Kim Jong Il Biography 2
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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. -
January 1982–May 1983
KIM IL SUNG WORKS WORKING PEOPLE OF THE WHOLE WORLD, UNITE! KIM IL SUNG WORKS 37 January 1982–May 1983 FOREIGN LANGUAGES PUBLISHING HOUSE PYONGYANG, KOREA 1 9 9 1 CONTENTS NEW YEAR ADDRESS January 1, 1982 ......................................................................................................................1 ON IMPROVING THE QUALITY OF REFRACTORIES Speech at a Consultative Meeting of the Senior Officials of the Administration Council, January 27, 1982................................................................10 ON SOME TASKS FACING THE CHEMICAL INDUSTRY Speech Delivered at a Consultative Meeting of the Senior Officials of the Chemical Industry, February 9, 1982.........................................................20 ON CONDUCTING SCIENTIFIC AND TECHNOLOGICAL RESEARCH IN KEEPING WITH THE SITUATION IN OUR COUNTRY Speech at the Consultative Meeting of Officials in the Field of Science and Technology, February 17, 1982..................................................................30 ON SOME TASKS IN DEVELOPING SEAFOOD PRODUCTION Speech at an Enlarged Meeting of the Political Bureau of the Central Committee of the Workers’ Party of Korea, February 18, 1982.........................................46 OPEN LETTER TO ALL VOTERS THROUGHOUT THE COUNTRY February 19, 1982 ................................................................................................................68 ON THE ADMINISTRATION COUNCIL’S ORIENTATION OF ACTIVITIES Speech at the First Plenary Meeting of the Administration Council of the Democratic -
Contrasting "Infernal Affairs" Hong Kong and "The Departed" Hollywood
Contrasting "Infernal Affairs" Hong Kong and "The Departed" Hollywood By Prof. Dr. SZE, Man Hung, Stephen and SHEN, Yiting (Graduate Student) Dept. of Film and TV Production, Kushan University of Technology, Tainan County, Taiwan) (Abstract) Film noir is a classical genre of Hollywood. It has its own special elements of evolution and mode of manifestation. It has not been a genre that could be found in Hong Kong for a long time. This article begins with the tracing of the reasons for the lack of film noir in Hong Kong, and its gradual development till the advent of "Infernal Affairs"(2002), which was adopted by Hollywood and resulted in the adapted "The Departed"(2006). Although the basic structure of the plot in both films is based on the interaction and events faced by the two protagonists, and thus bringing out the predicament and helplessness of the two under-covers from both the police and the underworld, the two films are different because of the different socio-cultural contexts, the studio systems of production and the ideas of artistic creativity. After investigating the different approaches of P. 1 Hong Kong and Hollywood studio systems, this article will also then analyze and contrast the two films, binging out their different modes of manifestation, characteristics, character portrayal, cinematic ideas social and artistic values. It will account for the mutation of one text in the two different social and cultural contexts of film production and audience. Contrasting "Infernal Affairs" Hong Kong and "The Departed" Hollywood By Prof. Dr. SZE, Man Hung, Stephen and SHEN, Yiting (Graduate Student) Dept. -
North Korea Development Report 2003/04 Price USD 12 the North Korea the North Korea Korea Korea in Both Korean and English
Development Report 2003/04 North North Korea Development Report 2003/04 Korea North Korea Development Report As a result of North Korea’s isolation from the outside world, international communities know little about the status of the North Korean economy and its management mechanisms. Although Recently, a few recent changes in North Korea’s economic system have attracted international interests, but there is much confusion remains as to the characteristics of North Korea’s recent policy changes and its future direction due to the lack of information. Therefore, in order to increase the 2003/04 understanding of readers in South Korea and abroad, KIEP is releasing The North Korea Development Report in both Korean and English. The motivation behind this report stemmed from the need for a comprehensive and systematic investigation into North Korea’s socio-economic conditions, while presenting the current status of its industrial K sectors and inter-Korean economic cooperation. The publishing of this second volume K Y is important because it not only supplements the findings of the first edition, but also Y M updates the recent changes in the North Korean economy. The topics in this report M C include macroeconomics and finance, industry and infrastructure, foreign economic C relations and inter-Korean economic cooperation, social welfare and science & technology. This report also covers the ‘July 1 Economic Reform’ launched two years ago and subsequent changes in the economic management system. The North Korea Development Report helps to improve the understanding of the contemporary North Korean economy. 300-4 Yomgok-dong, Seocho-gu, Seoul 137-747 Korea Tel. -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Film Studies Hong Kong Cinema Since 1997: The Response of Filmmakers Following the Political Handover from Britain to the People’s Republic of China by Sherry Xiaorui Xu Thesis for the degree of Doctor of Philosophy December 2012 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Film Studies Doctor of Philosophy HONG KONG CINEMA SINCE 1997: THE RESPONSE OF FILMMAKERS FOLLOWING THE POLITICAL HANDOVER FROM BRITAIN TO THE PEOPLE’S REPUBLIC OF CHINA by Sherry Xiaorui Xu This thesis was instigated through a consideration of the views held by many film scholars who predicted that the political handover that took place on the July 1 1997, whereby Hong Kong was returned to the sovereignty of the People’s Republic of China (PRC) from British colonial rule, would result in the “end” of Hong Kong cinema. -
North Korea in Transition
KOREA RESEARCH MONOGRAPH 16 INSTITUTE OF EAST ASIAN STUDIES UNIVERSITY OF CALIFORNIA AT BERKELEY CKS CENTER FOR KOREAN STUDIES North Korea in Transition EDITED BY Chong-Sik Lee and Se-Hee Yoo sC^-\r^)s INTERNATIONAL AND AREA STUDIES Richard Buxbaum, Dean International and Area Studies at the University of California, Berkeley, comprises four groups: international and comparative studies, area studies, teaching programs, and services to international programs. INSTITUTE OF EAST ASIAN STUDIES UNIVERSITY OF CALIFORNIA, BERKELEY The Institute of East Asian Studies, now a part of Berkeley International and Area Studies, was established at the University of California at Berkeley in the fall of 1978 to promote research and teaching on the cultures and societies of China, lapan, and Korea. It amalgamates the following research and instructional centers and pro grams: the Center for Chinese Studies, the Center for Japanese Studies, the Center for Korean Studies, the Group in Asian Studies, and the East Asia National Resource Center. INSTITUTE OF EAST ASIAN STUDIES Director: Frederic E. Wakeman, Jr. Assistant Director: Joan P. Kask Executive Committee: Mary Elizabeth Berry Thomas Gold Thomas Havens Joan P. Kask Hong Yimg Lee Jeffrey Riegel Ting Pang-hsin Wen-hsin Yeh CENTER FOR CHINESE STUDIES Chair: Wen-hsin Yeh CENTER FOR JAPANESE STUDIES Chair: Mary Elizabeth Berry CENTER FOR KOREAN STUDIES Chair: Hong Yung Lee GROUP IN ASIAN STUDIES Chair: Robert Reed EAST ASIA NATIONAL RESOURCE CENTER Director: Frederic E. Wakeman, Jr. Cover design by Wolfgang Lederer Art by Sei-Kwan Sohn North Korea in Transition To Robert and Dee Scalapino with our thanks KOREA RESEARCH MONOGRAPH 16 INSTITUTE OF EAST ASIAN STUDIES UNIVERSITY OF CALIFORNIA AT BERKELEY CKS CENTER FOR KOREAN STUDIES North Korea in Transition EDITED BY Chong-Sik Lee and Se-Hee Yoo A publicationof the Institute of East Asian Studies, Universityof Californiaat Berkeley. -
Da Zhi Lao Running on Karma
50 Da zhi lao Running on Karma Regie: Johnnie To, Wai Ka Fai Land: Hong Kong, China 2003. Produktion: Milkyway Image Ltd. (Hong Note Kong), Youth Film Studio (Beijing). Regie: Johnnie To, Wai Ka Fai. The Cantonese title of the film is ‘Daai chek liu’. The Eng- Buch: Wai Ka Fai, Yau Nai Hoi, Au Kin Yee, Yip Tin Shing. Regieassi- lish translation of the original title means ”Big Guy”. stenz: Albert Mak. Kamera: Cheng Siu Keung (H.K.S.C.). Visual Effects: Stephen Ma. Ton: Lee Sin Kwok. Tonschnitt, Mischung: Martin Chappell. Synopsis Musik: Cacine Wong. Ausstattung: Raymond Chan. Kostüme: Stepha- Cop Yee arrests Biggie because of his public striptease nie Wong. Martial-Arts-Choreographie: Yuen Bun. Schnitt: Law Wing show. During his escape, Biggie accidentally hinders the Cheong. Produzenten: Johnnie To, Wai Ka Fai. Administrative Produ- police in arresting a murderer. Thus, Biggie is said to be zentin: Tiffany Chen. involved in the murder and is arrested. Yee helps Biggie Darsteller: Andy Lau (Biggie), Cecilia Cheung (Lee Fung Yee), Cheung since she believes that he has no connection with the murder. Siu Fai, Chun Wong, Karen Tong, Yu Wen Zhong, Hou Lian Sheng, He Yee discovers from police records that Biggie is from main- Sheng Wei, Zhang Meng. land China and was formerly a Buddhist monk. Biggie thinks Format: 35mm, 1:1.85, Farbe. Länge: 93 Minuten, 24 Bilder/Sek. that Yee is a kind person, so he tells her that he would be Sprache: Chinesisch (Kantonesisch). able to arrest the murderer in exchange for his release. Uraufführung: 27. -
ACTA ASIATICA VARSOVIENSIA No. 30 Issue 2
Institute of Mediterranean and Oriental Cultures Polish Academy of Sciences ACTA ASIATICA VARSOVIENSIA No. 30 Issue 2 Warszawa 2017 Editor-in-Chief Board of Advisory Editors KRZYSZTOF NGUYEN QUANG THUAN TRZCIŃSKI KENNETH OLENIK ABDULRAHMAN AL-SALIMI Subject Editor JOLANTA NICOLAS LEVI SIERAKOWSKA-DYNDO BOGDAN SKŁADANEK English Text Consultant LEE MING-HUEI JO HARPER ZHANG HAIPENG French Text Consultant NICOLAS LEVI Secretary RAFAŁ KŁECZEK 3 © Copyright by Institute of Mediterranean and Oriental Cultures, Polish Academy of Sciences, Warsaw 2017 PL ISSN 0860–6102 eISSN 2449–8653 ISBN 978–83–7452–091–1 ACTA ASIATICA VARSOVIENSIA is abstracted in The Central European Journal of Social Sciences and Humanities, Index Copernicus, ProQuest Database 4 Contents ARTICLES: MONIKA ARNOŠTOVÁ, Chinese overtime culture among white-collar workers in the first-tier cities .............................. 7 LECH BUCZEK, Political and Strategic Dimensions of the Relations between the EU and South Korea .......................... 29 DOUGLAS GABRIEL, Pioneers of the Times: North Korea’s Claim to Contemporaneity circa 1989 ................................... 44 ROMAN HUSARSKI, Buddhist Nationalism and Islam in Modern Myanmar .................................................................. 66 NATALIA KIM , Feminism and nationalism in South Korea: empowering Korean women during the nation-building process ................................................................................... 84 EMESE KOVACS, Mea culpa phenomenon: Comparative study of apologies in -
Urban Space in the Films of Johnnie To*
Concentric: Literary and Cultural Studies 46.1 March 2020: 59-81 DOI: 10.6240/concentric.lit.202003_46(1).0004 The Unexpected Encounter of Two Parallel Lines: Urban Space in the Films of Johnnie To* William Carroll Department of East Asian Languages and Cultures Indiana University Bloomington, USA Abstract In this paper the author compares Hong Kong filmmaker Johnnie To’s (杜琪 峯) formal articulation of urban space in his internationally celebrated crime films with that in his locally popular romantic comedies. Drawing from recent scholarship on urban space in Hong Kong, Chinese, and broader East Asian cinema, he establishes that To’s films in both genres hinge on spatial relationships that are specific to rapidly forming metropolises. However, through close analyses of the crime films Expect the Unexpected (非常突然 Feichang turan, 1998) and Breaking News (大事件 Da shijian, 2004) and the romantic comedies Turn Left, Turn Right (向左走‧向右走 Xiangzuo zou, xiangyou zou, 2003) and Don't Go Breaking My Heart (單身男女 Danshen nannu, 2011), he contends that To’s crime films depict these spatial relationships within a framework of spatial continuity, while his romantic comedies do so within a framework of spatial fragmentation. These two frameworks play into the two genres’ separate dramatic needs: fatalistic confrontation for the crime films vs. delayed reconciliation in the romantic comedies. However, To uses these spatial frameworks within the two genres to explore the ways that urban design can either thwart or facilitate encounters between the inhabitants of a global city. Keywords urban space, industrial genres, film genre, romantic comedies, crime films, spatial continuity, spatial fragmentation, fate, global cities * The author wishes to thank Matt Hubbell, Yueling Ji, Gary Kafer, Katerina Korola, Mikki Kressbach, David Krolokoski, Cooper Long, Nicole Morse, Jordan Schonig, H.S. -
The North Korea Mega Tour
The North Korea Mega Tour TOUR September 3rd – 26th 2020 25 nights in North Korea + travel time OVERVIEW Koryo Tours' annual Mega Tour every September is the ultimate journey to North Korea, and our longest and most comprehensive tour to North Korea. We'll travel from Pyongyang, Panmunjom and the DMZ to stunning Mt Paektu, Mt Chilbo, and Mt Kumgang as well as the rarely-visited industrial cities of Chongjin, Hamhung, and Wonsan, plus much more. Updated for 2020 with new locations and activities, this is our longest tour to date. The trip covers thousands of kilometres from the capital Pyongyang to the country's far north, south, east, and west by bus and internal flights. On the way, we'll stop by all the must-see tourist attractions - from massive political structures and monuments to pristine mountains, forests, and beaches to the socialist industry and agriculture that are the backbone of the DPRK economy. We'll also be in Pyongyang for National Day, a major North Korean holiday, and see how North Koreans celebrate the 72nd anniversary of the foundation of the DPRK. Get to know one of the least-understood countries in the world and its people as it stands at a crossroads in its relations with its long-time adversaries: South Korea and the United States. The best way to get to know and understand North Korea is to spend time in the country and meet and interact with local North Koreans through activities, sports, games, and serendipitous encounters. A new addition to this tour is the possibility of extending your stay in the DPRK for two more nights to visit the Rason Special Economic Zone to see North Korea to its fullest like nobody before. -
FAR EAST FILM FESTIVAL 22 26 June — 4 July 2020 Udine, Italy Everywhere
FAR EAST FILM FESTIVAL 22 26 June — 4 July 2020 www.fareastfilm.com Udine, Italy Everywhere PRESS KIT 26 June / 4 July 2020 - Udine, Italy, Everywhere FAR EAST FILM FESTIVAL 22: IT'S TIME FOR A REVOLUTION! The organisers have transformed the FEFF into an incredible digital event. A line-up of 46 films (including 5 world premieres) and a ton of other content, all online. Things kick off on 26 June with Korean action movie Ashfall . Press release for the 4 th of June 2020 For immediate publication/release UDINE – "This isn't the Far East Film Festival 22 : this is the Far East Film Festival 22 online edition .” The words of Sabrina Baracetti and Thomas Bertacche , the FEFF directors, sum up the entire operational philosophy of the twenty-second edition, which will be in the global spotlight from 26 June to 4 July . There's no point beating around the bush: this is going to be a truly historic edition - a revolutionary one , in fact. But the revolution doesn't consist in having moved the Far East Film Festival onto the web: it consists in having transformed the Far East Film Festival into a digital event, completely redesigning its architecture (model, formulas and editorial strategies) while preserving its primary objective : to investigate Asia and showcase the best of its mainstream film productions. So even though the festival's operational base might be moving from Udine to MYmovies.it , FEFF 22 isn't just going to be an online library of Asian films: it will once again be a full immersion in the heart of the "Far East" , featuring 46 films from 8 countries (China, Hong Kong, Taiwan, South Korea, Japan, the Philippines, Indonesia and Malaysia)! Some titles will be available worldwide, some only in Europe and some exclusively in Italy, with 5 world premieres , 10 international premieres , 11 European premieres and 17 Italian premieres . -
Johnnie to and the Hong Kong Action Film
Director in Action Johnnie To and the Hong Kong Action Film Stephen Teo Hong Kong University Press 14/F Hing Wai Centre 7 Tin Wan Praya Road Aberdeen Hong Kong © Stephen Teo 2007 Hardback ISBN 978-962-209-839-8 Paperback ISBN 978-962-209-840-4 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. Secure On-line Ordering http://www.hkupress.org Cover image: Photograph by Jupiter Wong Printed and bound by Lammar Offset Printing Ltd., Hong Kong, China. Hong Kong University Press is honoured that Xu Bing, whose art explores the complex themes of language across cultures, has written the Press’s name in his Square Word Calligraphy. This signals our commitment to cross-cultural thinking and the distinctive nature of our English-language books published in China. “At first glance, Square Word Calligraphy appears to be nothing more unusual than Chinese characters, but in fact it is a new way of rendering English words in the format of a square so they resemble Chinese characters. Chinese viewers expect to be able to read Square Word Calligraphy but cannot. Western viewers, however are surprised to find they can read it. Delight erupts when meaning is unexpectedly revealed.” — Britta Erickson, The Art of Xu Bing Contents List of Illustrations vii Acknowledgements xi 1.