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Zz027 Bd 45 Stanley Kwan 001-124 AK2.Indd
Statt eines Vorworts – eine Einordnung. Stanley Kwan und das Hongkong-Kino Wenn wir vom Hongkong-Kino sprechen, dann haben wir bestimmte Bilder im Kopf: auf der einen Seite Jacky Chan, Bruce Lee und John Woo, einsame Detektive im Kampf gegen das Böse, viel Filmblut und die Skyline der rasantesten Stadt des Universums im Hintergrund. Dem ge- genüber stehen die ruhigen Zeitlupenfahrten eines Wong Kar-wai, der, um es mit Gilles Deleuze zu sagen, seine Filme nicht mehr als Bewe- gungs-Bild, sondern als Zeit-Bild inszeniert: Ebenso träge wie präzise erfährt und erschwenkt und ertastet die Kamera Hotelzimmer, Leucht- reklamen, Jukeboxen und Kioske. Er dehnt Raum und Zeit, Aktion in- teressiert ihn nicht sonderlich, eher das Atmosphärische. Wong Kar-wai gehört zu einer Gruppe von Regisseuren, die zur New Wave oder auch Second Wave des Hongkong-Kinos zu zählen sind. Ihr gehören auch Stanley Kwan, Fruit Chan, Ann Hui, Patrick Tam und Tsui Hark an, deren Filme auf internationalen Festivals laufen und liefen. Im Westen sind ihre Filme in der Literatur kaum rezipiert worden – und das will der vorliegende Band ändern. Neben Wong Kar-wai ist Stanley Kwan einer der wichtigsten Vertreter der New Wave, jener Nouvelle Vague des Hongkong-Kinos, die ihren künstlerischen und politischen Anspruch aus den Wirren der 1980er und 1990er Jahre zieht, als klar wurde, dass die Kronkolonie im Jahr 1997 von Großbritannien an die Volksrepublik China zurückgehen würde. Beschäftigen wir uns deshalb kurz mit der historischen Dimension. China hatte den Status der Kolonie nie akzeptiert, sprach von Hong- kong immer als unter »britischer Verwaltung« stehend. -
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. -
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. -
Coversheet for Thesis in Sussex Research Online
A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details In the Mood for Travel: Mobility, Gender and Nostalgia in Wong Kar-wai’s Cinematic Hong Kong Lei, Chin Pang Doctor of Philosophy University of Sussex August 2012 I hereby declare that this thesis has not been and will not be, submitted in whole or in part to another University for the award of any other degree. Signature___________________________ Acknowledgement “Making films is just like holding water with your hands. No matter how hard you try, you will still lose much of it.” Chinese director Zhang Yimou expresses the difficulty of film making this way. For him, a perfect film is non-existent. At the end of my doctoral study, Zhang’s words ran through my mind. In the past several years, I worked hard to hold the water in my hands – to make this thesis as good as possible. No matter how much water I have finally managed to hold, this difficult task, however, cannot be carried out without the support given by the following people. -
Lgbt Culture in Hong Kong
LGBT CULTURE IN HONG KONG Revised 2 June 2020 by AUSTIN CHAN AND NIGEL COLLETT PREFACE This is a compilation of information about the LGBT+ cultural scene in Hong Kong as at 2 June 2020. It is incomplete; suggestions for additions or amendments are welcome. It includes sections on literature, theatre, film, music and media. Some names appear in several categories. Each section is arranged in a loose chronological order, rather than alphabetically, to give some idea of the development of LGBT+ culture in Hong Kong. NOTE – not all those mentioned herein are LGBT+ themselves. Their inclusion here only indicates that their work is of LGBT+ interest. TABLE OF CONTENTS LITERATURE .......................................................... 1 Austin Coates ....................................................................................... 1 Aileen Bridgewater ..............................................................................2 Ken Bridgewater ..................................................................................2 Peter Moss ...........................................................................................3 Martin Booth ...................................................................................... 4 Geoffrey Charles Emerson .................................................................. 5 Timothy Mo ......................................................................................... 5 Samshasha .......................................................................................... 6 Michael -
UNIVERSITY of CALIFORNIA Santa Barbara the Aesthetics of Non-Discrimination: Chinese Poetics and Social Critique in Huihong's N
UNIVERSITY OF CALIFORNIA Santa Barbara The Aesthetics of Non-Discrimination: Chinese Poetics and Social Critique in Huihong's Night Chats from Chilly Hut (c. 1121) A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in East Asian Languages and Cultural Studies by Sarah Jane Babcock Committee in charge: Professor Ronald C. Egan, Chair Professor Xiaorong Li Professor Hsiao-jung Yu December 2020 The dissertation of Sarah Jane Babcock is approved. __________________________________________________ Xiaorong Li __________________________________________________ Hsiao-jung Yu __________________________________________________ Ronald C. Egan, Committee Chair December 2020 The Aesthetics of Non-Discrimination: Chinese Poetics and Social Critique in Huihong's Night Chats from Chilly Hut (c. 1121) Copyright © 2020 By Sarah Jane Babcock iii ACKNOWLEDGMENTS I would like to thank the organizations that provided generous funding for my doctorial research: The China Scholarship Council for funding a semester of research at Sichuan University, The Center for Chinese Studies at the National Central Library for the Research Grant for Foreign Scholars in Chinese Studies, and Dharma Drum Mountain for providing affordable housing for dissertation writing on their beautiful campus at Dharma Drum Institute of Liberal Arts. I would also like to thank UCSB for the generous Graduate Opportunity Fellowship and the department of East Asian Languages and Cultural Studies obtaining Foreign Language and Area Studies (FLAS) grants and other scholarships for my graduate studies. To begin a doctoral program requires the involvement of several people. But it takes a village to complete a dissertation. I have received guidance and support from numerous teachers, colleagues, staff, friends, and family members throughout my graduate studies, and each person provided something essential to help me realize the goal of completing this Ph.D. -
CCSS2030 Modern Chinese Literature Syllabus
CCSS2030 Modern Chinese Literature1 Spring 2019, CUHK Time: Wed 14:30-17:15 Venue: WMY 506 Instructor: Prof. GAO Yunwen Office: Room 1107, 11/F, Yasumoto International Academic Park Office Hours: Tues 14:00-17:00 or by appointment via email COURSE DESCRIPTION Critical changes in literature and culture took place across the twentieth century in China. These changes were in response to the self-strengthening demands of young revolutionaries after decades of war and national humiliation. Over several decades, Chinese writers experimented with Western literary genres, including realism, romanticism, imagism, modernism, critical realism, magical realism, postmodernism, and so on. Chinese writers constantly probed the issue of literary modernity and attempted to redefine China and Chineseness by incorporating Western influences into classical Chinese aesthetics. This class explores Chinese literary tradition in the twentieth century and early twenty first century through fiction (novels, short stories, poetry, etc.) and films from Hong Kong, Taiwan, and Mainland China. Major themes we will discuss include socio-political reformation, gender relations, urban space, the environment, and individual subjectivity. Creatively engaging with Western influences and classical literary traditions, Chinese writers and filmmakers we examine showcase how the Chinese reconstructed modern literature in relation to China's nation-building process. All readings are available in English translations of Chinese originals. No prior knowledge of Chinese is assumed or required. LEARNING OUTCOMES 1) Demonstrate a basic familiarity with modern Chinese literature and culture; 2) Critically analyze important literary texts and films in relation to their historical contexts; 3) Develop reading, writing, and presentation skills in a professional manner COURSE ASSESSMENT 1) Participation (15%) Students are required to come to class prepared, having watched the film and completed the required readings. -
Lanterne Rosse in Laguna Il Cinema Cinese Alla Mostra Internazionale D’Arte Cinematografica Di Venezia
Corso di Laurea magistrale ( ordinamento ex D.M. 270/2004 ) in Lingue e istituzioni economiche e giuridiche dell’Asia e dell’Africa Mediterranea Tesi di Laurea Lanterne rosse in laguna Il cinema cinese alla Mostra internazionale d’arte cinematografica di Venezia Relatore Ch.ma Prof.ssa Elena Pollacchi Correlatore Ch. Prof. Federico Alberto Greselin Laureando Francesca Cabrini Matricola 828270 Anno Accademico 2013 / 2014 INDICE 前言前言前言 3 Avvertenze 7 Introduzione 9 Capitolo primo: Dagli anni Cinquanta agli anni Novanta 12 1.1 I primi film cinesi alla Mostra internazionale d’arte cinematografica di Venezia 12 1.2 Anni turbolenti: 1962 – 1972 20 1.3 “Una motivazione maligna, ignobili sotterfugi” 25 1.4 La Mostra torna all’antico splendore 27 1.5 Nuove onde da Hong Kong e Taiwan 31 1.6 Gli ultimi anni Ottanta 36 Capitolo secondo: Dagli anni Novanta ad oggi 45 2.1 I primi anni Novanta: premesse 45 2.2 Le prime edizioni degli anni Novanta 47 2.3 Tre Cine sulla rotta per Venezia 52 2.4 Passaggi di testimone 56 2.5 La Mostra al volgere del secolo 62 2.6 Gli anni Duemila 70 2.7 L’era Müller 76 2.8 Edizioni recenti 87 1 Capitolo terzo: Un’analisi e una prospettiva 90 3.1 Premesse storiche 90 3.2 Il primato veneziano 94 3.3 Il festival come sistema alternativo autonomo 96 3.4 Il ruolo della censura 101 3.5 Film da festival 103 3.6 I festival come oggetto di ricerca 106 Conclusioni 114 Appendice 116 Bibliografia 133 2 前言前言前言 我的毕业论文是关于中国电影,尤其是那些参加威尼斯国际电影节的华语电影。这篇 文章的目的是分析威尼斯电影节的历史,理解电影节与中国电影的关系, 以便了解为 什么威尼斯对华语电影的传播那么重要。 水城的国际电影节是世界上最早的电影节,被誉为“国际电影节之父”。它是 -
The Spiritual World of Wang Anyi's the Song of Everlasting Sorrow
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by CU Scholar Institutional Repository University of Colorado, Boulder CU Scholar Asian Languages & Civilizations Graduate Theses & Asian Languages & Civilizations Dissertations Spring 1-1-2012 The pirS itual World of Wang Anyi’s The onS g of Everlasting Sorrow ChunHui Chuang University of Colorado at Boulder, [email protected] Follow this and additional works at: http://scholar.colorado.edu/asia_gradetds Recommended Citation Chuang, ChunHui, "The pS iritual World of Wang Anyi’s The onS g of Everlasting Sorrow" (2012). Asian Languages & Civilizations Graduate Theses & Dissertations. Paper 7. This Thesis is brought to you for free and open access by Asian Languages & Civilizations at CU Scholar. It has been accepted for inclusion in Asian Languages & Civilizations Graduate Theses & Dissertations by an authorized administrator of CU Scholar. For more information, please contact [email protected]. THE SPIRITUAL WORLD OF WANG ANYI’S THE SONG OF EVERLASTING SORROW by CHUNHUI CHUANG B.A., Tamkang University, 2007 M.A., University of Colorado, 2012 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master of Arts Department of Asian Languages and Civilizations 2012 This thesis entitled: The Spiritual World of Wang Anyi’s The Song of Everlasting Sorrow written by ChunHui Chuang has been approved for the Department of Asian Languages and Civilizations G. Andrew Stuckey Terry Kleeman Antje Richter Date The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. -
Stanley Kwan, Sammi Cheng and Gigi Leung Talk About “First Night Nerves” in Busan
Stanley Kwan, Sammi Cheng and Gigi Leung Talk About “First Night Nerves” in Busan The 23rd Busan International Film Festival (BIFF) was held from 4th to 13 October, during which Hong Kong director Stanley KWAN’s “First Night Nerves”, starring Sammi CHENG, Gigi LEUNG, BAI Bai-he and Angie CHIU, was presented as a Gala Presentation. Another film from Hong Kong was YUEN Woo Ping-directed “Master Z: Ip Man Legacy”, produced by Donnie YEN and Raymond WONG and starring Max ZHANG, Tony JAA and Michelle YEOH. It was the closing film for the Festival this year. “First Night Nerves” received its world premiere in Busan. Director Stanley KWAN was present at the press conference and the post-screening Q&A session with cast members Sammie CHENG, Gigi LEUNG, Bai Bai-he and Angie CHIU to talk about the film with Busan audience. At the press conference, the director spoke about his experience of making co-productions and recalled his career path over the years from the 80s. “I am grateful that the film had found its mainland Chinese investors, which allowed me to shoot the entire film in Hong Kong. I know very well that only I can make this film. I was the Assistant Director of Ann HUI’s “Boat People” (1982) which was shot in Hainan. So I was one of the early Hong Kong directors who started making films in China, as early as in the 80s. Other works filmed in China include “Center Stage” in Shanghai in 1991, “Red Rose White Rose” in Shanghai in 1994 and “Lan Yu” in Beijing in 2000. -
Newsletter 25
Home, Nation and Cinema Lai Man-wai (1893-1953) and his brothers founded the China Sun Motion Picture Co Ltd in 1923 to herald the birth of Hong Kong cinema. Joining Sun Yat-sen's Revolutionary Alliance, Lai mobilised his wife and children to join the rank of filmmakers in reuniting a shattered nation with the art. The recent retrospectives organised by the Programming Section of the Hong Kong Film Archive to pay tributes to the 'Father of Hong Kong Cinema' Lai Man-wai and the pioneer of the stage and screen Lo Dun (1911-2000) are attempts to document their accomplishments while tracing the life stories of our cinematic pioneers and amassing a capsule of a century of Hong Kong cinema. Setting off on separate paths, the duo rubbed shoulders with many like-minded film workers: Lai Man-wai collaborated with key figures of the United Photoplay Service Ltd in creating a glorious epoch of the Shanghai film industry; Lo Dun's continuous partnership with visionary Cantonese film workers at The Union Film Enterprise Ltd and Sun Luen Film Company - all signalling monumental and groundbreaking events in the development of filmmaking. Even more awe-inspiring is perhaps their steadfastness in pursuing their common goals and dreams. Looking back from today, such an endeavour reminds us once again of the good old days when the cinema was as priceless as the nation itself and comrades-in-arts were one big family. Difficult times are a part of everyday life and only time can tell what is meant to leave to posterity. -
Lao She's Forgotten Wartime Epic Poem
‘JIAN BEI PIAN’: LAO SHE’S FORGOTTEN WARTIME EPIC POEM by Janette Briggs A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy in Chinese Literature. VICTORIA UNIVERSITY OF WELLINGTON 2017 Abstract 'Jian bei pian': Lao She's forgotten wartime epic poem by Janette Briggs This thesis is the first English-language critical study of Chinese author Lao She’s (1899-1966) wartime epic ballad Jian bei pian and includes the ballad’s first translation into English. The thesis addresses a gap in knowledge about his work, a gap previously covered by simplistic labelling of it as patriotic propaganda. Lao She’s reputation in the West largely rests on his modern fiction, although his literary output covered many genres, generating at different times in his life the full range of reactions in China between popular acclaim and violent censure. Much of his writing, done during periods of intense cultural and political upheaval in China, reflected the events through which he lived. Jian bei pian, his poetic record of a journey through northern China during the Second Sino-Japanese War, is unique, both of its time and outside of its time, yet it has received relatively little attention from critics in China or in the West. Recent Chinese studies on Jian bei pian have highlighted the poem’s patriotic elements, retrospectively interpreting it as an endorsement of China’s Communist Party and deeming it part of his wartime nation-building literature. In the West Jian bei pian has been almost completely ignored, apart from observations which similarly focus on its imputed status as patriotic propaganda and condemn or dismiss it for that reason.