Full Schedule Booklet
Total Page：16
File Type：pdf, Size：1020Kb
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. -
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. -
43E Festival International Du Film De La Rochelle Du 26 Juin Au 5 Juillet 2015 Le Puzzle Des Cinémas Du Monde
43e Festival International du Film de La Rochelle du 26 juin au 5 juillet 2015 LE PUZZLE DES CINÉMAS DU MONDE Une fois de plus nous revient l’impossible tâche de synthétiser une édition multiforme, tant par le nombre de films présentés que par les contextes dans lesquels ils ont été conçus. Nous ne pouvons nous résoudre à en sélectionner beaucoup moins, ce n’est pas faute d’essayer, et de toutes manières, un contexte économique plutôt inquiétant nous y contraint ; mais qu’une ou plusieurs pièces essentielles viennent à manquer au puzzle mental dont nous tentons, à l’année, de joindre les pièces irrégulières, et le Festival nous paraîtrait bancal. Finalement, ce qui rassemble tous ces films, qu’ils soient encore matériels ou virtuels (50/50), c’est nous, sélectionneuses au long cours. Nous souhaitons proposer aux spectateurs un panorama généreux de la chose filmique, cohérent, harmonieux, digne, sincère, quoique, la sincérité… Ambitieux aussi car nous aimons plus que tout les cinéastes qui prennent des risques et notre devise secrète pourrait bien être : mieux vaut un bon film raté qu’un mauvais film réussi. Et enfin, il nous plaît que les films se parlent, se rencontrent, s’éclairent les uns les autres et entrent en résonance dans l’esprit du festivalier. En 2015, nous avons procédé à un rééquilibrage géographique vers l’Asie, absente depuis plusieurs éditions de la programmation. Tout d’abord, avec le grand Hou Hsiao-hsien qui en est un digne représentant puisqu’il a tourné non seulement à Taïwan, son île natale mais aussi au Japon, à Hongkong et en Chine. -
BIBLIOTECA DEL CAREI II.Indd
MT LIBROS, PELÍCULAS, DISCOS, EXPOSICIONES...DEL C.A.R.E.I. CENTRO ARAGONÉS DE RECURSOS PARA LA EDUCACIÓN INTERCULTURAL 1. Para conocernos y aprender a convivir 7 Materiales audiovisuales 7 Materiales visuales 7 Literatura infantil y juvenil 8 Literatura popular 8 Lecturas interculturales 9 Primaria 9 PARA LA Secundaria 10 PARA LEER EN 2. Para hacer: materiales con aplicaciones didácticas 11 LENGUAS ENSEÑANZA Y Fenómeno migratorio 11 Prejuicios 11 Educación en valores 11 DE APRENDIZAJE DE Conocimientos de otras culturas 12 Guías de juegos 12 NOVIEMBRE 2006 DEPÓSITO LEGAL: HU‐ 379/06 ESPAÑOL 3. Páginas web para trabajar la interculturalidad ORIGEN en el aula 12 Información general sobre países 12 Mapas 13 Lenguas del mundo 13 Religiones 13 Loher Publicidad : Fiestas 13 Gastronomía 13 Grandes obras y personajes 15 Gentes y costumbres 13 Música 13 El Principito, de Saint-Exupéry 15 Autoformación 4 Cuentos 13 El Quijote, en distintas lenguas 15 Canciones y juegos para niños 13 Colección de TinTin 16 Métodos para la enseñanza del Educación para la paz y la convivencia 13 IMPRESIÓN Y MAQUETACIÓN Colección de Asterix 16 español ELE/ L2 4 Materiales para la enseñanza del español 14 Colección de Lucky Luck 16 Mila 16 Primaria 4 El Código da Vinci 16 Secundaria 5 Los pilares de la Tierra 16 La sombra del viento 16 Materiales complementarios 5 PARA Lenguas de orígen 16 50010 ZARAGOZA 50010 ZARAGOZA Primaria 5 Secundaria 5 TRABAJAR LA GOBIERNO DE ARAGÓN. DEPARTAMENTO DE EDUCACIÓN, CULTURA Y DEPORTE. CAREI: San Antonio Abad, 38, Antonio CAREI: San DEPORTE. Y DE EDUCACIÓN, CULTURA ARAGÓN. -
Written & Directed by and Starring Stephen Chow
CJ7 Written & Directed by and Starring Stephen Chow East Coast Publicity West Coast Publicity Distributor IHOP Public Relations Block Korenbrot PR Sony Pictures Classics Jeff Hill Melody Korenbrot Carmelo Pirrone Jessica Uzzan Judy Chang Leila Guenancia 853 7th Ave, 3C 110 S. Fairfax Ave, #310 550 Madison Ave New York, NY 10019 Los Angeles, CA 90036 New York, NY 10022 212-265-4373 tel 323-634-7001 tel 212-833-8833 tel 212-247-2948 fax 323-634-7030 fax 212-833-8844 fax 1 Short Synopsis: From Stephen Chow, the director and star of Kung Fu Hustle, comes CJ7, a new comedy featuring Chow’s trademark slapstick antics. Ti (Stephen Chow) is a poor father who works all day, everyday at a construction site to make sure his son Dicky Chow (Xu Jian) can attend an elite private school. Despite his father’s good intentions to give his son the opportunities he never had, Dicky, with his dirty and tattered clothes and none of the “cool” toys stands out from his schoolmates like a sore thumb. Ti can’t afford to buy Dicky any expensive toys and goes to the best place he knows to get new stuff for Dicky – the junk yard! While out “shopping” for a new toy for his son, Ti finds a mysterious orb and brings it home for Dicky to play with. To his surprise and disbelief, the orb reveals itself to Dicky as a bizarre “pet” with extraordinary powers. Armed with his “CJ7” Dicky seizes this chance to overcome his poor background and shabby clothes and impress his fellow schoolmates for the first time in his life. -
Aspects of Chinese Cinema Today
Aspects of Chinese Cinema Today By Toh, Hai Leong Spring 1997 Issue of KINEMA 1. THE TAIWANESE ANTONIONI: TSAI MING-LIANG’S DISPLACEMENT OF LOVE IN AN URBAN ENVIRONMENT NO, Tsai Ming-liang is not in fact Taiwanese. The bespectacled 40-year-old bachelor was born in Kuching, Sarawak (East Malaysia) and only came to Taiwan for a college education. After graduating with a degree in drama and film in Taiwan’s University, he settled there and impressed critics with several experimental plays and television movies such as Give Me A Home (1988), The Happy Weaver(1989), My Name is Mary (1990), Ah Hsiung’s First Love(1990). He made a brilliant film debut in 1992 with Rebels Of The Neon God and his film Vive l’amour shared Venice’s Golden Lion for Best Film with Milcho Manchevski’s Before The Rain (1994). Rebels of the Neon God, a film about aimless and nihilistic Taipei youths, won numerous awards abroad: Among them, the Best Film award at the Festival International Cinema Giovani (1993), Best Film of New Director Award of Torino Film Festival (1993), the Best Music Award, Grand Prize and Best Director Awards of Taiwan Golden Horse Festival (1992), the Best Film of Chinese Film Festival (1992), a bronze award at the Tokyo International Film Festival in 1993 and the Best Director Award and Leading Actor Award at the Nantes Festival des Trois Continents in 1994.(1) For the sake of simplicity, he will be referred to as ”Taiwanese”, since he has made Taipei, (Taiwan) his home. In fact, he is considered to be among the second generation of New Wave filmmakers in Taiwan. -
Bart Testa on Boat People Filmography 1 the Higher Learning
Bart Testa on Boat People Filmography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. Films mentioned or discussed during the event A Simple Life (Tao jie). Dir. Ann Hui, 2012, Hong Kong. 118 mins. Production Co.: Bona International Film Group/Focus Films/Sil-Metropole Organization. Boy from Vietnam. Dir. Ann Hui, 1978, Hong Kong. Runtime unknown. Production Co.: unknown. Boat People (Tau ban no hoi). Dir. Ann Hui, 1982, Hong Kong. 109 mins. Production Co.: Bluebird Movie Enterprises Ltd. Song of the Exile (Ke tu qiu hen). Dir. Ann Hui, 1990, Hong Kong, 100 mins. Production Co.: Cos Group. The Story of Woo Viet (Woo Yuet dik goo si). Dir. Ann Hui, 1981, Hong Kong. 90 mins. Production Co.: Pearl City Films. The Secret (Fung gip). Dir. Ann Hui, 1979, Hong Kong. 85 mins. Production Co.: Unique. The Spooky Bunch (Zhuang dao zheng). Dir. Ann Hui, 1980, Hong Kong. 97 mins. Production Co.: Hi- Pitch Productions. The Way We Are (Tin shui wai dik yat yu ye). Dir. Ann Hui, 2008, Hong Kong. 90 mins. Production Co.: Class Limited / Mega-Vision Pictures. -
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 -
The TV Films of Ann Hui & Yim Ho the Film Confucius
Seminars e-wave: The TV Films of Ann Hui & Yim Ho Left photo: (From left) Ann Hui, Yim Ho and Law Kar remembering the days when they made TV films for TVB. Middle photo: (From left) Scholars and critics Lo Wai-luk, Shu Kei and Ben Wong examining from various angles Ann Hui and Yim Ho’s TV films and cinematic output. Right photo: (From left) Filmmakers Lau Shing-hon, Alex Cheung, Chan Man-keung and Yim Ho gathered to talk about TV films based on real-life events. The film Confucius (1940) was lost for over six decades and not until recently did it again see the light of day. Even in that distant era, director Fei Mu was already recognised as one of the pioneers of filmmaking. He actively experimented with cinematic expressiveness, the interaction between history and drama, and other technical aspects of movie making. As well, he never forgot a traditional intellectual’s moral responsibility or to uphold the conscience of art. During the ‘Orphan Island’ period, when society embraced a debauched atmosphere of luxury and dissipated living, Fei Mu devoted a considerable amount of effort shooting the epic Confucius, a work in which he painstakingly utilised the didactic function of art to caution the public. The ideals, vision and sentiment of this progenitor were similarly embodied by quite a few Hong Kong New Wave filmmakers. Mr Law Kar paid tribute to these filmmakers by curating a special programme entitled ‘e-wave’ for Hong Kong Film Archive. After last year’s programming of Patrick Tam’s TV films, he followed up with a retrospect of Ann Hui and Yim Ho’s TV films this past February and March. -
Imports Get to the Core of Local Tastes US, Taiwanese and Even Indian Titles Overshadowed Hong Kong Fare at Its Home Box Office in 2011
FEATURE You Are The Apple Of My Eye: biggest ever Chinese-language release in Hong Kong Imports get to the core of local tastes US, Taiwanese and even Indian titles overshadowed Hong Kong fare at its home box office in 2011. Liz Shackleton reports on a territory looking abroad for its next blockbuster he big surprise at the Hong Kong box offi ce end of April, A Simple Life had grossed $3.57m in in the number of releases from 286 in 2010 to 276 over the past year has been the success of Tai- Hong Kong, while Love In The Buff, which follows last year. Twanese romantic comedy You Are The Apple a Hong Kong couple in Beijing, had grossed Hong Kong movies had only a 20.2% market Of My Eye, which grossed nearly $8m at the end of $3.6m. share in 2011 compared to 22.6% in 2010. Local 2011 to become the biggest ever Chinese-language But on the whole, Hollywood fi lms, particularly producers are making fewer fi lms specifi cally for release in Hong Kong. effects-laden 3D spectaculars, continued to rule the the local market and Hong Kong audiences tend to A huge hit in Taiwan, where it was also released roost in Hong Kong — Apple ranked third in the reject the bigger budget Hong Kong-China co- by Fox, the fi lm fl ourished on word-of-mouth and 2011 top 10 behind the latest instalments in the productions, which make most of their returns on repeat viewings. Based on the director’s own expe- Transformers and Harry Potter series. -
Far East Film Festival 20
Far East Film Festival 20 Boel Ulfsdotter and Mats Björkin After running successfully for twenty years, the Far East Film Festival (FEFF) in Udine, Italy, has become established as the most important overseas festival devoted to East Asian popular cinema. The Hong Kong Film Festival remains one of its main sources ever since the Centro Espressioni Cinematografiche of Udine began to display an interest in East Asian cinema by organising its first programme of Hong Kong films in 1998. Another key source of inspiration for FEFF is the Busan Film Festival in South Korea, from which FEFF takes both recently released and restored popular films. Having experienced almost all editions of FEFF during the past two decades, we have been able to observe that the festival has been motivated by a strong wish to grow its Western audience’s knowledge of East Asian cinema. For many years it has screened a number of historical films accompanied by scholarly and critical publications which today are considered important resources for those interested in the cinema from this region. As regular members of its audience we have been fortunate to have had the opportunity to see numerous rare films; among the most memorable series were the Hong Kong Stories: The TV Works of Ann Hui (2009); Asia Sings (2006), on the modern East Asian musical genre; Asia Laughs (2011), on East Asian comedies; No Borders, No Limits: The World of Nikkatsu Action (2005); and Nudes! Guns! Ghosts! – The Sensational World of Shintoho (2010). In terms of film productions released within the previous eighteen months, and thus eligible for screening in competition in Udine, the festival has remained focused on a number of areas, namely the performance of the South Korean film industry, the rapid expansion of China’s mainland market, developments in Taiwan and the transformation of the Hong Kong film industry. -
Hong Kong 1995
Hong Kong 1995 By Limin Teh and Toh Hai Leong Fall 1995 Issue of KINEMA SINCE 1985 THE HONG KONG INTERNATIONAL FILM FESTIVAL (HKIFF) has been the guardian of Asian cinema. Apart from screening an eclectic range of Asian and international films, it regularly runs comprehensive retrospectives which highlight both prominent and little-known Asian directors in events such as the thematic ”Hong Kong Cinema Retrospective.” In celebrating the Centenary of Cinema this year, the 19th HKIFF focused its attention on archival motion pictures collectively titled ”Early Images of Hong Kong and China.” An exhibition of the same theme was held concurrently at the City Hall. Among the most striking of the nearly 126 films from 44 countries exhibited in the Colony’s bustling art cinemas were engaging movies that featured peculiar familial clans, haunted loners and bizarre relationships. The intensive 16-day affair (7th to 22nd April) opened with Jiang Wen’s rites-of-passage film, In the Heat of the Sun. In his introductory speech, the acclaimed Mainland Chinese actor-turned-director (he was the leading actor in Red Sorghum) proclaimed his loyalty to his ”new-found mistress, the cinema, which he cannot afford to abandon now that he has turned filmmaker” with self-detractory charm. It was ashockto discover that his debut had been banned in both his homeland and in Taiwan. Brilliantly directed, Jiang’s bold tracking camera and nostalgic voice-over create cinematic magic as he fondly recollects the wild days of his Beijing youth during the Cultural Revolution. The film certainly is far from the dictates of a ”socialist film” in its refreshing story of five miscreants who spend their days playing pranks, gangland fighting, skirt-chasing and mayhem-making.