DOCSLIB.ORG

External Content.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
External Content.Pdf Chinese Stardom in Participatory Cyberculture International Film Stars Series Editors: R. Barton Palmer and Homer B. Pett ey Th is series is devoted to the artistic and commercial infl uence of performers who shaped major genres and movements in international fi lm history. Books in the series will: • Reveal performative features that defi ned signature cinematic styles • Demonstrate how the global market relied upon performers’ generic contributions • Analyse specifi c fi lm productions as casetudies s that transformed cinema acting • Construct models for redefi ning international star studies that emphasise materialist approaches • Provide accounts of stars’ infl uences in the international cinema marketplace Titles available: Close-Up: Great Cinematic Performances Volume 1: America edited by Murray Pomerance and Kyle Stevens Close-Up: Great Cinematic Performances Volume 2: International edited by Murray Pomerance and Kyle Stevens Chinese Stardom in Participatory Cyberculture by Dorothy Wai Sim Lau edinburghuniversitypress.com/series/ifs Chinese Stardom in Participatory Cyberculture Dorothy Wai Sim Lau Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutt ing-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Dorothy Wai Sim Lau, 2019 Edinburgh University Press Ltd Th e Tun – Holyrood Road 12 (2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in 12/1 4 Arno and Myriad by IDSUK (Dataconnection) Ltd, and printed and bound in Great Britain A CIP record for this book is available from the British Library ISBN 978 1 4744 3033 3 (hardback) ISBN 978 1 4744 3035 7 (webready PDF) ISBN 978 1 4744 3036 4 (epub) Th e right of Dorothy Wai Sim Lau to be identifi ed as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 and the Copyright and Related Rights Regulations 2003 (SI No. 2498). Contents List of fi gures vi Acknowledgements viii Notes on the text ix Introduction: a phenomenon aft er cinema – the Chinese stardom goes ‘cyber’ 1 1 Blogging Donnie Yen: remaking the martial arts body as a cyber-intertext 29 2 ‘Flickering’ Jackie Chan: the actor-ambassadorial persona on photo-sharing sites 57 3 ‘Friending’ Jet Li on Facebook: the celebrity-philanthropist persona in online social networks 84 4 YouTubing Zhang Ziyi: Chinese female stardom in fan videos on video-sharing sites 107 5 Discussing Takeshi Kaneshiro: the pan-Asian star image on fan forums 130 Conclusion: reimagining Chineseness in the global cyberculture 163 Bibliography 171 Filmog raphy 194 Index 201 Figures I.1 Two female warriors in Crouching Tiger, Hidden Dragon fi ghting with ‘StarWars’ lightsabers 3 I.2 Gong Li and Chow Yun-fat in the Chinese epic drama, Curse of the Golden Flower 10 I.3 Jet Li’s Wong Fei-hung in Once Upon a Time in China is exemplary to the national allegory of China 17 1.1 A movie still of Ip Man included in a blog entry of ‘Th e Fightland Blog’ 36 1.2 Th e cinematic personality of Bruce Lee in Enter the Dragon in the entry entitled ‘Everyone was kung fu fi ghting: the story of Ip Man’ 43 1.3 Th e blogger poaches and posts an archival picture of Bruce Lee and the Wing Chun master Ip Man 44 1.4 An online image of Donnie Yen’s son dressed as Chirrut Îmwe and his daughter as a Stormtrooper as part of the family’s Halloween celebration 50 2.1 ‘Jackie Chan’s Star’ – the title of a tourist’s photograph posted on Flickr 60 2.2 Lu Yan in Th e Forbidden Kingdom: showing Jackie Chan’s acrobatic performativity 71 2.3 ‘Jackie Chan feeling the love of his country’ 78 2.4 As a UNICEF ambassador, Jackie Chan displays his paternal power in front of the press in Myanmar 81 3.1 A Facebook picture shows Jet Li lending a shoulder to a weeping victim during the relief work of the Yushu earthquake 92 Figures vii 3.2 An online game launched by the One Foundation as part of the fundraising for the relief work of Sichuan earthquake in China in 2008 95 3.3 A video post celebrates Jet Li’s birthday yet promotes the actor-philanthropist’s Buddhist-based image 100 4.1 ‘Ziyi Zhang and Michelle Yeoh talk about Memoirs of A Geisha on NBC’s Today show’ 116 4.2 Th e YouTube video encompassing images of Zhang Ziyi’s ‘sex photo-gate’ copied from the video-sharing site www.ku6.com 120 5.1 Takeshi Kaneshiro as the subject of celebrity endorsement of CITIZEN in 2012 131 5.2 Th e camera focuses on the ‘beautiful’ faces of Takeshi Kaneshiro and Gigi Leung in Tempting Heart 138 5.3 Creative work themed on ‘Help for Japan: Hope’ by Internet user ‘mikomi’ 157 5.4 ‘mikomi’’s the other painting called ‘Fukushima’ as a means to solicit help from the Internet public to help Japan’s recovery from the catastrophe 159 Acknowledgements I would like to express my gratitude to Edinburgh University Press (EUP) for publishing my book. I very much appreciate my editors Gillian Leslie and Richard Strachan for their effi cient work and timely help that made the publication of this book possible. Th is book is developed from my PhD project. I owe Professor Esther Yau, my PhD supervisor and my mentor, for her advice, guidance, and confi dence, given to me in my academic pursuit. Her intellectual vision and experience are always the source of inspiration to me. Moreover, I am indebted to the examiners of my PhD thesis – Professor Gina Marchett i, Professor Stephen Chu, and Professor Sze-wei Ang – for the useful comments they provided on various occasions. I am wholeheartedly grateful for the emotional and practical support given by my family, especially my husband Alfred Yuen (阮立秋) and my son Pat-ngo Yuen (阮不我). Th e unfailing love, patience, and support Alfred off ers me in my intellectual quest and in my life journey are always most valued. Special thanks to Pat-ngo who was born during the time I worked on this book project. As many people perceive, his arrival makes my writing as well as my role as a scholar-mother challenging, yet also incredibly rewarding. Lastly, my thanks go to the publishers and editors who have granted permission for republishing the materials in my previous writings. A small portion of Chapter 2 is published in Continuum: Journal of Media & Cultural Studies, March 2014. Part of Chapter 3 appears in Journal of Asian Cinema 26:2, 2016. Chapter 4 is derived, in part, from my published essay in Journal of Chinese Cinemas 11:3, 2017. An earlier version of Chapter 5 has been accepted by positions: asia critique (to be published) and is reproduced here with its permission. Notes on the text Th is book examines Chinese stardom in participatory cyberculture. It uses the English names of the stars for the keyword-searches on the web to indicate the transnational capacity of the personalities. With the consideration of the fact that this method generates results not only in English but also in Chinese, accordingly, a translation of the Chinese- language materials, including fan-writt en texts, magazines, and online videos, is necessary. All the translations from Chinese to English have been done by the author, unless otherwise indicated. Th e names of the Chinese stars will be primarily translated into the versions that are most popular in the Western or English-language world for easy reference, regardless of the origin of the celebrities, for example, Jet Li (from mainland China) not Li Lianjie, Jackie Chan (from Hong Kong) not Shing Lone, and Michelle Yeoh (from Malaysia) not Yeoh Choo-Kheng. For other names, which are oft en the well-circulated ones in media and fan discourses, this book primarily employs two streams of the Romanisation system for addressing stars from mainland China and stars from Hong Kong. For the former, the book adopts the pinyin system, which is the standard transliteration based on Mandarin pronun- ciation, for instance, Zhang Ziyi and Gong Li. For the latt er, the book uses the Cantonese pinyin system, such as Chow Yun-fat, rather than Zhou Runfa. For both cases, the book follows the Chinese tradition of enunciating names by putt ing surnames prior to the given names. Another aspect about the use of language to note refers to quotes of online texts. In order to keep the authenticity of the texts, this book will retain the original version, even though they may include incorrect spellings or grammatical errors. Introduction A phenomenon after cinema – the Chinese stardom goes ‘cyber’ Stardom in participatory cyberspace Th e success of Ang Lee’s Crouching Tiger, Hidden Dragon (2000) is a phenomenal cinematic and cultural occurrence: a Mandarin-language, martial–arts–romance crossover hit, starring a highly celebrated Chinese cast became the highest-grossing foreign-language fi lm ever in America in 2000 (Wu and Chan 2007: 196). It has also broken the box-offi ce record for foreign-language fi lms in England, Germany, France, Australia, and New Zealand (ibid.). In addition to the commercial acclaim, the fi lm has nearly every component necessary to make it an ‘authentically’ Chinese production, for example, an iconic Chinese sett ing, period costume, and the Mandarin language the fi lm adopts, assisting the fi lm’s market success of ‘repackaging an ethnic story for a global audience’ (Wang and Yeh 2005: 179).
Load more

Recommended publications
  • Wendy Gan Hong Kong University Press the University of Hong Kong Pokfulam Road Hong Kong
    Wendy Gan Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2005 Hong Kong University Press ISBN 978-962-209-743-8 All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Pre-Press Limited in Hong Kong, China Contents Series Preface vii Acknowledgments xi 1 Introduction 1 2 Contexts: Independent Filmmaking and Hong Kong 11 Cinema 3 Contexts: Social Realism in Hong Kong Cinema 25 4 The Representation of the Mainland Chinese Woman 43 in Durian Durian 5 Durian Adrift: The Contiguities of Identity in Durian 59 Durian ● vi CONTENTS 6 The Prostitute Trilogy So Far 81 7 Conclusion 91 Notes 97 Filmography 103 Bibliography 107 ●1 Introduction Durian Durian is not the film one immediately thinks of when the name of Hong Kong film director Fruit Chan is brought up. The stunning success, both locally and internationally, of his low-budget debut as an independent director, Made in Hong Kong, has ensured that Chan’s reputation will always be tied to that film. Yet Durian Durian has much to offer the lover of Hong Kong cinema and the admirer of Fruit Chan’s work. A post-1997 film set both in Hong Kong and mainland China, with mainland Chinese protagonists, the film is a fine example of a Hong Kong tradition of socially sensitive realist films focused on the low-caste outsider, and is the result of a maturing director’s attempt to articulate the new, often still contradictory, realities of ‘one country, two systems’ in action.
    [Show full text]
  • Cinephilia Or the Uses of Disenchantment 2005
    Repositorium für die Medienwissenschaft Thomas Elsaesser Cinephilia or the Uses of Disenchantment 2005 https://doi.org/10.25969/mediarep/11988 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Elsaesser, Thomas: Cinephilia or the Uses of Disenchantment. In: Marijke de Valck, Malte Hagener (Hg.): Cinephilia. Movies, Love and Memory. Amsterdam: Amsterdam University Press 2005, S. 27– 43. DOI: https://doi.org/10.25969/mediarep/11988. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell 3.0 Lizenz zur Verfügung Attribution - Non Commercial 3.0 License. For more information gestellt. Nähere Auskünfte zu dieser Lizenz finden Sie hier: see: https://creativecommons.org/licenses/by-nc/3.0 https://creativecommons.org/licenses/by-nc/3.0 Cinephilia or the Uses of Disenchantment Thomas Elsaesser The Meaning and Memory of a Word It is hard to ignore that the word “cinephile” is a French coinage. Used as a noun in English, it designates someone who as easily emanates cachet as pre- tension, of the sort often associated with style items or fashion habits imported from France. As an adjective, however, “cinéphile” describes a state of mind and an emotion that, one the whole, has been seductive to a happy few while proving beneficial to film culture in general. The term “cinephilia,” finally, re- verberates with nostalgia and dedication, with longings and discrimination, and it evokes, at least to my generation, more than a passion for going to the movies, and only a little less than an entire attitude toward life.
    [Show full text]
  • Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
    Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved.
    [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]
  • The University of Chicago Looking at Cartoons
    THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174
    [Show full text]
  • Bullet in the Head
    JOHN WOO’S Bullet in the Head Tony Williams Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © Tony Williams 2009 ISBN 978-962-209-968-5 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 Condor Production Ltd., Hong Kong, China Contents Series Preface ix Acknowledgements xiii 1 The Apocalyptic Moment of Bullet in the Head 1 2 Bullet in the Head 23 3 Aftermath 99 Appendix 109 Notes 113 Credits 127 Filmography 129 1 The Apocalyptic Moment of Bullet in the Head Like many Hong Kong films of the 1980s and 90s, John Woo’s Bullet in the Head contains grim forebodings then held by the former colony concerning its return to Mainland China in 1997. Despite the break from Maoism following the fall of the Gang of Four and Deng Xiaoping’s movement towards capitalist modernization, the brutal events of Tiananmen Square caused great concern for a territory facing many changes in the near future. Even before these disturbing events Hong Kong’s imminent return to a motherland with a different dialect and social customs evoked insecurity on the part of a population still remembering the violent events of the Cultural Revolution as well as the Maoist- inspired riots that affected the colony in 1967.
    [Show full text]
  • D2492609215cd311123628ab69
    Acknowledgements Publisher AN Cheongsook, Chairperson of KOFIC 206-46, Cheongnyangni-dong, Dongdaemun-gu. Seoul, Korea (130-010) Editor in Chief Daniel D. H. PARK, Director of International Promotion Department Editors KIM YeonSoo, Hyun-chang JUNG English Translators KIM YeonSoo, Darcy PAQUET Collaborators HUH Kyoung, KANG Byeong-woon, Darcy PAQUET Contributing Writer MOON Seok Cover and Book Design Design KongKam Film image and still photographs are provided by directors, producers, production & sales companies, JIFF (Jeonju International Film Festival), GIFF (Gwangju International Film Festival) and KIFV (The Association of Korean Independent Film & Video). Korean Film Council (KOFIC), December 2005 Korean Cinema 2005 Contents Foreword 04 A Review of Korean Cinema in 2005 06 Korean Film Council 12 Feature Films 20 Fiction 22 Animation 218 Documentary 224 Feature / Middle Length 226 Short 248 Short Films 258 Fiction 260 Animation 320 Films in Production 356 Appendix 386 Statistics 388 Index of 2005 Films 402 Addresses 412 Foreword The year 2005 saw the continued solid and sound prosperity of Korean films, both in terms of the domestic and international arenas, as well as industrial and artistic aspects. As of November, the market share for Korean films in the domestic market stood at 55 percent, which indicates that the yearly market share of Korean films will be over 50 percent for the third year in a row. In the international arena as well, Korean films were invited to major international film festivals including Cannes, Berlin, Venice, Locarno, and San Sebastian and received a warm reception from critics and audiences. It is often said that the current prosperity of Korean cinema is due to the strong commitment and policies introduced by the KIM Dae-joong government in 1999 to promote Korean films.
    [Show full text]
  • Laurent Courtiaud & Julien Carbon
    a film by laurent courtiaud & julien carbon 1 Red_nights_93X66.indd 1 7/05/10 10:36:21 A FILM BY LAURENT COURTIAUD & JULIEN CARBON HonG KonG, CHIna, FranCe, 2009 FrenCH, CantoneSe, MandarIn 98 MInuteS World SaleS 34, rue du Louvre | 75001 PARIS | Tel : +33 1 53 10 33 99 [email protected] | www.filmsdistribution.com InternatIonal PreSS Jessica Edwards Film First Co. | Tel : +1 91 76 20 85 29 | [email protected] SYNOPSIS A CantoneSE OPERA TELLS THE TRAGEDY of THE Jade EXecutioner, WHO HAD created A PoiSon THat KILLED by GIVING THE ultimate PLEASURE. THIS LEGEND HAPPENS AGAIN noWadayS WHEN A FrencH Woman EScaPES to HonG KonG AFTER HAVING KILLED HER loVER to taKE AN ANTIQUE HoldinG, THE infamouS Potion. SHE becomeS THE HAND of fate THat PITS A TAIWANESE GANGSTER AGAINST AN EPicurean Woman murderer WHO SEES HERSELF AS A NEW incarnation of THE Jade EXecutioner. 4 3 DIRECTORS’ NOTE OF INTENT “ Les Nuits Rouges du Bourreau de But one just needs to wander at night along Jade ”. “Red Nights Of The Jade Exe- the mid-levels lanes on Hong Kong island, a cutioner”. The French title reminds maze of stairs and narrow streets connecting of double bills cinemas that scree- ancient theatres, temples and high tech buil- ned Italian “Gialli” and Chinese “Wu dings with silent mansions hidden among the trees up along the peak, to know this is a per- Xia Pian”. The end of the 60s, when fect playground for a maniac killer in trench genre and exploitation cinema gave coat hunting attractive but terrified victims “à us transgressive and deviant pictures, la Mario Bava”.
    [Show full text]
  • 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.
    [Show full text]
  • K O R E a N C in E M a 2 0
    KOREAN CINEMA 2006 www.kofic.or.kr/english Korean Cinema 2006 Contents FOREWORD 04 KOREAN FILMS IN 2006 AND 2007 05 Acknowledgements KOREAN FILM COUNCIL 12 PUBLISHER FEATURE FILMS AN Cheong-sook Fiction 22 Chairperson Korean Film Council Documentary 294 206-46, Cheongnyangni-dong, Dongdaemun-gu, Seoul, Korea 130-010 Animation 336 EDITOR-IN-CHIEF Daniel D. H. PARK Director of International Promotion SHORT FILMS Fiction 344 EDITORS Documentary 431 JUNG Hyun-chang, YANG You-jeong Animation 436 COLLABORATORS Darcy Paquet, Earl Jackson, KANG Byung-woon FILMS IN PRODUCTION CONTRIBUTING WRITER Fiction 470 LEE Jong-do Film image, stills and part of film information are provided by directors, producers, production & sales companies, and Film Festivals in Korea including JIFF (Jeonju International Film Festival), PIFF APPENDIX (Pusan International Film Festival), SIFF (Seoul Independent Film Festival), Women’s Film Festival Statistics 494 in Seoul, Puchon International Fantastic Film Festival, Seoul International Youth Film Festival, Index of 2006 films 502 Asiana International Short Film Festival, and Experimental Film and Video Festival in Seoul. KOFIC appreciates their help and cooperation. Contacts 517 © Korean Film Council 2006 Foreword For the Korean film industry, the year 2006 began with LEE Joon-ik's <King and the Clown> - The Korean Film Council is striving to secure the continuous growth of Korean cinema and to released at the end of 2005 - and expanded with BONG Joon-ho's <The Host> in July. First, <King provide steadfast support to Korean filmmakers. This year, new projects of note include new and the Clown> broke the all-time box office record set by <Taegukgi> in 2004, attracting a record international support programs such as the ‘Filmmakers Development Lab’ and the ‘Business R&D breaking 12 million viewers at the box office over a three month run.
    [Show full text]
  • MIYAKI Yukio (GONG Muduo) 宮木幸雄（龔慕鐸）（B
    MIYAKI Yukio (GONG Muduo) 宮木幸雄（龔慕鐸）（b. 1934） Cinematographer Born in Kanagawa Prefecture, Miyaki joined Ari Production in 1952 and once worked as assistant to cinematographer Inoue Kan. He won an award with TV programme Kochira Wa Shakaibu in Japan in 1963. There are many different accounts on how he eventually came to work in Hong Kong. One version has it that he came in 1967 with Japanese director Furukawa Takumi to shoot The Black Falcon (1967) and Kiss and Kill (1967) for Shaw Brothers (Hong Kong) Ltd. Another version says that the connection goes back to 1968 when he helped Chang Cheh film the outdoor scenes of Golden Swallow (1968) and The Flying Dagger (1969) in Japan. Yet another version says that he signed a contract with Shaws as early as 1965. By the mid-1970s, under the Chinese pseudonym Gong Muduo, Miyaki worked as a cinematographer exclusively for Chang Cheh’s films. He took part in over 30 films, including The Singing Thief (1969), Return of the One-armed Swordsman (1969), The Invincible Fist (1969), Dead End (1969), Have Sword, Will Travel (1969), Vengeance! (1970), The Heroic Ones (1970), The New One-Armed Swordsman (1971), The Anonymous Heroes (1971), Duel of Fists (1971), The Deadly Duo (1971), Boxer from Shantung (1972), The Water Margin (1972), Trilogy of Swordsmanship (1972), The Blood Brothers (1973), Heroes Two (1974), Shaolin Martial Arts (1974), Five Shaolin Masters (1974), Disciples of Shaolin (1975), The Fantastic Magic Baby (1975), Marco Polo (1975), 7-Man Army (1976), The Shaolin Avengers (1976), The Brave Archer (1977), The Five Venoms (1978) and Life Gamble (1979).
    [Show full text]
  • Representation of Females As Victims in Hong Kong Crime Films (2003-2015)
    REPRESENTATION OF FEMALES AS VICTIMS IN HONG KONG CRIME FILMS (2003-2015) Perspectives from One Nite in Mongkok, Protégé and The Stool Pigeon TINGTING HU (胡婷婷) MA. Media, Loughborough University, UK, 2011 BA. Arts, Shanghai Theatre Academy, China, 2010 This thesis is submitted for the degree of Master of Research Department of Media, Music, Communication and Cultural Studies Faculty of Arts Macquarie University, Sydney December 25, 2015 MRES Thesis 2015 Tingting HU (ID: 43765858) TABLE OF CONTENTS ABSTRACT ........................................................................................................................ iii CERTIFICATE OF AUTHORSHIP/ORIGINALITY .................................................. iv ACKNOWLEDGMENTS .................................................................................................. v CHAPTER 1 INTRODUCTION ....................................................................................... 1 CHAPTER 2 FEMINISM AND HONG KONG CRIME FILMS ................................. 7 Feminism and Film Studies .................................................................................................. 7 The Western Context ......................................................................................................... 7 The Chinese Context ....................................................................................................... 11 Crime Films and Violence Against Women ....................................................................... 15 Crime Films ...................................................................................................................
    [Show full text]