Representation of Females As Victims in Hong Kong Crime Films (2003-2015)
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Wendy Gan Hong Kong University Press the University of Hong Kong Pokfulam Road Hong Kong
Wendy Gan Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2005 Hong Kong University Press ISBN 978-962-209-743-8 All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Pre-Press Limited in Hong Kong, China Contents Series Preface vii Acknowledgments xi 1 Introduction 1 2 Contexts: Independent Filmmaking and Hong Kong 11 Cinema 3 Contexts: Social Realism in Hong Kong Cinema 25 4 The Representation of the Mainland Chinese Woman 43 in Durian Durian 5 Durian Adrift: The Contiguities of Identity in Durian 59 Durian ● vi CONTENTS 6 The Prostitute Trilogy So Far 81 7 Conclusion 91 Notes 97 Filmography 103 Bibliography 107 ●1 Introduction Durian Durian is not the film one immediately thinks of when the name of Hong Kong film director Fruit Chan is brought up. The stunning success, both locally and internationally, of his low-budget debut as an independent director, Made in Hong Kong, has ensured that Chan’s reputation will always be tied to that film. Yet Durian Durian has much to offer the lover of Hong Kong cinema and the admirer of Fruit Chan’s work. A post-1997 film set both in Hong Kong and mainland China, with mainland Chinese protagonists, the film is a fine example of a Hong Kong tradition of socially sensitive realist films focused on the low-caste outsider, and is the result of a maturing director’s attempt to articulate the new, often still contradictory, realities of ‘one country, two systems’ in action. -
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. -
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. -
The Departed Talent: Matt Damon, Leonardo Dicaprio, Jack Nicholson
The Departed Talent: Matt Damon, Leonardo DiCaprio, Jack Nicholson, Mark Wahlberg, Alec Baldwin, Vera Farmiga, Martin Sheen, Ray Winstone. Date of review: Thursday the 12th of October, 2006. Director: Martin Scorsese Classification: MA (15+) Duration: 152 minutes We rate it: Five stars. For any serious cinemagoer or lover of film as an art form, the arrival of a new film by Martin Scorsese is a reason to get very excited indeed. Scorsese has long been regarded as one of the greatest of America’s filmmakers; since the mid-1980s he has been regarded as one of the greatest filmmakers in the world, period. With landmark works like Taxi Driver (1976), Raging Bull (1980), Goodfellas (1990) and Bringing Out the Dead (1999) to his credit, Scorsese is a director for whom any actor will go the distance, and the casts the director manages to assemble for his every project are extraordinarily impressive. As a visualist Scorsese is a force to be reckoned with, and his soundtracks regularly become known as classic creations; his regular collaborators, including editor Thelma Schoonmaker and cinematographer Michael Ballhaus are the best in their respective fields. Paraphrasing all of this, one could justifiably describe Martin Scorsese as one of the most important and interesting directors on the face of the planet. The Departed, Scorsese’s newest film, is on one level a remake of a very successful Hong Kong action thriller from 2002 called Infernal Affairs. That film, written by Felix Chong and directed by Andrew Lau, set the box office on fire in Hong Kong and became a cult hit around the world. -
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. -
Donnie Yen's Kung Fu Persona in Hypermedia
Studies in Media and Communication Vol. 4, No. 2; December 2016 ISSN 2325-8071 E-ISSN 2325-808X Published by Redfame Publishing URL: http://smc.redfame.com Remediating the Star Body: Donnie Yen’s Kung Fu Persona in Hypermedia Dorothy Wai-sim Lau1 113/F, Hong Kong Baptist University Shek Mun Campus, 8 On Muk Street, Shek Mun, Shatin, Hong Kong Correspondence: Dorothy Wai-sim Lau, 13/F, Hong Kong Baptist University Shek Mun Campus, 8 On Muk Street, Shek Mun, Shatin, Hong Kong. Received: September 18, 2016 Accepted: October 7, 2016 Online Published: October 24, 2016 doi:10.11114/smc.v4i2.1943 URL: http://dx.doi.org/10.11114/smc.v4i2.1943 Abstract Latest decades have witnessed the proliferation of digital media in Hong Kong action-based genre films, elevating the graphical display of screen action to new levels. While digital effects are tools to assist the action performance of non-kung fu actors, Dragon Tiger Gate (2006), a comic-turned movie, becomes a case-in-point that it applies digitality to Yen, a celebrated kung fu star who is famed by his genuine martial dexterity. In the framework of remediation, this essay will explore how the digital media intervene of the star construction of Donnie Yen. As Dragon Tiger Gate reveals, technological effects work to refashion and repurpose Yen’s persona by combining digital effects and the kung fu body. While the narrative of pain and injury reveals the attempt of visual immediacy, the hybridized bodily representation evokes awareness more to the act of representing kung fu than to the kung fu itself. -
2015 National Sports and Entertainment History Bee Round 1
2015 National Sports and Entertainment History Bee Round 1 1. In this film, one character is called “almost a guy you can’t hit” after the protagonist orders cranberry juice at a bar. In this film, a misspelling of the word “citizen” on an envelope causes one character’s identity to be revealed. One character in this remake of Infernal Affairs was loosely based on Whitey Bulger, that man was portrayed by Jack Nicholson. For the point, name this 2006 best picture winner directed by Martin Scorsese and starring Matt Damon and Leonardo DiCaprio. ANSWER: The Departed 2. This man was once part of a lopsided trade included relief pitchers Greg Caderay and Eric Plunk. He played for nine different teams between 1979 and 2003, including four stints with his original team, the Oakland Athletics. He holds Major League records for, unintentional walks, most runs scored, and leadoff home runs. For the point, name this outfielder who is best remembered for breaking Lou Brock’s record for the most career stolen bases, appropriately earning him the nickname "The Man of Steal". ANSWER: Rickey Henderson 3. One sequel to this book is entitled Small Steps, and follows Theodore Johnson. A song in this book goes “If only if only the woodpecker cries, the bark on the trees was as soft as the skies” and at one point, the protagonist takes refuge on “God’s thumb.” The protagonist is sent to Camp Green Lake after he is accused of stealing a pair of shoes, and his first name is his last name spelled backwards. -
Bibliothèque François Villon Liste Des Films Classés Par Réalisateur
Bibliothèque François Villon liste des films classés par réalisateur Sommaire Nom des réalisateurs commençant par la lettre : Cliquez sur la lettre pour atteindre la page correspondante A J S B K T C L U D M V E N W F O X - Y G P Z H Q Elaborée au mois de mars 2013, cette liste a une portée indicative. Elle ne peut I R refléter à l’exact notre fonds au moment où vous la consultez, notre fonds étant rythmé par de nouvelles acquisitions ou de dvd retirés pour cause de vétusté ou de vol. A Territoires Abbou, Olivier TER La vierge, les coptes et moi Abdel, Namir messeh VIE L'iceberg Abel, Dominique ICE Rumba Abel, Dominique RUM Garage Abrahamson, Lenny GAR Mission impossible 3 Abrams, J. J. MIS Star Trek Abrams, J.J. STA SUPER 8 Abrams, Jeffrey Jacob SUP Madame Brouette Absa, Moussa Sene MAD Paradise now Abu-Assad, Hany PAR Le hérisson Achache, Mona HER Dernière séance Achard, Laurent DER Le dernier des fous Achard, Laurent DER Numéro 9 Acker, Shane NUM Le monde de Narnia Adamson, Andrew MON Le monde de Narnia Adamson, Andrew MON Shrek Adamson, Andrew SHR Under the skin Adler, Carine UND Bagdad Café Adlon, Percy BAG New York Masala Advani, Nikhil NEW Gone baby gone Affleck, Ben GON The town Affleck, Ben TOW I'm Still Here Affleck, Casey IMS Pédale douce Aghion, Gabriel PED Rencontres Agostini, Philippe REN Entre deux rives Agresti, Alejandro ENT Une nuit avec Sabrina love Agresti, Alejandro NUI Haute tension Aja, Alexandre HAU Mirrors Aja, Alexandre MIR Piranha Aja, Alexandre PIR Golden eighties Akerman, Chantal GOL Jeanne Dielman 23 quai du commerce, 1080 Bruxelles Akerman, Chantal JEA La captive Akerman, Chantal CAP De l'autre côté Akin, Fatih DEL Head-on Akin, Fatih HEA Soul kitchen Akin, Fatih SOU 8th wonderland Alberny, Nicolas EIG La petite Jérusalem Albou, Karin PET Coup d'éclat Alcala, José COU Les maîtres de l'animation russe Aldashin, M. -
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. -
Yeo, Su-Anne. 2016. Transnational Screens and Asia Pacific Public
Yeo, Su-Anne. 2016. Transnational Screens and Asia Pacific Public Cultures: Vancouver, Toronto, and Hong Kong, 1997-2007. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/18872/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] 1 Transnational Screens and Asia Pacific Public Cultures: Vancouver, Toronto, and Hong Kong, 1997-2007 Su-Anne YEO Thesis submitted to Goldsmiths, University of London for the Degree of Doctor of Philosophy July 2016 2 Declaration I declare that the work presented in this thesis is my own. Name: Su-Anne Yeo Signature: __________________________________ Date: __________________________________ 3 Acknowledgements This thesis would not have been possible with the generosity of several organizations and many individuals both in the UK and overseas. First, I would like to acknowledge the contribution of the many people who agreed to participate in this study by being interviewed or by sharing archival materials. Their assistance has been invaluable. For financial support, I thank the Overseas Research Student Award (ORSAS), the University of London Central Research Fund, and the Daiwa Charitable Foundation of Hong Kong. I am forever indebted to my thesis supervisor, Chris Berry, who taught by example, read closely and critically, and never lost faith in my abilities, especially when I doubted myself. -
WIC Template
1 Talking Point 6 Week in 60 Seconds 7 M&A Week in China 8 Auto Industry 9 Property 11 Healthcare 13 China Consumer 14 China and the World 20 June 2014 18 Society and Culture Issue 242 21 And Finally www.weekinchina.com 22 The Back Page The call of Thailand m o c . n i e t s p e a t i n e b . w w w As China Mobile seals Thai investment, many judge CP Group’s Dhanin Chearavanont the best-connected overseas businessman in China Brought to you by Week in China Talking Point 20 June 2014 Upwardly mobile Another China deal for Thailand’s influential CP Group All the tea in China: billionaire Dhanin Chearavanont pictured at a Sino-Thai business summit any businessmen lay claim venture in Shenzhen’s special eco - Being first brought advantages. Mto being the first to invest in nomic zone. By 1982 he would also “Because we were the only one in - China after it reopened its door to get the “No. 001” licences in Zhuhai vesting in the country, the govern - foreign investment in the late and Shantou too. ment gave us full support. They 1970s. Dhanin’s agribusiness grew wanted to make sure we were suc - But Thailand’s richest tycoon quickly , enjoying a virtual monop - cessful,” Dhanin told China Eco - Dhanin Chearavanont probably has oly at the time. (His local rival New nomic Weekly in an interview three one of the most convincing cases. Hope was a cash-strapped startup in years ago. The magazine had ranked In 1979 Dhanin’s Charoen Pokp - 1982.) By 2012, CP had built more the ethnic Chinese tycoon as hand, or CP Group, teamed up with than 100 feed mills in China, cover - China’s fourth most important P h o t o US-based Continental Grain Group ing all but two provinces. -
Programma Presentazione
SCORDATEVI I POPCORN. AL CINEMA È TEMPO DI DRAGHI. FIRENZE 26/29 MAGGIO 2014 Cinema Odeon, piazza Strozzi PROGRAMMA PRESENTAZIONE + INFO local conductor Perry So - Talented Prima edizione del Dragon Film Festival, un nuovo progetto nato dall'esperienza dell'Hong Kong Film Panorama a cui da quest'anno si aggiunge una selezione di film dello Shanghai International Film Festival, due tra i più importanti appuntamenti cinematografici dell'estremo oriente. Un tuffo nel meglio della cinematografia contemporanea da Hong Kong e Shanghai per chiudere e completare la ricca offerta della Primavera di Cinema Orientale 2014. IL CINEMA DI HONG KONG Grazie alla collaborazione con l'Hong Kong Economic and Trade Office di Brusselles torna anche quest'anno la sezione dedicata al cinema di Hong Kong che inaugura il festival con l'anteprima italiana di “Cold War” di Logman Leung e Sunnt Luk, thriller mozzafiato ambientato in una Hong Kong futuristica. I registi scelgono di non lasciare la loro patria e, anzi, di raccontare glorie e misfatti dei loro connazionali spezzando una tradizione che spostava all’estero le location delle storie narrate. Non mancherà poi uno sguardo al cinema indipendente. Sempre da Hong Kong arriva il dramma “A Fig” di Vincent Chui, regista molto attento ai temi del dolore e della perdita, vincitore nel 2008 di un Hong Kong Film Awards e “Love me not”, opera prima di Gilitte Leung, successo del cinema di genere con oltre 13 partecipazioni ai festival internazionali solo nel 2012. Un film omaggio all'industria musicale di Hong Kong arriva con “Diva”, ultimo lavoro della trentenne Heiward Mak, una delle figure più eclettiche ed interessanti del panorama cinematografico Hongkonghese, ma anche “The Way we Dance” di Adam Wong sul mondo della danza contemporanea, presentato al 37° Hong Kong International Film Festival.