 13 2015 The Wonderful Wedding NT$250 million (大囍臨門) 14 2013 Beyond Beauty—TAIWAN FROM ABOVE (看見台灣) NT$220 million 14 2014 Twa-Tiu-Tiann NT$220 million (大稻埕) From https://zh.wikipedia.org/wiki/%E5%8F%B0%E7%81%A3%E6%9C%80%E9%AB%98%E9%9B%BB% E5%BD%B1%E7%A5%A8%E6%88%BF APPENDIX C: FILMS DIRECTED BY EDWARD YANG 1982 In Our Time 1983 That Day, on the Beach 1985 Taipei Story 1986 Terrorizers 1991 A Brighter Summer Day 1994 A Confucian Confusion APPENDICES: FILMMAKERS’ FILMS AND LISTS OF AWARD … 233 1996 Mahjong 2000 Yi Yi From https://en.wikipedia.org/wiki/Edward_Yang List of Award Records of A Confucian Confusion • Cannes Film Festival 1994 Nominee Edward Yang Palme d’Or • Golden Horse Film Festival 1994 Winner Best Supporting Actor Golden Horse Award Bosen Wang Best Supporting Actress Elaine Jin Best Original Screenplay Edward Yang From https://www.imdb.com/title/tt0109685/?ref_ fn_al_tt_1 = List of Award Records of Mahjong • Berlin International Film Festival 1996 Winner Edward Yang Alfred Bauer Award—Honorable Mention Nominee Edward Yang Golden Berlin Bear • Golden Horse Film Festival 1996 Winner Best Supporting Actor Golden Horse Award Chi-tsan Wang Nominee Best Makeup & Costume Design Golden Horse Award Chi-Chien Chao • Nantes Three Continents Festival 1996 Winner Edward Yang Award of the City of Nantes Nominee Edward Yang Golden Montgolfere 234 APPENDICES: FILMMAKERS’ FILMS AND LISTS OF AWARD … • Singapore International Film Festival 1996 Winner Best Asian Director Silver Screen Award Edward Yang From https://www.imdb.com/title/tt0116962/?ref_ fn_al_tt_1 = List of Award Records of A One and a Two • Awards Circuit Community Awards 2000 Nominee Best Foreign Language Film ACCA • Bodil Awards 2003 Nominee Best Non-American Film (Bedste ikke amerikanske flm) Bodil Edward Young Taiwan • Boston Society of Film Critics Awards 2000 Nominee Best Film BSFC Award Best Director Edward Yang Best Foreign Language Film • Cannes Film Festival 2000 Winner Edward Yang Best Director Nominee Edward Yang Palme d’Or • Chicago Film Critics Association Awards 2001 Nominee Best Foreign Language Film CFCA Award Edward Yang • Chinese Film Media Awards 2002 Winner Best Film—Hong Kong/Taiwan China Film Media Award Best Director—Hong Kong/Taiwan Edward Yang • Chinese Film Media Awards 2001 Winner Best Film China Film Media Award APPENDICES: FILMMAKERS’ FILMS AND LISTS OF AWARD … 235 • Chlotrudis Awards 2002 Nominee Best Cast Chlotrudis Award Best Movie Best Original Screenplay Edward Yang • César Awards, France 2001 Nominee Best Foreign Film (Meilleur flm étranger) César Edward Yang • European Film Awards 2000 Nominee Edward Yang Screen International Award Taiwan/Japan • French Syndicate of Cinema Critics 2001 Winner Best Foreign Film Critics Award Edward Yang • Fribourg International Film Festival 2001 Winner Edward Yang Grand Prix • Hong Kong Film Awards 2002 Nominee Best Asian Film Hong Kong Film Award Taiwan • Indiewire Critics’ Poll 2009 Nominee Best Film of the Decade ICP Award 3rd place • Karlovy Vary International Film Festival 2000 Winner Edward Yang Netpac Award For the perceptive and sensitive portrayal of a generation and cultural gap in Taiwan and the … More • Los Angeles Film Critics Association Awards 2010 Nominee Film of the Decade LAFCA Award 6th place 236 APPENDICES: FILMMAKERS’ FILMS AND LISTS OF AWARD … • Los Angeles Film Critics Association Awards 2000 Winner Best Foreign Film LAFCA Award Edward Yang • National Society of Film Critics Awards, USA 2001 Winner Best Film NSFC Award Nominee Best Director NSFC Award Edward Yang • New York Film Critics Circle Awards 2000 Winner Best Foreign Language Film NYFCC Award Taiwan/Japan • Online Film & Television Association 2001 Nominee Best Foreign Language Film OFTA Film Award Taiwan • Online Film Critics Society Awards 2001 Nominee Best Foreign Language Film OFCS Award Taiwan/Japan • Sarajevo Film Festival 2000 Winner Edward Yang Panorama Jury Prize Tied with Topsy-Turvy (1999) • Southeastern Film Critics Association Awards 2001 Nominee Best Foreign Language Film SEFCA Award • Valladolid International Film Festival 2000 Nominee Edward Yang Golden Spike • Vancouver International Film Festival 2000 Winner Edward Yang Chief Dan George Humanitarian Award • Village Voice Film Poll 2009 Nominee Best Film of the Decade VVFP Award 4th place. Tied with La commune (Paris, 1871) (2000) and Zodiac (2007) APPENDICES: FILMMAKERS’ FILMS AND LISTS OF AWARD … 237 • Village Voice Film Poll 2000 Winner Best Director VVFP Award Edward Yang Nominee Best Film VVFP Award 2nd place From https://www.imdb.com/title/tt0244316/awards?ref_ tt_awd = APPENDIX D: FILMS DIRECTED BY MING-LIANG TSAI 1992 Rebels of the Neon God 1994 Vive L’Amour 1997 The River 1998 The Hole 2001 What Time Is It There? 2003 Goodbye, Dragon Inn 2005 The Wayward Cloud 2006 I Don’t Want to Sleep Alone 2009 Face 2013 Stray Dogs From https://en.wikipedia.org/wiki/Tsai_Ming-liang. The List of Award Records of The Wayward Cloud • Berlin International Film Festival 2005 Winner Ming-liang Tsai Alfred Bauer Award Winner Competition FIPRESCI Prize Ming-liang Tsai Winner Outstanding Artistic Achievement Silver Berlin Bear Ming-liang Tsai Nominee Ming-liang Tsai Golden Berlin Bear • Chicago International Film Festival 2005 Nominee Best Feature Gold Hugo Ming-liang Tsai (director) 238 APPENDICES: FILMMAKERS’ FILMS AND LISTS OF AWARD … • Golden Horse Film Festival 2005 Nominee Best Feature Film Golden Horse Award Best Director Ming-liang Tsai Best Leading Actress Shiang-chyi Chen • Nantes Three Continents Festival 2005 Winner Ming-liang Tsai Award of the City of Nantes Winner Kang-sheng Lee Special Mention For his performance Nominee Best Film Golden Montgolfere Ming-liang Tsai • Russian Guild of Film Critics 2005 Nominee Best Foreign Film Golden Aries Ming-liang Tsai • Sitges—Catalonian International Film Festival 2005 Winner Kang-sheng Lee Best Actor Winner Ming-liang Tsai José Luis Guarner Critic’s Award Nominee Ming-liang Tsai Best Film • Taipei Film Festival 2005 Winner Best Narrative Film Festival Prize Ming-liang Tsai • Village Voice Film Poll 2005 Nominee Best Undistributed Film VVFP Award 5th place. Tied with Kamyu nante shiranai (2005) • Yoga Awards 2006 Winner Worst Foreign Film Yoga Award Ming-liang Tsai https://www.imdb.com/title/tt0445760/?ref_ ttawd_awd_tt = APPENDICES: FILMMAKERS’ FILMS AND LISTS OF AWARD … 239 The List of Award Records of What Time Is It There? • Asia-Pacifc Film Festival 2001 Winner Ming-liang Tsai Best Director Winner Ming-liang Tsai Best Film Winner Yi-Ching Lu Best Supporting Actress • Brisbane International Film Festival 2001 Winner Ming-liang Tsai Netpac Award For its unique use of time space and traditional culture in expressing loneliness and separation in… More • Cannes Film Festival 2001 Nominee Ming-liang Tsai Palme d’Or • Chicago International Film Festival 2001 Winner Grand Jury Prize Silver Hugo Ming-liang Tsai Best Director Ming-liang Tsai Winner Cinematography Special Jury Prize Benoît Delhomme • Chlotrudis Awards 2003 Nominee Best Cinematography Chlotrudis Award Benoît Delhomme • Cinemanila International Film Festival 2002 Winner Kang-sheng Lee Best Actor Tied with “Alejandro Trejo” for Taxi para tres (2001) Winner Ming-liang Tsai Kodak Vision Award Winner Ming-liang Tsai Lino Brocka Award Tied with Atanarjuat (2001) 240 APPENDICES: FILMMAKERS’ FILMS AND LISTS OF AWARD … • Golden Horse Film Festival 2001 Winner Ming-liang Tsai Special Jury Award Nominee Best Feature Film Golden Horse Award Homegreen Films Best Director Ming-liang Tsai Best Supporting Actress Yi-Ching Lu Best Original Screenplay Ming-liang Tsai Pi-ying Yang Best Sound Effects Duu-Chih Tu Shiang-Chu Tang • Village Voice Film Poll 2002 Nominee Best Film VVFP Award 7th place From https://www.imdb.com/title/tt0269746/awards?ref_ tt_ql_op_1 = The List of Award Records of I Don’t Want to Sleep Alone • Asian Film Awards 2007 Nominee Best Cinematographer Asian Film Award Pen-Jung Liao Best Director Ming-liang Tsai • Chlotrudis Awards 2008 Nominee Best Director Chlotrudis Award Ming-liang Tsai • Taipei Film Festival 2007 Winner Grand Prize Taipei Grand Award Ming-liang Tsai • Venice Film Festival 2006 Winner Cinema for Peace Award “CinemAvvenire” Award Ming-liang Tsai Nominee Ming-liang Tsai Golden Lion From https://www.imdb.com/title/tt0855824/awards?ref_ tt_ql_op_1 = APPENDICES: FILMMAKERS’ FILMS AND LISTS OF AWARD … 241 APPENDIX E: FILMS DIRECTED BY TE-SHENG WEI 1995 Face in the Evening 1996 Three Dialogues 1997 Before Dawn 1999 About July 2008 Cape No.
Load more

Recommended publications
  • 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.
    [Show full text]
  • AACTA AWARD for BEST ASIAN FILM Process and Eligibility Criteria
    AACTA AWARD FOR BEST ASIAN FILM Process and Eligibility Criteria PART 1: PROCESS 1. Entry into competition 1.1. Films from Tier One or Tier Two Asian countries (see definition under Part 2, 3.1), that meet one or more of the Eligibility Criteria (see Eligibility Criteria in Part 2) will be considered for entry into competition. 1.2. Invitations to enter into Formal Competition will be sent to select eligible films at AACTA’s discretion. All invitations will be extended in June via email. 1.3. All films that are invited and agree to pay the Entry Fee will then enter Formal Competition. 1.4. The Formal Competition List will comprise a total of 27 films that meet Regional Quotas (outlined below) based on the average number of films from each eligible country distributed in Australia for paid admission. Regional Quotas: (a) China: nine Chinese films may be included in Formal Competition. (b) India: nine Indian films may be included in Formal Competition. (c) Japan: three Japanese films may be included in Formal Competition. (d) South Korea: three South Korean films may be included in Formal Competition. (e) Tier Two countries: three films in total from Tier Two countries may be included in Formal Competition. 2. Preliminary Selection Committee 2.1. Three Preliminary Selection Committees will be appointed at AACTA’s discretion to determine the Nominees that progress from Formal Competition: (a) The Chinese Preliminary Selection Committee will determine three Nominees from the nine Chinese films in Formal Competition. (b) The Indian Preliminary Selection Committee will determine three Nominees from the nine Indian films in Formal Competition.
    [Show full text]
  • The Studies of HKIFF: an Overview of a Burgeoning Field of Its Establishment in the Current Years
    The studies of Hong Kong International Film Festival (HKIFF) : Title an overview of a burgeoning field of its establishment in the current years Author(s) Law, Pik-yu Law, P. E.. (2015). The studies of Hong Kong International Film Festival (HKIFF) : an overview of a burgeoning field of its Citation establishment in the current years. (Thesis). University of Hong Kong, Pokfulam, Hong Kong SAR. Issued Date 2015 URL http://hdl.handle.net/10722/223429 The author retains all proprietary rights, (such as patent rights) and the right to use in future works.; This work is licensed under Rights a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. The Studies of HKIFF: An Overview of a Burgeoning Field of its establishment in the current years The University of Hong Kong Department of Sociology Assignment / Essay Cover Sheet1 Programme Title: Master of Social Sciences in Media, Culture and Creative Cities – MSocSc(MCCC) Title of Course: SOCI8030 Capstone Project Course Code: SOCI8030 Title of Assignment / Essay: The Studies of Hong Kong International Film Festival (HKIFF): An overview of a Burgeoning Field of its establishment in the current years Student Name: LAW, Pik Yu Eugenia Student Number: 2013932305 Year of Study: Year 2 Date of Resubmission2: Plagiarism Plagiarism is the presentation of work which has been copied in whole or in part from another person’s work, or from any other source such as the Internet, published books or periodicals without due acknowledgement given in the text. Where there are reasonable grounds for believing that cheating has occurred, the action that may be taken when plagiarism is detected is for the staff member not to mark the item of work and to report or refer the matter to the Department.
    [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]
  • Sungkyun Journal of East Asian Studies
    Sungkyun Journal of East Asian Studies On the Rooftop: A Study of Marginalized Youth Films in Hong Kong Cinema Xuelin ZHOU University of Auckland Sungkyun Journal of East Asian Studies. Vol. 8, No. 2 ⓒ 2008 Academy of East Asia Studies. pp.163-177 You may use content in the SJEAS back issues only for your personal, non-commercial use. Contents of each article do not represent opinions of SJEAS. Sungkyun Journal of East Asian Studies. Vol.8, No.2. � 2008 Academy of East Asian Studies. pp.163-177 On the Rooftop: A Study of Marginalized Youth Films in Hong Kong Cinema1 Xuelin ZHOU University of Auckland ABSTRACT Researchers of contemporary Hong Kong cinema have tended to concentrate on the monumental, metropolitan and/or historical works of such esteemed directors as Wong Kar-Wai, John Woo and Tsui Hark. This paper focuses instead on a number of low-budget films that circulated below the radar of Chinese as well as Western film scholars but were important to local young viewers, i.e. a cluster of films that feature deviant and marginalized youth as protagonists. They are very interesting as evidence of perceived social problems in contemporary Hong Kong. The paper aims to outline some main features of these marginalized youth films produced since the mid-1990s. Keywords: Hong Kong, cinema, youth culture, youth film, marginalized youth On the Rooftop A scene set on the rooftop of a skyscraper in central Hong Kong appears in New Police Story(2004), or Xin jingcha gushi, by the Hong Kong director Benny Chan, an action drama that features an aged local police officer struggling to fight a group of trouble-making, tech-savvy teenagers.2 The young people are using the rooftop for an “X-party,” an occasion for showing off their skills of skateboarding and cycling, by doing daredevil stunts along the edge of the building.
    [Show full text]
  • UC Riverside Electronic Theses and Dissertations
    UC Riverside UC Riverside Electronic Theses and Dissertations Title Beyond New Waves: Gender and Sexuality in Sinophone Women's Cinema from the 1980s to the 2000s Permalink https://escholarship.org/uc/item/4h13x81f Author Kang, Kai Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Beyond New Waves: Gender and Sexuality in Sinophone Women‘s Cinema from the 1980s to the 2000s A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Comparative Literature by Kai Kang March 2015 Dissertation Committee: Dr. Marguerite Waller, Chairperson Dr. Lan Duong Dr. Tamara Ho Copyright by Kai Kang 2015 The Dissertation of Kai Kang is approved: Committee Chairperson University of California, Riverside Acknowledgements My deepest gratitude is to my chair, Dr. Marguerite Waller who gave me freedom to explore my interested areas. Her advice and feedback helped me overcome many difficulties during the writing process. I am grateful to Dr. Lan Duong, who not only offered me much valuable feedback to my dissertation but also shared her job hunting experience with me. I would like to thank Dr Tamara Ho for her useful comments on my work. Finally, I would like to thank Dr. Mustafa Bal, the editor-in-chief of The Human, for having permitted me to use certain passages of my previously published article ―Inside/Outside the Nation-State: Screening Women and History in Song of the Exile and Woman, Demon, Human,‖ in my dissertation. iv ABSTRACT OF THE DISSERTATION Beyond New Waves: Gender and Sexuality in Sinophone Women‘s Cinema from the 1980s to the 2000s by Kai Kang Doctor of Philosophy, Graduate Program in Comparative Literature University of California, Riverside, March 2015 Dr.
    [Show full text]
  • Bibliography
    BIBLIOGRAPHY An Jingfu (1994) The Pain of a Half Taoist: Taoist Principles, Chinese Landscape Painting, and King of the Children . In Linda C. Ehrlich and David Desser (eds.). Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan . Austin: University of Texas Press, 117–25. Anderson, Marston (1990) The Limits of Realism: Chinese Fiction in the Revolutionary Period . Berkeley: University of California Press. Anon (1937) “Yueyu pian zhengming yundong” [“Jyutpin zingming wandung” or Cantonese fi lm rectifi cation movement]. Lingxing [ Ling Sing ] 7, no. 15 (June 27, 1937): no page. Appelo, Tim (2014) ‘Wong Kar Wai Says His 108-Minute “The Grandmaster” Is Not “A Watered-Down Version”’, The Hollywood Reporter (6 January), http:// www.hollywoodreporter.com/news/wong-kar-wai-says-his-668633 . Aristotle (1996) Poetics , trans. Malcolm Heath (London: Penguin Books). Arroyo, José (2000) Introduction by José Arroyo (ed.) Action/Spectacle: A Sight and Sound Reader (London: BFI Publishing), vii-xv. Astruc, Alexandre (2009) ‘The Birth of a New Avant-Garde: La Caméra-Stylo ’ in Peter Graham with Ginette Vincendeau (eds.) The French New Wave: Critical Landmarks (London: BFI and Palgrave Macmillan), 31–7. Bao, Weihong (2015) Fiery Cinema: The Emergence of an Affective Medium in China, 1915–1945 (Minneapolis: University of Minnesota Press). Barthes, Roland (1968a) Elements of Semiology (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1968b) Writing Degree Zero (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1972) Mythologies (trans. Annette Lavers), New York: Hill and Wang. © The Editor(s) (if applicable) and The Author(s) 2016 203 G.
    [Show full text]
  • 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.
    [Show full text]
  • 1,000 Films to See Before You Die Published in the Guardian, June 2007
    1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation.
    [Show full text]
  • W Talking Pictures
    Wednesday 3 June at 20.30 (Part I) Wednesday 17 June at 20.30 Thursday 4 June at 20.30 (Part II) Francis Ford Coppola Ingmar Bergman Apocalypse Now (US) 1979 Fanny And Alexander (Sweden) 1982 “One of the great films of all time. It shames modern Hollywood’s “This exuberant, richly textured film, timidity. To watch it is to feel yourself lifted up to the heights where packed with life and incident, is the cinema can take you, but so rarely does.” (Roger Ebert, Chicago punctuated by a series of ritual family Sun-Times) “To look at APOCALYPSE NOW is to realize that most of us are gatherings for parties, funerals, weddings, fast forgetting what a movie looks like - a real movie, the last movie, and christenings. Ghosts are as corporeal an American masterpiece.” (Manohla Darghis, LA Weekly) “Remains a as living people. Seasons come and go; majestic explosion of pure cinema. It’s a hallucinatory poem of fear, tumultuous, traumatic events occur - projecting, in its scale and spirit, a messianic vision of human warfare Talking yet, as in a dream of childhood (the film’s stretched to the flashpoint of technological and moral breakdown.” perspective is that of Alexander), time is (Owen Gleiberman, Entertainment Weekly) “In spite of its limited oddly still.” (Philip French, The Observer) perspective on Vietnam, its churning, term-paperish exploration of “Emerges as a sumptuously produced Conrad and the near incoherence of its ending, it is a great movie. It Pictures period piece that is also a rich tapestry of grows richer and stranger with each viewing, and the restoration [in childhood memoirs and moods, fear and Redux] of scenes left in the cutting room two decades ago has only April - July 2009 fancy, employing all the manners and added to its sublimity.” (Dana Stevens, The New York Times) Audience means of the best of cinematic theatrical can choose the original version or the longer 2001 Redux version.
    [Show full text]
  • Representation of Females As Victims in Hong Kong Crime Films (2003-2015)
    REPRESENTATION OF FEMALES AS VICTIMS IN HONG KONG CRIME FILMS (2003-2015) Perspectives from One Nite in Mongkok, Protégé and The Stool Pigeon TINGTING HU (胡婷婷) MA. Media, Loughborough University, UK, 2011 BA. Arts, Shanghai Theatre Academy, China, 2010 This thesis is submitted for the degree of Master of Research Department of Media, Music, Communication and Cultural Studies Faculty of Arts Macquarie University, Sydney December 25, 2015 MRES Thesis 2015 Tingting HU (ID: 43765858) TABLE OF CONTENTS ABSTRACT ........................................................................................................................ iii CERTIFICATE OF AUTHORSHIP/ORIGINALITY .................................................. iv ACKNOWLEDGMENTS .................................................................................................. v CHAPTER 1 INTRODUCTION ....................................................................................... 1 CHAPTER 2 FEMINISM AND HONG KONG CRIME FILMS ................................. 7 Feminism and Film Studies .................................................................................................. 7 The Western Context ......................................................................................................... 7 The Chinese Context ....................................................................................................... 11 Crime Films and Violence Against Women ....................................................................... 15 Crime Films ...................................................................................................................
    [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]