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Warriors As the Feminised Other
Warriors as the Feminised Other The study of male heroes in Chinese action cinema from 2000 to 2009 A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Chinese Studies at the University of Canterbury by Yunxiang Chen University of Canterbury 2011 i Abstract ―Flowery boys‖ (花样少年) – when this phrase is applied to attractive young men it is now often considered as a compliment. This research sets out to study the feminisation phenomena in the representation of warriors in Chinese language films from Hong Kong, Taiwan and Mainland China made in the first decade of the new millennium (2000-2009), as these three regions are now often packaged together as a pan-unity of the Chinese cultural realm. The foci of this study are on the investigations of the warriors as the feminised Other from two aspects: their bodies as spectacles and the manifestation of feminine characteristics in the male warriors. This study aims to detect what lies underneath the beautiful masquerade of the warriors as the Other through comprehensive analyses of the representations of feminised warriors and comparison with their female counterparts. It aims to test the hypothesis that gender identities are inventory categories transformed by and with changing historical context. Simultaneously, it is a project to study how Chinese traditional values and postmodern metrosexual culture interacted to formulate Chinese contemporary masculinity. It is also a project to search for a cultural nationalism presented in these films with the examination of gender politics hidden in these feminisation phenomena. With Laura Mulvey‘s theory of the gaze as a starting point, this research reconsiders the power relationship between the viewing subject and the spectacle to study the possibility of multiple gaze as well as the power of spectacle. -
Donnie Yen's Kung Fu Persona in Hypermedia
Studies in Media and Communication Vol. 4, No. 2; December 2016 ISSN 2325-8071 E-ISSN 2325-808X Published by Redfame Publishing URL: http://smc.redfame.com Remediating the Star Body: Donnie Yen’s Kung Fu Persona in Hypermedia Dorothy Wai-sim Lau1 113/F, Hong Kong Baptist University Shek Mun Campus, 8 On Muk Street, Shek Mun, Shatin, Hong Kong Correspondence: Dorothy Wai-sim Lau, 13/F, Hong Kong Baptist University Shek Mun Campus, 8 On Muk Street, Shek Mun, Shatin, Hong Kong. Received: September 18, 2016 Accepted: October 7, 2016 Online Published: October 24, 2016 doi:10.11114/smc.v4i2.1943 URL: http://dx.doi.org/10.11114/smc.v4i2.1943 Abstract Latest decades have witnessed the proliferation of digital media in Hong Kong action-based genre films, elevating the graphical display of screen action to new levels. While digital effects are tools to assist the action performance of non-kung fu actors, Dragon Tiger Gate (2006), a comic-turned movie, becomes a case-in-point that it applies digitality to Yen, a celebrated kung fu star who is famed by his genuine martial dexterity. In the framework of remediation, this essay will explore how the digital media intervene of the star construction of Donnie Yen. As Dragon Tiger Gate reveals, technological effects work to refashion and repurpose Yen’s persona by combining digital effects and the kung fu body. While the narrative of pain and injury reveals the attempt of visual immediacy, the hybridized bodily representation evokes awareness more to the act of representing kung fu than to the kung fu itself. -
7015 B Program P.Indd
From the Queen to the Chief Executive: May 4–6 Hong Kong Films 2007 10 Years After the Handover 香港電影縱橫﹕ 展與談 1 I am absolutely thrilled to welcome you to our fi rst Hong Kong fi lm Schedule at a glance festival, From the Queen to the Chief Executive: Hong Kong Films Ten Years After the Handover. This important event fi rst and foremost celebrates the friday, may 4 2:30 pm–4:15 pm achievements of Hong Kong fi lm and its impact on a new and ever- Banana Bruises; Royal Ontario Museum changing global culture. From the Queen to the Chief Executive also provides Dumplings Theatre, 100 Queen’s Park a forum to contemplate developments on Hong Kong since its historic 4:15 pm–5:15 pm 6:15 pm–7:15 pm return to China in 1997. Film is a lens through which to understand the Horror Panel VIP Reception dynamics of a changing society and the world around it. Film provides 5:15 pm–6:30 pm Royal Ontario Museum – an important platform, a medium, for telling peoples’ stories. In this Dinner Break Glass Room on the respect, fi lm is both critical and celebratory, it challenges and re- 4th Floor 6:30 pm–8:35 pm affi rms. Its impact is political, social, economic, cultural and often Venues 7:00 pm Eastbound; Welcome leaves legacies of historical import. Doors Open Lost in Time to the First 7:30 pm–7:40 pm 8:35 pm–9:00 pm The Asian Institute is an inter-disciplinary home to scholars working iiX iiX iiX iiX Break Waddg Waddg Welcoming Remarks University on Asia, comprising leading scholars in the humanities and social VkZcjZgY YZdch]^gZea 7:40 pm–9:30 pm 9:00 pm–11:00 pm sciences. -
The Birth of East Asia Cultural Regionalization Through Co-Production Strategies
Dal Yong Jin & Dong-Hoo Lee The Birth of East Asia Cultural Regionalization through Co-Production Strategies Introduction East Asian cultural producers have rapidly which we have that others have not.”4 As in many increased co-productions over the past several countries, television particularly remains primarily years. The Japanese, Chinese, Taiwanese, and a national phenomenon in East Asia, and the Korean cultural industries have produced cross- domestic state plays a significant role in shaping cultural outputs, including films, television national television systems.5 dramas, and music. Local cultural industries Producers in the region, however, have and producers in East Asia have begun pooling increasingly turned to international co- financial and cultural resources, which is a useful productions since the late 1990s, because the Pan- means to compete with cultural products from Asian co-production mode takes advantage of the other regions, particularly those from Hollywood, joint consumption cost structure. It entails jointly and have produced a few cross-cultural hits since developing and producing film and television the late 1990s.1 programs with attributes which make them Unlike in many other parts of the world, co- accessible to audiences in more than one national production strategies in East Asia are relatively market.6 Filmmakers and television networks, new phenomena. Until a few years ago, East Asia including independent producers, are now rapidly was viewed as a jumble of provincial cultural reaching beyond their local and national audiences markets. Cultural works in Japan, China, Korea, to attract regional and global viewers. Hong Kong, and Taiwan were made largely for This article examines the recent trends of domestic markets. -
List of Action Films of the 2010S - Wikipedia, the Free Encyclopedia
List of action films of the 2010s - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/List_of_action_films_of_the_2010s List of action films of the 2010s From Wikipedia, the free encyclopedia This is an incomplete list, which may never be able to satisfy particular standards for completeness. You can help by expanding it (//en.wikipedia.org /w/index.php?title=List_of_action_films_of_the_2010s&action=edit) with reliably sourced entries. This is chronological list of action films originally released in the 2010s. Often there may be considerable overlap particularly between action and other genres (including, horror, comedy, and science fiction films); the list should attempt to document films which are more closely related to action, even if it bends genres. Title Director Cast Country Sub-Genre/Notes 2010 13 Assassins Takashi Miike Koji Yakusho, Takayuki Yamada, Yusuke Iseya Martial Arts[1] 14 Blades Daniel Lee Donnie Yen, Vicky Zhao, Wu Chun Martial Arts[2] The A-Team Joe Carnahan Liam Neeson, Bradley Cooper, Quinton Jackson [3] Alien vs Ninja Seiji Chiba Masanori Mimoto, Mika Hijii, Shuji Kashiwabara [4][5] Bad Blood Dennis Law Simon Yam, Bernice Liu, Andy On [6] Sorapong Chatree, Supaksorn Chaimongkol, Kiattisak Bangkok Knockout Panna Rittikrai, Morakot Kaewthanee [7] Udomnak Blades of Blood Lee Joon-ik Cha Seung-won, Hwang Jung-min, Baek Sung-hyun [8] The Book of Eli Albert Hughes, Allen Hughes Denzel Washington, Gary Oldman, Mila Kunis [9] The Bounty Hunter Andy Tennant Jennifer Aniston, Gerard Butler, Giovanni Perez Action comedy[10] The Butcher, the Chef and the Wuershan Masanobu Ando, Kitty Zhang, You Benchang [11] Swordsman Centurion Neil Marshall Michael Fassbender, Olga Kurylenko, Dominic West [12] City Under Siege Benny Chan [13] The Crazies Breck Eisner Timothy Olyphant, Radha Mitchell, Danielle Panabaker Action thriller[14] Date Night Shawn Levy Steve Carell, Tina Fey, Mark Wahlberg Action comedy[15] The Expendables Sylvester Stallone Sylvester Stallone, Jason Statham, Jet Li [16] Faster George Tillman, Jr. -
Filmart 2014 №1
DAILY MARCH 24, FILMART 2014 №1 THR.COM/FILMART China_3D_cover_Day1.indd 1 3/21/14 3:18 PM ASIAN PREMIERE INTERNATIONAL MARKET PREMIERE Mon, 24th Mar. Mon,/ 16:00 24th /Mar. AMC / 16:00 Pacific / AMC 4 Pacific/ By Invitation4 / Market (BY INVITATION ONLY) Tue, 25th Mar. / 10:00 / AMC Pacific 1 / By Invitation Tue, 25th Mar. / 10:00 / AMC Pacific 1 / Market (BY INVITATION ONLY) Fortissimo Films HKIFF + HK Filmart Booth: 1E - B09 To set up a meeting with us, please e-mail to [email protected] HK 2014_THR_another me.indd 1 2014/3/19 �� 8:32 Fortissimo FP_Day1.indd 1 3/19/14 11:18 AM MARCH 24, 2014 THR.COM/FILMART FILMART №1 HONG KONG TODAY TOMORROW WEATHER AND HIGH 73° F 71° F TEMPS 23° C 22° C IP MAN 3 Chinese Movie Boom Boosts Filmart KICKS INTO An increased presence from the Mainland sparks optimism among dealmakers hoping to HIGH GEAR grab a larger slice of the world’s fastest-growing film marketBy Clifford Coonan and Karen Chu By Karen Chu ong Kong Filmart is already Asia’s largest wait and see. It’s a curtain raiser for Cannes and egasus Motion Pictures film market in terms of exhibitor numbers, advance showcase for upcoming projects, and it is will begin filming Ip H but coming shortly before Cannes, it is increasingly well attended.” P Man 3 in early 2015. an annual challenge to convince buyers to open But the growing allure of Chinese-language With a budget of $30 mil- their wallets in Asia, rather than wait for the bigger movies makes Filmart ever more important to lion, the finale of the trilogy, European platform. -
“China Factor” in Contemporary Hong Kong Genre Cinema
Concentric: Literary and Cultural Studies 46.1 March 2020: 11-37 DOI: 10.6240/concentric.lit.202003_46(1).0002 Re-Negotiations of the “China Factor” in Contemporary Hong Kong Genre Cinema Ting-Ying Lin Department of Information and Communication Tamkang University, Taiwan Abstract Given the long-existing and multifaceted negotiations of the “China factor” in Hong Kong film history, this article centers on the political function of genre films by exploring how contemporary Hong Kong filmmakers utilize filmmaking as a flexible strategy to re-negotiate and reflect on the China factor concerning current post-handover political dynamics. By focusing on several recent Hong Kong genre films as case studies, it examines how the China factor is negotiated in Vulgaria (低俗喜劇 Disu xiju, 2012) and The Midnight After (那夜凌晨,我坐上了旺角開往大埔的紅 VAN Naye lingchen, wo zuoshang le Wangjiao kaiwang Dapu de hong van, 2014), considering the politics of languages alongside the imaginary of the disappearance of Hong Kong’s local cultures in the post-handover era. It also highlights two post-Umbrella- Revolution films, Trivisa ( 樹大招風 Shuda zhaofeng, 2016) and The Mobfathers (選老頂 Xuan lao ding, 2016), to explore how the China factor is negotiated in light of the collective anxieties of Hongkongers regarding the handover and controversies in the current electoral system of Hong Kong. By doing so, this article argues that the re-negotiations of the China factor in contemporary Hong Kong genre cinema have become more and more politically reflexive given the increasingly severe political interference of the Beijing sovereignty that has violated the autonomy of Hong Kong, while forming a discourse of resistance of Hongkongers against possible neo- colonialism from the Chinese authorities in the postcolonial city. -
Let the Bullets Fly Shaolin the Stool Pigeon Triple
FOR IMMEDIATE RELEASE WELL GO USA ACQUIRES NORTH AMERICAN RIGHTS TO A SLATE OF FILMS FROM EMPEROR MOTION PICTURES LET THE BULLETS FLY #1 Domestically Produced Film in China starring Chow Yun-Fat and Jiang Wen SHAOLIN Starring Andy Lau, Nicholas Tse, Fan Bingbing and Jackie Chan THE STOOL PIGEON Starring Nicholas Tse and Nick Cheung TRIPLE TAP Starring Louis Koo, Daniel Wu, Charlene Choi and Li Bingbing PLANO, TEXAS. (June XX, 2011) -- Well Go USA has acquired all rights for the North American market to four films from Hong Kong-based Emperor Motion Pictures. Included in the deal are Let the Bullets Fly, starring Chow Yun-fat and Jiang Wen; Shaolin, starring Andy Lau, Nicholas Tse, Fan Bingbing and Jackie Chan; The Stool Pigeon starring Nicholas Tse and Nick Cheung; and Triple Tap starring Louis Koo, Daniel Wu, Charlene Choi and Li Bingbing. “We are pleased to have made this deal with Emperor Motion Pictures, one of the premiere producers of top-level Asian films in China and Hong Kong, and even more excited to bring these thrilling films to passionate new fans,” said Doris Pfardrescher, President Well Go USA Entertainment. “This acquisition solidifies our position as the leading distributor of Asian films to the North American market.” Albert Lee, chief executive officer of Emperor Motion Pictures, said: “This is a perfect partnership in terms of talent and resources. With Well Go’s track record, we are confident that these films which have done so well in our home territory will now enjoy a much wider Western audience base.” Let the Bullets Fly, directed by Jiang Wen (Devils on the Doorstep, New York I Love You), is the #1 domestically produced film in China and #2 all-time box office champ in China behind Avatar. -
Cantopop Songs of All Time!
THE GREATEST CANTOPOP SONGS OF ALL TIME! Forty years ago, Hong Kong saw the birth of Cantopop, a style of music which would become one of the city’s most iconic cultural offerings. To mark its 40th anniversary, Arthur Tam looks back over the history of the equally loved and derided genre – and explores its evolution and importance through its most beloved songs, one year at a time… 30 timeout.com.hk The early years The Fatal Irony <<啼笑姻緣>> Sandra Lang (仙杜拉) In 1974, during the boom of HK media, 1975 a theme song to a popular drama, << The Fatal Irony <<啼笑姻緣>>, would change everything. It became a massive hit, arguably becoming the 獅 first ever Cantopop song, and starting 子 the procession of not only theme tunes 山 1974 to every TV drama, but a new music 下 genre itself. It retains a resemblance >> to traditional Chinese harmonies and melodies, but enters a new world of pop. bit.ly/fatalirony1974 The first Cantopop songstress Sandra Lang The Chinese-American singer of arguably the first ever Cantopop hit, Fatal Irony <<啼笑姻緣>>, reflects on that song, four decades on… “It was great to have had Cantopop then or else the Cantonese language would have died. I was very Sam Hui (許冠傑) lucky to have Fatal Irony <<啼笑姻緣>>. It was a The Genius and the Idiot Featuring in the titular movie, which was gift from God. No one had ever done a song like this popularised due to its slapstick humour, before and it became popular because people are good listeners. I never claimed that Fatal Irony was the first Cantopop song, but that’s this song features a strong British rock just what people keep telling me. -
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. -
Japanese Women, Hong Kong Films, and Transcultural Fandom
SOME OF US ARE LOOKING AT THE STARS: JAPANESE WOMEN, HONG KONG FILMS, AND TRANSCULTURAL FANDOM Lori Hitchcock Morimoto Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Department of Communication and Culture Indiana University April 2011 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee _______________________________________ Prof. Barbara Klinger, Ph.D. _______________________________________ Prof. Gregory Waller, Ph.D. _______________________________________ Prof. Michael Curtin, Ph.D. _______________________________________ Prof. Michiko Suzuki, Ph.D. Date of Oral Examination: April 6, 2011 ii © 2011 Lori Hitchcock Morimoto ALL RIGHTS RESERVED iii For Michael, who has had a long “year, two at the most.” iv Acknowledgements Writing is a solitary pursuit, but I have found that it takes a village to make a dissertation. I am indebted to my advisor, Barbara Klinger, for her insightful critique, infinite patience, and unflagging enthusiasm for this project. Gratitude goes to Michael Curtin, who saw promise in my early work and has continued to mentor me through several iterations of his own academic career. Gregory Waller’s interest in my research has been gratifying and encouraging, and I am most appreciative of Michiko Suzuki’s interest, guidance, and insights. Richard Bauman and Sumie Jones were enthusiastic readers of early work leading to this dissertation, and I am grateful for their comments and critique along the way. I would also like to thank Joan Hawkins for her enduring support during her tenure as Director of Graduate Studies in CMCL and beyond, as well as for the insights of her dissertation support group. -
Newsletter Berlinale 2014 {09015536-2938-E411-944A
BERLINBERLIN 20142014 BERLIN 2014 LINE-UP OFFICIAL SELECTION - COMPETITION BLACK COAL, THIN ICE by Diao Yinan - WORLD PREMIERE OFFICIAL SELECTION - PANORAMA LOVE IS STRANGE by Ira Sachs - INTERNATIONAL PREMIERE THE MIDNIGHT AFTER by Fruit Chan - WORLD PREMIERE UNFRIEND by Joselito Altarejos - WORLD PREMIERE OFFICIAL SELECTION - CULINARY CINEMA FINAL RECIPE by Gina Kim EUROPEAN FILM MARKET DJINN by Tobe Hooper iNUMBER NUMBER by Donovan Marsh RIGOR MORTIS by Juno Mak SIDDHARTH by Richie Mehta UPCOMING FILMS CAMERA by James Leong DRIVING BACK FROM DUBBO by Sue Brooks FOODIES by Thomas Joackson, Charlotte Landelius, Henrik Stockare HOW TO TALK TO GIRLS AT PARTIES by John Cameron Mitchell NED RIFLE by Hal Hartley SUNSET SONG by Terence Davies CURRENT FILMS BORGMAN by Alex van Warmerdam KISS THE WATER by Eric Steel LINSANITY by Evan Jackson Leong WORLD PREMIERE Sun 9-FEB 5:30 PM Zoo Palast 3 Market (private) Mon 10-FEB 9:30 AM Zoo Palast 3 Market (private) Wed 12-FEB 10:00 PM Berlinale Palast World Premiere Thu 13-FEB 9:30 AM Friedrichstadspalast Festival Thu 13-FEB 6:00 PM Friedrichstadspalast Festival BLACK COAL, THIN ICE Diao Yinan China, Hong Kong / 2014 / 106’ / Mandarin / Crime Thriller, Drama CAST: LIAO Fan, GWEI Lun Mei, WANG Xuebing, Now five years have passed and the killer strikes again. WANG Jingchun, YU Ailei, NI Jingyang Zhang, now a miserable factory security guard is determined to redeem himself and solve the case on DIRECTOR'S FILMOGRAPHY: his own. After his investigation, he discovers that all of BLACK COAL, THIN ICE (2014) the victims seem to be related to a mysterious woman NIGHT TRAIN (2007) named Wu Zhizhen who works in a laundrette.