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Presented in partnership with VENGEANCE OF THE PHOENIX SISTERS [三鳳震武林] Free! | Available Nov. 5 - 11 only DIR Chen Hung-min; SCR Chu Ge; PROD Yu Lu, Chan Hsi-fan. Taiwan, 1968, b&w, 88 min. In Mandarin with English subtitles. NOT RATED RAINING IN THE MOUNTAIN [空山靈雨] 2K Restoration | Available starting Nov. 6 DIR/SCR King Hu; PROD Lo Kai-Mu, Chung Ling. Taiwan/Hong Kong, 1979, color, 120 min. In Mandarin with English subtitles. NOT RATED YI YI (A ONE AND A TWO . .) [一一] 20th Anniversary | Available starting Nov. 7 DIR/SCR Edward Yang; PROD Shin’ya Kawai. Taiwan/Japan, 2000, color, 173 min. In English, Mandarin, Taiwanese and Japanese with English subtitles. NOT RATED MURMUR OF THE HEARTS [NIAN NIAN 念念] Tickets $6 | Available Nov. 8 - 14 only DIR/SCR Sylvia Chang; SCR Yukihiko Kageyama; PROD Chong Lai-Jan. Hong Kong/Taiwan, 2015, color, 119 min. In Mandarin with English subtitles. NOT RATED AFI Silver Theatre and Cultural Center | 8633 Colesville Road, Downtown Silver Spring DRAGON INN [龍門客棧] 4K Restoration | Available starting Nov. 13 DIR/SCR King Hu; PROD LS Chang. Taiwan, 1967, color, 111 min. In Mandarin with English subtitles. NOT RATED A TOUCH OF ZEN [俠女] 4K Restoration | Available starting Nov. 14 DIR/SCR King Hu; PROD Hsia-wu Liang-fang. Taiwan/Hong Kong, 1971, color, 180 min. In Mandarin with English subtitles. NOT RATED THE ASSASSIN [刺客聶隱娘] Available starting Nov. 15 DIR/SCR/PROD Hou Hsiao-hsien; SCR Chu T’ien- wen, Hsieh Hai-Meng, Ah Cheng; PROD Wen-Ying Huang, Liao Ching-Sung. Taiwan/China/Hong Kong, 2015, color, 105 min. In Mandarin with English subtitles. NOT RATED LEGEND OF THE MOUNTAIN [山中傳奇] 4K Restoration | Available starting Nov. 21 DIR/SCR/PROD King Hu; SCR Ling Chung. Taiwan/ Hong Kong, 1979, color, 184 min. In Mandarin with English subtitles. NOT RATED WILL YOU STILL LOVE ME TOMORROW? [明天記得愛上我] Available starting Nov. 22 DIR/SCR Arvin Chen; PROD Yating Chang. Taiwan, 2013, color, 106 min. In Mandarin with English subtitles. NOT RATED FLOWERS OF SHANGHAI [海上花] 4K Restoration | Available starting Nov. 27 DIR Hou Hsiao-hsien; SCR Chu T’ien-wen, Eileen Chang, from the novel by Han Bangqing; PROD Shôzô Ichiyama, Yang Teng-kuei. Taiwan, 1998, color, 113 min. In Cantonese and Shanghainese with English subtitles. NOT RATED AFI Silver Theatre and Cultural Center | 8633 Colesville Road, Downtown Silver Spring.

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Narrative Space in the Cinema of King Hu 127
interstate laws directed against the telegraph, the telephone, and the railway, see Questions of Chinese Aesthetics: Film Form and Ferguson and McHenry, American Federal Government, 364, and Harrison, "'Weak- ened Spring,'" 70. Narrative Space in the Cinema of King Hu 127. Mosse, Nationalism and Sexuality. by Hector Rodnguez 128. Goldberg, Racist Culture. Much of the concern over the Johnson fight films was directed at the effects they would have on race relations (e.g., the possibility of black people becoming filled with "race pride" at the sight ofjohnson's victories). This imperialistic notion of reform effectively positioned black audiences as need- In memory of King Hu (1931-1997) ing moral direction. 129. Orrin Cocks, "Motion Pictures," Studies in Social Christianity (March 1916): 34. The concept of Chinese aesthetics, when carefully defined and circumscribed, illu- minates the relationship between narrative space and cultural tradition in the films of King Hu. Chinese aesthetics is largely based on three ethical concerns that muy be termed nonattachment, antirationalism, and perspectivism. This essay addresses the representation of "Chineseness" in the films of King Hu, a director based in Hong Kong and Taiwan whose cinema draws on themes and norms derived from Chinese painting, theater, and literature. Critical discussions of his work have often addressed the question of the ability of the cinema, a for- eign medium rooted in a mechanical age, to express the salient traits of Chinas longstanding artistic traditions. At stake is the relationship between film form and the national culture, embodied in the concept of a Chinese aesthetic. Film scholars tend to define the main features of Chinese aesthetics selec- lively, emphasizing a few stylistic norms out of a broad repertoire of available his- tones and traditions, and the main criterion for this selection is the sharp difference between those norms and the presumed realism of European art before modern- ism.
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ALSO LIKE LIFE: the FILMS of HOU HSIAO-HSIEN New Addition: Hou Hsiao-Hsien in Conversation at BFI Southbank – Monday 14 September
ALSO LIKE LIFE: THE FILMS OF HOU HSIAO-HSIEN New addition: Hou Hsiao-Hsien In Conversation at BFI Southbank – Monday 14 September Thursday 13 August 2015, London The BFI is delighted to announce that one of the leading figures of the Taiwanese New Wave Hou Hsiao-Hsien, whose latest film The Assassin won Best Director at this year’s Cannes Film Festival, will make a very rare visit to the UK to take part in an In Conversation event at BFI Southbank. The event, which takes place on Monday 14 September, is part of Also Life Life: The Films of Hou Hsiao- Hsien, a major retrospective celebrating Hou’s work, which takes place from 2 Sept – 6 Oct 2015 at BFI Southbank. Hou-Hsiao-Hsien has helped put Taiwanese cinema on the international map with work that explores the island’s rapidly changing present as well as its turbulent, often bloody past, and is one of the best examples in world cinema of a director who found his own distinctive style and voice while working on the job. The season will kick off with Cute Girl (1980), Cheerful Wind (1981) and The Green Green Grass of Home (1982), all starring Hong Kong pop star Kenny Bee; these early films offer a mixture of comedy and romance and begin to show Hou’s interest in Taiwan’s regional differences, a key theme of his later films. Hou’s other early films such as The Sandwich Man (1983) and The Boys from Fengkuei (1983) dramatised engaging life stories – including his own in The Time to Live and the Time to Die (1985).
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Hou Hsiao-Hsien Pdf Free Download
HOU HSIAO-HSIEN PDF, EPUB, EBOOK Richard Suchenski | 272 pages | 04 Aug 2014 | Synema Gesellschaft Fur Film u. Medien | 9783901644580 | English | Vienna, Austria Hou Hsiao-hsien PDF Book Seller does not offer returns. Great Directors. Excellent condition. None had been granted a wide release; a very few hovered in the dim hinterlands of availability on obscure videos—poor color, wrong format, inadequate subtitles. Shi-yan Chao, Asian Cinema A hefty collection of essays, reminiscences, and interviews. Main navigation for mobiles. Business seller information. Learning and training. Approaching his body of work at global level reveals Hou to be a progenitor of slow cinema, with his films moving at a glacial pace as mood is used to create meaning within his austere compositions. Unfolding like a series of solemn tableaux, this dignified saga focuses on the disintegration of the Lin family under an oppressive regime as three sons — bar owner Wen-heung Sung Young Chen , psychologically damaged translator Wen-leung Jack Kao , and the leftist Wen-ching Tony Leung Chiu Wai — choose different but no less tragic paths. The executive committee of the Taipei Golden Horse Film Festival, organizers of the annual prize ceremony, said Monday that their decision to reward Hou was a unanimous one. Shipping cost cannot be calculated. Sometimes all it takes is the right recommendation to set you on your path from newbie to know-it-all…. Each of the recent works requires detailed treatment to do it justice; City of Sadness is discussed in the companion volume on Films. Movies and food are two of the things we do best at SBS, and you can now enjoy the best of both worlds in this new column as we match delicious recipes with soul Item Information Condition:.
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I WISH I KNEW a Film by Jia Zhangke 
presents I WISH I KNEW A film by Jia Zhangke **Official Selection, Un Certain Regard, Cannes Film Festival 2010** **Official Selection, Locarno Film Festival 2010** **Official Selection, Toronto International Film Festival, 2010** China / 2010 / 118 minutes / Color / Chinese with English subtitles Publicity Contacts: David Ninh, [email protected] Distributor Contact: Chris Wells, [email protected] Kino Lorber, Inc. 333 West 39th St., Suite 503 New York, NY 10018 (212) 629-6880 Short Synopsis: Shanghai, a fast-changing metropolis, a port city where people come and go. Eighteen people recall their lives in Shanghai. Their personal experiences, like eighteen chapters of a novel, builds a vivid picture of Shanghai life from the 1930s to 2010. Long Synopsis: Shanghai's past and present flow together in Jia Zhangke's poetic and poignant portrait of this fast-changing port city. Restoring censored images and filling in forgotten facts, Jia provides an alternative version of 20th century China's fraught history as reflected through life in the Yangtze city. He builds his narrative through a series of eighteen interviews with people from all walks of life-politicians' children, ex-soldiers, criminals, and artists (including Taiwanese master Hou Hsiao-hsien) -- while returning regularly to the image of his favorite lead actress, Zhao Tao, wandering through the Shanghai World Expo Park. (The film was commissioned by the World Expo, but is anything but a piece of straightforward civic boosterism.) A richly textured tapestry full of provocative juxtapositions. - Metrograph Director’s Biography: Jia Zhangke was born in Fenyang, Shanxi, in 1970 and graduated from Beijing Film Academy.
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Legend of the Mountain
LEGEND OF THE MOUNTAIN A film by King Hu 1979 / Taiwan and Hong Kong / 184 min. / In Mandarin with English subtitles Press materials: www.kinolorber.com Distributor Contact: Kino Lorber 333 W. 39th Street New York, NY 10018 (212) 629-6880 Jonathan Hertzberg, [email protected] Publicity Contacts: Rodrigo Brandao, [email protected] Michael Lieberman, [email protected] 1 Synopsis A travelling scholar, intent on translating a Buddhist sutra, loses his way in the mountains. Time and space collapse around him as he continues his journey, encountering ghostly visitations amid a haunting fantasia of color, light and landscape. King Hu rose to prominence in the 1960s and 70s as a superb director of wuxia, a subgenre of samurai film dealing with swords, sorcery and chivalrous heroes. Legend of the Mountain comes from the director’s later period, when his artistry, specifically his landscape compositions, was at the height of its powers. The film’s astonishing nature shots, shot on location in the Korean countryside, are reminiscent of Terrence Malick, while the reflective blend of myth and history is all Hu’s own. 2 About the Restoration The complete version of Legend of the Mountain has been restored in 4K from a first generation, vintage inter-positive and from the sound negative preserved at the Taiwan Film Institute. The original camera negative, re-edited into a shorter theatrical version, was not assessed as the best source because it was completely damaged by mold, and the coiled film strips of some reels were sticky and glued together due to the decay of the support film base.
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Alternative Titles Index
VHD Index - 02 9/29/04 4:43 PM Page 715 Alternative Titles Index While it's true that we couldn't include every Asian cult flick in this slim little vol- ume—heck, there's dozens being dug out of vaults and slapped onto video as you read this—the one you're looking for just might be in here under a title you didn't know about. Most of these films have been released under more than one title, and while we've done our best to use the one that's most likely to be familiar, that doesn't guarantee you aren't trying to find Crippled Avengers and don't know we've got it as The Return of the 5 Deadly Venoms. And so, we've gathered as many alternative titles as we can find, including their original language title(s), and arranged them in alphabetical order in this index to help you out. Remember, English language articles ("a", "an", "the") are ignored in the sort, but foreign articles are NOT ignored. Hey, my Japanese is a little rusty, and some languages just don't have articles. A Fei Zheng Chuan Aau Chin Adventure of Gargan- Ai Shang Wo Ba An Zhan See Days of Being Wild See Running out of tuas See Gimme Gimme See Running out of (1990) Time (1999) See War of the Gargan- (2001) Time (1999) tuas (1966) A Foo Aau Chin 2 Ai Yu Cheng An Zhan 2 See A Fighter’s Blues See Running out of Adventure of Shaolin See A War Named See Running out of (2000) Time 2 (2001) See Five Elements of Desire (2000) Time 2 (2001) Kung Fu (1978) A Gai Waak Ang Kwong Ang Aau Dut Air Battle of the Big See Project A (1983) Kwong Ying Ji Dut See The Longest Nite The Adventures of Cha- Monsters: Gamera vs.
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Plaquette HHH.Indd
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Download a Touch of Zen Press Kit (PDF)
presents In director King Hu’s grandest work, the noblewoman Yang (Hsu Feng), a fugitive hiding in a small village, must escape into the wilderness with a shy scholar and two aides. There, the quartet face a massive group of fighters, and are joined by a band of Buddhist monks who are surprisingly skilled in the art of battle. Janus Films is proud to present the original, uncut version of this classic in a sparkling new 4K restoration. “ The visual style will set your eyes on fire.” —Time Out London “ Truly spectacular.” —A. H. Weiler, The New York Times © 1971 Union Film Co., Ltd. / © 2015 Taiwan Film Institute. All rights reserved. janusfilms.com/hu “ An amazing and unique director.” —Ang Lee Taiwan • 1971 • 180 minutes • Color • Monaural In Mandarin with English subtitles • 2.35:1 aspect ratio Screening format: 4K DCP CREDITS Director/Scriptwriter: King Hu Starring: Producers: Sha Jung-feng, Hsu Feng as Yang Huizhen Hsia-wu Liang Fang Shi Jun as Gu Shengzhai Cinematographer: Hua Huiying Bai Ying as General Shih Editors: King Hu, Wen-chaio Wang Chin-chen Music: Wu Dajiang Martial arts choreographers: Han Yingjie, Pan Yao-kun Booking Inquiries: Janus Films Press Contact: Ryan Werner [email protected] • 212-756-8761 [email protected] • 917-254-7653 WUXIA: A PRIMER Although in the West most often applied to film, the term wuxia—literally “martial [wu] hero [xia]”—in fact refers to a genre of Chinese fiction that is represented in every medium, from literature to opera to, of course, movies. Dating back to 300 BCE in its protean form, the wuxia narrative traditionally follows a hero from the lower class without official affiliation who pursues righteousness and/or revenge while adhering to a code of chivalrous behavior.
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STORY by KORE-EDA Hirokazu
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110X220 HOU DL 2.Pdf
1 Tuesday 2 May Hou Hsiao-hsien 20:30 Flowers of Shanghai Wednesday 3 May in Prague 18:30 City of Sadness Ponrepo Cinema, 2–10 May 2017 Thursday 4 May Prague’s Ponrepo Cinema presents a Special Screening of 17:00 Three Times selected films by Hou Hsiao-hsien, to commend his visit to Prague between May 2-10 this year. The world-renowned 20:00 Millenium Mambo Taiwanese film director, screenwriter, producer and actor, Hou Hsiao-hsien (born 1947) and his close cooperator, the famous female novelist and screenwriter Chu Tien-wen (born 1956), Friday 5 May are coming to Prague on the occasion of an international conference on Taiwanese Cinema and Cultural Dynamics, 17:30 HHH: Portrait of Hou Hsiao- organized by the Chiang Ching-kuo Foundation International -hsien (dir. Olivier Assayas) Sinological Center (CCK-ISC) at Charles University in Prague. The Chiang Ching-kuo Foundation International Sinological 19:30 The Assassin Center (CCK–ISC) at Charles University celebrates its 20th Anniversary The main objective of the Center is to support research and Tuesday 9 May study of Chinese culture in the Czech Republic, as well as in academic institutions and universities throughout Central and 17:30 Millenium Mambo Eastern Europe. The CCK-ISC promotes projects in the wide field 20:00 Goodbye South, Goodbye of academic studies, including linguistics, comparative literary studies, history, philosophy, and history of religion and culture, including the fine arts, music, theatre, and film. Wednesday 10 May Hou Hsiao-hsien’s filming style and awards 17:30 Cheerful Wind Hou Hsiao-hsien’s unique observational, documentary-like style of portrayal of the daily lives of the Taiwanese – his 20:00 Three Times use of deep focus and long takes, specific lighting, nonlinear narrative, elliptical editing, and refined music accompaniment – made him a leading figure of the Taiwanese New Cinema.
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