DOCSLIB.ORG

Bibliography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bibliography BIBLIOGRAPHY Abbas, Ackbar, Hong Kong: Culture and the Politics of Disappearance (Hong Kong: Hong Kong University Press, 1997). ———, “(H)edge City: A Response to ‘Becoming (Postcolonial) Hong Kong’,” Cultural Studies, Vol. 15, No. 3/4, July/October 2001. Adams, Parveen, “Representation and Sexuality,” in The Woman in Question, eds. Parveen Adams and Elizabeth Cowie (Cambridge, MA: MIT Press, 1990). Adams, Parveen, and Minson, Jeff, “The ‘Subject’ of Feminism,” in The Woman in Question, eds. Parveen Adams and Elizabeth Cowie (Cambridge, MA: MIT Press, 1990). Ahmed, Sara, “Phantasies of Becoming (the Other),” European Journal of Cultural Studies, Vol. 2, No. 1, 1999. Alcoff, Linda, and Potter, Elizabeth, eds., Feminist Epistemologies (New York and London: Routledge, 1993). Allen, Richard, “Cinema, Psychoanalysis, and the Film Spectator,” Persistence of Vision, Vol. 10, 1993. ———, “Representation, Illusion and the Cinema,” Cinema Journal, Vol. 32, No. 2, Winter 1993. Althusser, Louis, Lenin and Philosophy and Other Essays, trans. Ben Brewster (London: New Left Books, 1971). Altman, Rick, “A Semantic/Syntactic Approach to Film Genre,” in Film Genre Reader, ed. Barry Keith Grant (Austin, TX: University of Texas Press, 1986). ———, “Reusable Packaging: Generic Products and the Recycling Process,” in Refguring American Film Genre, ed. Nick Browne (Berkeley, Los Angeles, and London: University of California Press, 1998). ———, Film/Genre (London: British Film Institute, 1999). © The Editor(s) (if applicable) and The Author(s), under exclusive 193 license to Springer Nature Switzerland AG 2019 K. E. E. Chan, Hong Kong Dark Cinema, East Asian Popular Culture, https://doi.org/10.1007/978-3-030-28293-6 194 BIBLIOGRAPHY Anderson, Benedict, Imagined Communities: Refections on the Origin and Spread of Nationalism (London and New York: Verso, 1991). Andrew, Dudley, Concepts in Film Theory (New York: Oxford University Press, 1984). Ang, Ien, “Can One Say No to Chineseness? Pushing the Limits of the Diasporic Paradigm,” Boundary 2, Fall 1998. Appel, Alfred Jr., “Fritz Lang’s American Nightmare,” Film Comment, Vol. 10, No. 6, November–December 1974. Appiah, Anthony, “Deconstruction and the Philosophy of Language,” Diacritics, Spring 1986. Arnwine, Clark, and Lerner, Jesse, “Cityscape: Introduction,” Wide Angle, Vol. 19, No. 4, 1997. Ashby, Justine, and Higson, Andrew, British Cinema: Past and Present (London and New York: Routledge, 2000). Ashcroft, Bill, Griffths, Gareth, and Tiffn, Helen, The Post-colonial Studies Reader (London and New York: Routledge, 1995). Astbury, Katherine, “National Identity and Politicisation in Fiction Up to the Revolution: The Example of the Moral Tale,” Literature and History, third series, Vol. 10, No. 1, 2001. Auslander, Leora, “Do Women’s+Feminist+Men’s+Lesbian and Gay+Queer Studies Gender Studies,” Differences, Vol. 9, No. 3, 1997. = Bade, Patrick, Femme Fatale: Images of Evil and Fascinating Women (New York: Mayfower Books, 1979). Balibar, Etienne, “The Nation Form: History and Ideology,” in Race, Nation, Class: Ambiguous Identities, eds. Etienne Balibar and Immanuel Wallerstein (London: Verso, 1991). Bargainnier, Earl F., “Melodrama as Formula,” Journal of Popular Culture, Vol. 9, 1975. Barilier, Etienne, and Volk, Carol, “A Culture or a Nation?” Literary Review, Vol. 36, No. 4, Summer 1993. Barth, Daniel, “Faulkner and Film Noir,” Bright Lights: Film Journal, No. 12, 1994. Barthes, Roland, Mythologies, trans. Annette Lavers (New York: Noonday Press, 1972). ———, S/Z, trans. Richard Miller (New York: Hill & Wang, 1974). ———, “An Introduction to the Structural Analysis of Narrative,” New Literary History, Vol. 6, No. 2, Winter 1975. ———, Camera Lucida, trans. Richard Howard (London: Fontana Paperbacks, 1984). ———, Image, Music, Text (New York: Noonday Press, 1988). ———, The Pleasure of the Text, trans. Richard Miller (New York: Noonday Press, 1989). BIBLIOGRAPHY 195 ———, New Critical Essays, trans. Richard Howard (Berkeley and Los Angeles: University of California Press, 1990). Bass, David, “Insiders and Outsiders: Latent Urban Thinking in Movies of Modern Rome,” in Cinema and Architecture, eds. Francois Penz and Maureen Thomas (London: BFI, 1997). Bateman, Anthony, and Holmes, Jeremy, Introduction to Psychoanalysis: Contemporary Theory and Practice (London and New York: Routledge, 1995). Baudry, Jean-Louis, “Ideological Effects of the Basic Cinematographic Apparatus,” in Narrative, Apparatus, Ideology, ed. Philip Rosen (New York: Columbia University Press, 1986). ———, “The Apparatus: Metapsychological Approaches to the Impression of Reality in the Cinema,” in Narrative, Apparatus, Ideology, ed. Philip Rosen (New York: Columbia University Press, 1986). Bauman, Zygmunt, Legislators and Interpreters: On Modernity, Postmodernity and Intellectuals (New York and London: Polity Press, 1989). Beebee, Thomas O., The Ideology of Genre: A Comparative Study of Generic Instability (University Park, PA: Pennsylvania State University Press, 1994). Bell, Daniel, The Cultural Contradictions of Capitalism (New York, NY: Basic Books, 1978). Belsey, Catherine, Critical Practice (London and New York: Methuen, 1980). Belton, John, American Cinema/American Culture (New York and London: McGraw-Hill, 1994). ———, “Film Noir’s Knights of the Road,” Bright Lights: Film Journal, Vol. 12, 1994. Bennett, Tony, Outside Literature (London and New York: Routledge, 1990). Berger, Arthur Asa, Popular Culture Genres: Theories and Texts (Newbury Park, London, and New Delhi: Sage, 1992). Berry, Chris, “Chinese Urban Cinema: Hyper-Realism Versus Absurdism,” East West Film Journal, Vol. 3, No. 1, December 1988. ———, “Sexual Difference and the Viewing Subject in Li Shuangshuang and the In-Laws,” in Perspectives on Chinese Cinema, ed. Chris Berry (London: BFI, 1991). ———, “A Nation T(w/o)o: Chinese Cinema(s) and Nationhood(s),” East-West Film Journal, Vol. 7, No. 1, January 1993. ———, “Neither One Thing Nor Another: Toward a Study of the Viewing Subject and Chinese Cinema in the 1980s,” in New Chinese Cinemas: Forms, Identities, Politics, eds. Nick Browne, Paul Pickowicz, Vivian Sobchack, and Esther Yau (New York and Melbourne: Cambridge University Press, 1994). ———, “If China Can Say No, Can China Make Movies? Or, Do Movies Make China? Rethinking National Cinema and National Agency,” Boundary 2, Vol. 25, No. 3, 1998. 196 BIBLIOGRAPHY ———, “Happy Alone? Sad Young Men in East Asian Gay Cinema,” Journal of Homosexulaity, Vol. 39, No. 3/4, 2000. ———, “Where Do We Put the National in Transnational Chinese Cinemas? From National Cinemas to Cinema and the National,” a paper presented at The Second International Conference on Chinese Cinema entitled Year 2000 and Beyond: History, Technology and Future of Transnational Chinese Film and TV, organized by the Department of Cinema and Television of Hong Kong Baptist University, March 2000. ———, ed., Chinese Films in Focus: 25 New Takes (London: British Film Institute, 2003). Bettinson, Gary, Sensuous Cinema of Wong Kar-Wai: Film Poetics and the Aesthetic of Disturbance (Hong Kong University Press: 2015). Bhabha, Homi K., “The Third Space: Interview with Home Bhabha,” in Identity: Community, Culture, Difference, ed. Jonathan Rutherford (London: Lawrence & Wishart, 1990). ———, “The Other Question: The Stereotype and Colonial Discourse,” in The Sexual Subject: A Screen Reader in Sexuality (London and New York: Routledge, 1992). Birch, Helen, ed., Moving Targets: Women, Murder and Representation (Berkeley and Los Angeles: University of California Press: 1994). Blaser, John, “No Place for a Woman: The Family in Film Noir,” posted and updated on January 1996 and April 1999 respectively. Retrievable on http:// www.lib.berkeley.edu/MRC/noir/np01intr.html. Boozer, Jack, “Seduction and Betrayal in the Heartland: Thelma and Louise,” Literature Film Quarterly, Vol. 23, No. 3, 1995. Borde, Raymond, and Chaumeton, Etienne, “Towards a Defnition of Film Noir,” in Film Noir Reader, eds. Alain Silver and James Ursini (New York: Limelight Editions, 1999). Bordwell, David, “Richness Through Imperfection: King Hu and the Glimpse,” in Transcending the Times: King Hu & Eileen Chang, The 22nd Hong Kong International Film Festival, eds. Kar Law and Stephen Teo (Hong Kong: The Provisional Urban Council of Hong Kong, 1998). ———, Film Art: An Introduction (New York: McGraw Hill, 2001). Bordwell, David, Staiger, Janet, and Thompson, Kristin, The Classical Hollywood Cinema: Film Style and Mode of Production to 1960 (London: Routledge, 1985). ———, Making Meaning: Inference and Rhetoric in the Interpretation of Cinema (Cambridge, MA and London: Harvard University Press, 1989). ———, Narration in the Fiction Film (New York: Routledge, 1995). ———, “Transcultural Spaces: Chinese Cinema as World Film,” a paper pre- sented at The Second International Conference on Chinese Cinema enti- tled Year 2000 and Beyond: History, Technology and Future of Transnational BIBLIOGRAPHY 197 Chinese Film and TV, organized by the Department of Cinema and Television of Hong Kong Baptist University, March 2000. ———, Planet Hong Kong: Popular Cinema and the Art of Entertainment (Cambridge, MA and London: Harvard University Press, 2000). ———, Poetics of Cinema (New York: Routledge, 2008). Bowen, Peter, “Time of Your Life: Wong Kar-Wai’s Chung King Express,” Filmmaker, Winter 1996. Branigan, Edward, Narrative Comprehension and Film (London and New York: Routledge, 1992). Bronfen, Elisabeth, “Femme Fatale—Negotiations of Tragic Desire,” New Literary History, Vol. 35,
Load more

Recommended publications
  • The New Hong Kong Cinema and the "Déjà Disparu" Author(S): Ackbar Abbas Source: Discourse, Vol
    The New Hong Kong Cinema and the "Déjà Disparu" Author(s): Ackbar Abbas Source: Discourse, Vol. 16, No. 3 (Spring 1994), pp. 65-77 Published by: Wayne State University Press Stable URL: http://www.jstor.org/stable/41389334 Accessed: 22-12-2015 11:50 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Wayne State University Press is collaborating with JSTOR to digitize, preserve and extend access to Discourse. http://www.jstor.org This content downloaded from 142.157.160.248 on Tue, 22 Dec 2015 11:50:37 UTC All use subject to JSTOR Terms and Conditions The New Hong Kong Cinema and the Déjà Disparu Ackbar Abbas I For about a decade now, it has become increasinglyapparent that a new Hong Kong cinema has been emerging.It is both a popular cinema and a cinema of auteurs,with directors like Ann Hui, Tsui Hark, Allen Fong, John Woo, Stanley Kwan, and Wong Rar-wei gaining not only local acclaim but a certain measure of interna- tional recognitionas well in the formof awards at international filmfestivals. The emergence of this new cinema can be roughly dated; twodates are significant,though in verydifferent ways.
    [Show full text]
  • A Brief Analysis of China's Contemporary Swordsmen Film
    ISSN 1923-0176 [Print] Studies in Sociology of Science ISSN 1923-0184 [Online] Vol. 5, No. 4, 2014, pp. 140-143 www.cscanada.net DOI: 10.3968/5991 www.cscanada.org A Brief Analysis of China’s Contemporary Swordsmen Film ZHU Taoran[a],* ; LIU Fan[b] [a]Postgraduate, College of Arts, Southwest University, Chongqing, effects and packaging have made today’s swordsmen China. films directed by the well-known directors enjoy more [b]Associate Professor, College of Arts, Southwest University, Chongqing, China. personalized and unique styles. The concept and type of *Corresponding author. “Swordsmen” begin to be deconstructed and restructured, and the swordsmen films directed in the modern times Received 24 August 2014; accepted 10 November 2014 give us a wide variety of possibilities and ways out. No Published online 26 November 2014 matter what way does the directors use to interpret the swordsmen film in their hearts, it injects passion and Abstract vitality to China’s swordsmen film. “Chivalry, Military force, and Emotion” are not the only symbols of the traditional swordsmen film, and heroes are not omnipotent and perfect persons any more. The current 1. TSUI HARK’S IMAGINARY Chinese swordsmen film could best showcase this point, and is undergoing criticism and deconstruction. We can SWORDSMEN FILM see that a large number of Chinese directors such as Tsui Tsui Hark is a director who advocates whimsy thoughts Hark, Peter Chan, Xu Haofeng , and Wong Kar-Wai began and ridiculous ideas. He is always engaged in studying to re-examine the aesthetics and culture of swordsmen new film technology, indulging in creating new images and film after the wave of “historic costume blockbuster” in new forms of film, and continuing to provide audiences the mainland China.
    [Show full text]
  • 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.
    [Show full text]
  • Narrative Space in the Cinema of King Hu 127
    interstate laws directed against the telegraph, the telephone, and the railway, see Questions of Chinese Aesthetics: Film Form and Ferguson and McHenry, American Federal Government, 364, and Harrison, "'Weak- ened Spring,'" 70. Narrative Space in the Cinema of King Hu 127. Mosse, Nationalism and Sexuality. by Hector Rodnguez 128. Goldberg, Racist Culture. Much of the concern over the Johnson fight films was directed at the effects they would have on race relations (e.g., the possibility of black people becoming filled with "race pride" at the sight ofjohnson's victories). This imperialistic notion of reform effectively positioned black audiences as need- In memory of King Hu (1931-1997) ing moral direction. 129. Orrin Cocks, "Motion Pictures," Studies in Social Christianity (March 1916): 34. The concept of Chinese aesthetics, when carefully defined and circumscribed, illu- minates the relationship between narrative space and cultural tradition in the films of King Hu. Chinese aesthetics is largely based on three ethical concerns that muy be termed nonattachment, antirationalism, and perspectivism. This essay addresses the representation of "Chineseness" in the films of King Hu, a director based in Hong Kong and Taiwan whose cinema draws on themes and norms derived from Chinese painting, theater, and literature. Critical discussions of his work have often addressed the question of the ability of the cinema, a for- eign medium rooted in a mechanical age, to express the salient traits of Chinas longstanding artistic traditions. At stake is the relationship between film form and the national culture, embodied in the concept of a Chinese aesthetic. Film scholars tend to define the main features of Chinese aesthetics selec- lively, emphasizing a few stylistic norms out of a broad repertoire of available his- tones and traditions, and the main criterion for this selection is the sharp difference between those norms and the presumed realism of European art before modern- ism.
    [Show full text]
  • Feff Press Kit
    PRESS RELEASES, FILM STILLS & FESTIVAL PICS AND VIDEOS TO DOWNLOAD FROM WWW.FAREASTFILM.COM PRESS AREA Press Office/Far East Film Festival 19 Gianmatteo Pellizzari & Ippolita Nigris Cosattini +39/0432/299545 - +39/347/0950890 [email protected] - [email protected] Video Press Office Matteo Buriani +39/345/1821517 – [email protected] 21/29 April 2017 – Udine – Teatro Nuovo and Visionario FAR EAST FILM FESTIVAL 19: THE POWER OF ASIA! The irresistible road movie Survival Family opens the #FEFF19 on Friday the 21 st of April: a packed programme which testifies to the incredible vitality (both productive and creative) of Asian cinema. 83 titles selected from almost a thousand seen, and 4 world premiers, including Herman Yau's high-octane thriller Shock Wave , which will close the nineteenth edition. Press release of the 13 th of April 2017 For immediate release UDINE - Who turned out the lights? Nobody did, and the fuses haven't blown. And no, it's not even a power cut. Electricity has just suddenly ceased to exist, so the Suzuki family must now very quickly learn the art of survival: and facing a global blackout is not exactly a walk in the park! It's with the world screeching to a halt of the irresistible Japanese road movie Survival Family that the highly anticipated Far East Film Festival 19 opens: not just because Yaguchi Shinobu' s wonderful comedy is the festival's starting pistol on Friday the 21 st of April, but also for a question of symmetry: just like the blackout in Survival Family , the FEFF is an interruption .
    [Show full text]
  • The Life Artistic: July / August 2016 Wes Anderson + Mark Mothersbaugh
    11610 EUCLID AEUE, CLEELAD, 44106 THE LIFE ARTISTIC: JULY / AUGUST 2016 WES ANDERSON + MARK MOTHERSBAUGH July and August 2016 programming has been generously sponsored by TE LIFE AUATIC ... AUATIC TE LIFE 4 FILMS! ALL 35MM PRINTS! JULY 7-29, 2016 THE CLEVELAND INSTITUTE OF ART CINEMATHEQUE 11610 EUCLID AVENUE, UNIVERSITY CIRCLE, CLEVELAND OHIO 44106 The Cleveland Institute of Art Cinematheque is Cleveland’s alternative film theater. Founded in 1986, the Cinematheque presents movies in CIA’s Peter B. Lewis Theater at 11610 Euclid Avenue in the Uptown district of University Circle. This new, 300-seat theater is equipped with a 4K digital cinema projector, two 35mm film projectors, and 7.1 Dolby Digital sound. Free, lighted parking for filmgoers is currently available in two CIA lots located off E. 117th Street: Lot 73 and the Annex Lot. (Those requiring disability park- ing should use Lot 73.) Enter the building through Entrance C (which faces E. 117th) or Entrance E (which faces E. 115th). Unless noted, admission to each screening is $10; Cinematheque members, CIA and Cleveland State University I.D. holders, and those age 25 & under $7. A second film on LOCATION OF THE the same day generally costs $7. For further information, visit PETER B. LEWIS THEATER (PBL) cia.edu/cinematheque, call (216) 421-7450, or send an email BLACK IL to [email protected]. Smoking is not permitted in the Institute. TH EACH FILM $10 • MEMBERS, CIA, AGE 25 & UNDER $7 • ADDITIONAL FILM ON SAME DAY $7 OUR 30 ANNIVERSARY! FREE LIGHTED PARKING • TEL 216.421.7450 • CIA.EDU/CINEMATHEQUE BLOOD SIMPLE TIKKU INGTON TE LIFE ATISTIC: C I N E M A T A L K ES ADES AK TESBAU ul 72 (4 lms) obody creates cinematic universes like es Anderson.
    [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]
  • 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]
  • Distribution Agreement in Presenting This
    Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: _____________________________ ______________ Tianyi Yao Date Crime and History Intersect: Films of Murder in Contemporary Chinese Wenyi Cinema By Tianyi Yao Master of Arts Film and Media Studies _________________________________________ Matthew Bernstein Advisor _________________________________________ Tanine Allison Committee Member _________________________________________ Timothy Holland Committee Member _________________________________________ Michele Schreiber Committee Member Accepted: _________________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date Crime and History Intersect: Films of Murder in Contemporary Chinese Wenyi Cinema By Tianyi Yao B.A., Trinity College, 2015 Advisor: Matthew Bernstein, M.F.A., Ph.D. An abstract of
    [Show full text]
  • 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.
    [Show full text]
  • Tsui Hark Ringo Lam Johnnie To
    TSUI HARK LOUIS KOO A legendary producer and director, Tsui Hark is one of Hong Kong cinema’s most influential figures. A pioneer of the 80’s Hong Kong New — AH FAI Wave film movement, Tsui Hark immediately caught the attention of critics with his innovative style and techniques. “Butterfly Murders” Singer, actor, model – Louis Koo is one of Hong Kong’s most popular Chanteur, acteur, mannequin – Louis Koo est l’une des plus grandes (1979) and “Dangerous Encounters: 1st Kind”(1980) pushed the boundary of Hong Kong genre films as well as the limit of the censors. celebrities. He began his film career in the mid-90’s and has acted in stars de Hong Kong. Il commence sa carrière au milieu des années 90 Following the creation of Film Workshop in 1984, he directed and produced a series of successful commercial films that initiated the so-called over 40 movies such as Wilson Yip’s “Bullet Over Summer”(1999), Tsui et joue dans plus de 40 films, dont « Bullets Over Summer » (1999) de “golden era” of Hong Kong cinema. Films including “A Chinese Ghost Story”(1987), “Swordsman”(1990), and “Once Upon A Time In China” Hark’s “Legend of Zu 2”(2001) and Derek Yee’s “Lost In Time”(2003). Wilson Yip, « La Légende de Zu 2 » (2001) de Tsui Hark et « Lost In (1991) established Tsui Hark's dominance across Asia. After directing two films in Hollywood, he returned to Hong Kong in the mid-90’s Over the past couple of years, he has forged a close working relationship Time » (2003) de Derek Yee.
    [Show full text]
  • 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.
    [Show full text]