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OFFICIAL RECORD of PROCEEDINGS Wednesday, 29
LEGISLATIVE COUNCIL ─ 29 April 2015 9455 OFFICIAL RECORD OF PROCEEDINGS Wednesday, 29 April 2015 The Council met at Eleven o'clock MEMBERS PRESENT: THE PRESIDENT THE HONOURABLE JASPER TSANG YOK-SING, G.B.S., J.P. THE HONOURABLE ALBERT HO CHUN-YAN THE HONOURABLE LEE CHEUK-YAN THE HONOURABLE JAMES TO KUN-SUN THE HONOURABLE CHAN KAM-LAM, S.B.S., J.P. THE HONOURABLE LEUNG YIU-CHUNG DR THE HONOURABLE LAU WONG-FAT, G.B.M., G.B.S., J.P. THE HONOURABLE EMILY LAU WAI-HING, J.P. THE HONOURABLE TAM YIU-CHUNG, G.B.S., J.P. THE HONOURABLE ABRAHAM SHEK LAI-HIM, G.B.S., J.P. THE HONOURABLE TOMMY CHEUNG YU-YAN, S.B.S., J.P. THE HONOURABLE FREDERICK FUNG KIN-KEE, S.B.S., J.P. THE HONOURABLE VINCENT FANG KANG, S.B.S., J.P. 9456 LEGISLATIVE COUNCIL ─ 29 April 2015 THE HONOURABLE WONG KWOK-HING, B.B.S., M.H. PROF THE HONOURABLE JOSEPH LEE KOK-LONG, S.B.S., J.P., Ph.D., R.N. THE HONOURABLE JEFFREY LAM KIN-FUNG, G.B.S., J.P. THE HONOURABLE ANDREW LEUNG KWAN-YUEN, G.B.S., J.P. THE HONOURABLE WONG TING-KWONG, S.B.S., J.P. THE HONOURABLE CYD HO SAU-LAN, J.P. THE HONOURABLE STARRY LEE WAI-KING, J.P. DR THE HONOURABLE LAM TAI-FAI, S.B.S., J.P. THE HONOURABLE CHAN HAK-KAN, J.P. THE HONOURABLE CHAN KIN-POR, B.B.S., J.P. DR THE HONOURABLE PRISCILLA LEUNG MEI-FUN, S.B.S., J.P. -
Stirling Silliphant Papers, Ca
http://oac.cdlib.org/findaid/ark:/13030/tf2f59n87r No online items Finding Aid for the Stirling Silliphant Papers, ca. 1950-ca. 1985 PASC.0134 Finding aid prepared by Processed by UCLA Library Special Collections staff; machine-readable finding aid created by D.MacGill UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] Online finding aid last updated 14 August 2017 Finding Aid for the Stirling PASC.0134 1 Silliphant Papers, ca. 1950-ca. 1985 PASC.0134 Title: Stirling Silliphant papers Identifier/Call Number: PASC.0134 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 27.0 linear feet65 boxes. Date (inclusive): ca. 1950-ca. 1985 Language of Materials: Materials are in English. Physical Location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright. Preferred Citation [Identification of item], Stirling Silliphant Papers (Collection Number PASC 134). -
New Releases Watch Jul Series Highlights
SERIES HIGHLIGHTS THE DARK MUSICALS OF ERIC ROHMER’S BOB FOSSE SIX MORAL TALES From 1969-1979, the master choreographer Eric Rohmer made intellectual fi lms on the and dancer Bob Fosse directed three musical canvas of human experience. These are deeply dramas that eschewed the optimism of the felt and considered stories about the lives of Hollywood golden era musicals, fi lms that everyday people, which are captivating in their had deeply infl uenced him. With his own character’s introspection, passion, delusions, feature fi lm work, Fossae embraced a grittier mistakes and grace. His moral tales, a aesthetic, and explore the dark side of artistic collection of fi lms made over a decade between drive and the corrupting power of money the early 1960s and 1970s, elicits one of the and stardom. Fosse’s decidedly grim outlook, most essential human desires, to love and be paired with his brilliance as a director and loved. Bound in myriad other concerns, and choreographer, lent a strange beauty and ultimately, choices, the essential is never so mystery to his marvelous dark musicals. simple. Endlessly infl uential on the fi lmmakers austinfi lm.org austinfi 512.322.0145 78723 TX Austin, Street 51 1901 East This series includes SWEET CHARITY, This series includes SUZANNE’S CAREER, that followed him, Rohmer is a fi lmmaker to CABARET, and ALL THAT JAZZ. THE BAKERY GIRL OF MONCEAU, THE discover and return to over and over again. COLLECTIONEUSE, MY NIGHT AT MAUD’S, CLAIRE’S KNEE, and LOVE IN THE AFTERNOON. CINEMA SÉANCE ESSENTIAL CINEMA: Filmmakers have long recognized that cinema BETTE & JOAN is a doorway to the metaphysical, and that the Though they shared a profession and were immersive nature of the medium can bring us contemporaries, Bette Davis and Joan closer to the spiritual realm. -
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. -
Tape ID Title Language Type System
Tape ID Title Language Type System 1361 10 English 4 PAL 1089D 10 Things I Hate About You (DVD) English 10 DVD 7326D 100 Women (DVD) English 9 DVD KD019 101 Dalmatians (Walt Disney) English 3 PAL 0361sn 101 Dalmatians - Live Action (NTSC) English 6 NTSC 0362sn 101 Dalmatians II (NTSC) English 6 NTSC KD040 101 Dalmations (Live) English 3 PAL KD041 102 Dalmatians English 3 PAL 0665 12 Angry Men English 4 PAL 0044D 12 Angry Men (DVD) English 10 DVD 6826 12 Monkeys (NTSC) English 3 NTSC i031 120 Days Of Sodom - Salo (Not Subtitled) Italian 4 PAL 6016 13 Conversations About One Thing (NTSC) English 1 NTSC 0189DN 13 Going On 30 (DVD 1) English 9 DVD 7080D 13 Going On 30 (DVD) English 9 DVD 0179DN 13 Moons (DVD 1) English 9 DVD 3050D 13th Warrior (DVD) English 10 DVD 6291 13th Warrior (NTSC) English 3 nTSC 5172D 1492 - Conquest Of Paradise (DVD) English 10 DVD 3165D 15 Minutes (DVD) English 10 DVD 6568 15 Minutes (NTSC) English 3 NTSC 7122D 16 Years Of Alcohol (DVD) English 9 DVD 1078 18 Again English 4 Pal 5163a 1900 - Part I English 4 pAL 5163b 1900 - Part II English 4 pAL 1244 1941 English 4 PAL 0072DN 1Love (DVD 1) English 9 DVD 0141DN 2 Days (DVD 1) English 9 DVD 0172sn 2 Days In The Valley (NTSC) English 6 NTSC 3256D 2 Fast 2 Furious (DVD) English 10 DVD 5276D 2 Gs And A Key (DVD) English 4 DVD f085 2 Ou 3 Choses Que Je Sais D Elle (Subtitled) French 4 PAL X059D 20 30 40 (DVD) English 9 DVD 1304 200 Cigarettes English 4 Pal 6474 200 Cigarettes (NTSC) English 3 NTSC 3172D 2001 - A Space Odyssey (DVD) English 10 DVD 3032D 2010 - The Year -
Der Teufel Hat Den Schnaps Gemacht...Um Uns Zu Stärken
Repositorium für die Medienwissenschaft Heinz-Jürgen Köhler Der Teufel hat den Schnaps gemacht...um uns zu stärken. Trinken und Kämpfen in Jackie Chans DRUNKEN MASTER-Filmen 2001 https://doi.org/10.25969/mediarep/110 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Köhler, Heinz-Jürgen: Der Teufel hat den Schnaps gemacht...um uns zu stärken. Trinken und Kämpfen in Jackie Chans DRUNKEN MASTER-Filmen. In: montage AV. Zeitschrift für Theorie und Geschichte audiovisueller Kommunikation, Jg. 10 (2001), Nr. 2, S. 107–114. DOI: https://doi.org/10.25969/mediarep/110. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above. -
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. -
Critical Study on History of International Cinema
Critical Study on History of International Cinema *Dr. B. P. Mahesh Chandra Guru Professor, Department of Studies in Communication and Journalism, University of Mysore, Manasagangotri Karnataka India ** Dr.M.S.Sapna ***M.Prabhudevand **** Mr.M.Dileep Kumar India ABSTRACT The history of film began in the 1820s when the British Royal Society of Surgeons made pioneering efforts. In 1878 Edward Muybridge, an American photographer, did make a series of photographs of a running horse by using a series of cameras with glass plate film and fast exposure. By 1893, Thomas A. Edison‟s assistant, W.K.L.Dickson, developed a camera that made short 35mm films.In 1894, the Limiere brothers developed a device that not only took motion pictures but projected them as well in France. The first use of animation in movies was in 1899, with the production of the short film. The use of different camera speeds also appeared around 1900 in the films of Robert W. Paul and Hepworth.The technique of single frame animation was further developed in 1907 by Edwin S. Porter in the Teddy Bears. D.W. Griffith had the highest standing among American directors in the industry because of creative ventures. The years of the First World War were a complex transitional period for the film industry. By the 1920s, the United States had emerged as a prominent film making country. By the middle of the 19th century a variety of peephole toys and coin machines such as Zoetrope and Mutoscope appeared in arcade parlors throughout United States and Europe. By 1930, the film industry considerably improved its technical resources for reproducing sound. -
Science Fiction Review 30 Geis 1979-03
MARCH-APRIL 1979 NUMBER 30 SCIENCE FICTION REVIEW $1.50 Interviews: JOAN D. VINGE STEPHEN R. DONALDSON NORMAN SPINRAD Orson Scott Card - Charles Platt - Darrell Schweitzer Elton Elliott - Bill Warren SCIENCE FICTION REVIEW Formerly THE ALIEN CRITIC P.O. Be* 11408 MARCH, 1979 — VOL.8, no.2 Portland, OR 97211 WHOLE NUMBER 30 RICHARD E. GEIS, editor & publisher CONFUCIUS SAY MAN WHO PUBLISHES FANZINES ALL LIFE DOOMED TO PUBLISHED BI-MONTHLY SEEK MIMEOGRAPH IN HEAVEN, HEKTO- COVER BY STEPHEN FABIAN JAN., MARCH, MAY, JULY, SEPT., NOV. Based on "Hellhole" by David Gerrold GRAPH IN HELL (To appear in ASIMOV'S SF MAGAZINE) SINGLE COPY — $1.50 ALIEN THOUGHTS by the editor........... 4 PUOTE: (503) 282-0381 INTERVIEW WITH JOAN D. VINGE CONDUCTED BY DARRELL SCHWEITZER....8 LETTERS---------------- THE VIVISECTOR GEORGE WARREN........... A COLUMN BY DARRELL SCHWEITZER. .. .14 JAMES WILSON............. PATRICIA MATTHEWS. POUL ANDERSON........... YOU GOT NO FRIENDS IN THIS WORLD # 2-8-79 ORSON SCOTT CARD.. A REVIEW OF SHORT FICTION LAST-MINUTE NEWS ABOUT GALAXY BY ORSON SCOTT CARD....................................20 NEAL WILGUS................ DAVID GERROLD........... Hank Stine called a moment ago, to THE AWARDS ARE Ca-IING!I! RICHARD BILYEU.... say that he was just back from New York and conferences with the pub BY ORSON SCOTT CARD....................................24 GEORGE H. SCITHERS ARTHUR TOFTE............. lisher. [That explains why his INTERVIEW WITH STEPHEN R. DONALDSON ROBERT BLOCH.............. phone was temporarily disconnected.] The GAIAXY publishing schedule CONDUCTED BY NEAL WILGUS.......................26 JONATHAN BACON.... SAM MOSKOWITZ........... is bi-monthly at the moment, and AND THEN I READ.... DARRELL SCHWEITZER there will be upcoming some special separate anthologies issued in the BOOK REVIEWS BY THE EDITOR..................31 CHARLES PLATT.......... -
Martial Arts Cinema and Hong Kong Modernity
Martial Arts Cinema and Hong Kong Modernity Aesthetics, Representation, Circulation Man-Fung Yip Hong Kong University Press Th e University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2017 Hong Kong University Press ISBN 978-988-8390-71-7 (Hardback) 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 infor- mation storage or retrieval system, without prior permission in writing from the publisher. An earlier version of Chapter 2 “In the Realm of the Senses” was published as “In the Realm of the Senses: Sensory Realism, Speed, and Hong Kong Martial Arts Cinema,” Cinema Journal 53 (4): 76–97. Copyright © 2014 by the University of Texas Press. All rights reserved. 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 Paramount Printing Co., Ltd. in Hong Kong, China Contents Acknowledgments viii Notes on Transliteration x Introduction: Martial Arts Cinema and Hong Kong Modernity 1 1. Body Semiotics 24 2. In the Realm of the Senses 56 3. Myth and Masculinity 85 4. Th e Diffi culty of Diff erence 115 5. Marginal Cinema, Minor Transnationalism 145 Epilogue 186 Filmography 197 Bibliography 203 Index 215 Introduction Martial Arts Cinema and Hong Kong Modernity Made at a time when confi dence was dwindling in Hong Kong due to a battered economy and in the aft ermath of the SARS epidemic outbreak,1 Kung Fu Hustle (Gongfu, 2004), the highly acclaimed action comedy by Stephen Chow, can be seen as an attempt to revitalize the positive energy and tenacious resolve—what is commonly referred to as the “Hong Kong spirit” (Xianggang jingshen)—that has allegedly pro- pelled the city’s amazing socioeconomic growth. -
Martial Arts, Acting and Kung Fu Hero in Change
EnterText 6.1 SABRINA YU Can a Wuxia Star Act? Martial Arts, Acting, and Critical Responses to Jet Li’s Once Upon A Time In China Introduction It has been commonplace in western critical discourse to state that action stars can’t act. This seems particularly true when it comes to trans-bordering Chinese action stars like Jet Li. Criticism of his acting skills in his English-language films can be easily picked up from the press: Without the fight scenes, though, this film (Romeo Must Die) would be a bust… ‘Jet is our special effect,’ says Silver, summing up his star’s appeal neatly.1 Li’s martial arts skills are as brilliant as his acting skills aren’t.2 The action is fun and ultra-violent, the story is satisfactorily ridiculous and the acting is non-existent.3 “Good martial artist with limited acting ability” seems to represent a popular view of Chinese martial arts stars and indeed this is how they are often used in Hollywood films. Nevertheless, such a view also reveals a deep-rooted bias, i.e. the martial arts star is someone who knows less about acting than s/he does about fighting. On the other hand, it reflects a dominant idea about film performance, by privileging facial Sabrina Yu: Can a Wuxia Star Act? 134 EnterText 6.1 expression/psychology over body movement/physicality. Can’t a martial arts star act? Are fighting and acting always two split, conflicting elements within a Chinese wuxia star’s performance? In this paper, I would like to re-examine this stereotypical western critical consensus in the light of the contrasting Hong Kong critical response to Jet Li’s Chinese work Once Upon A Time In China (Tsui Hark, Hong Kong, 1991) (OUATIC hereinafter). -
The Martial Master╎s Mistresses: Forbidden Desires and Futile Nationalism in Jet Li╎s Kung-Fu Films
UCLA Thinking Gender Papers Title The Martial Master’s Mistresses: Forbidden Desires and Futile Nationalism in Jet Li’s Kung-Fu Films Permalink https://escholarship.org/uc/item/6jf832fv Author Meng, Victoria Publication Date 2007-02-01 eScholarship.org Powered by the California Digital Library University of California 1 Title: The Martial Master’s Mistresses: Forbidden Desires and Futile Nationalism in Jet Li’s Kung-Fu Films Author: Victoria Meng, Candidate of Philosophy, Cinema and Media Studies, UCLA Abstract: During his 24 years as a kung-fu film icon, Jet Li has repeatedly portrayed the conventional Chinese martial master: the righteous but reluctant leader who ultimately retreats from the world after redirecting his own desires to support supposedly greater moral claims of master and nation. Too preoccupied by his fights and flights, Li’s characters seem unable to give much thought to the women who love him. This consistent failure for Li to “get the girl”—especially given a series of hyper-feminine heroines who should, by rights, be irresistible—suggests that these popular films enact some trauma or taboo for their local audiences. Indeed, I argue that these heroines, each of whom bears a mixed cultural heritage, personify the impossibility of imagining a unified modern Chinese identity, because the films cannot imagine these heroines as fit candidates to raise “culturally pure” children. Li’s steadfast reincarnation as the martial master, then, represents the contemporary Chinese need to elegize a common cultural past as a compensation for the loss of a common cultural future. This essay thus pays homage to and extends feminist film scholar Gina Marchetti’s groundbreaking Romance and the “Yellow Peril,” in which she describes how Hollywood has used the trope of romance to perform and displace its racial fears and fantasies.