Wong Jing Films and Movies (Filmography)

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Wong Jing Films and Movies (Filmography)

Wong Jing Movies List (Filmography) The Flying Mr. B https://www.listvote.com/lists/film/movies/the-flying-mr.-b-3520931/actors I Corrupt All Cops https://www.listvote.com/lists/film/movies/i-corrupt-all-cops-5976692/actors Twin Dragons https://www.listvote.com/lists/film/movies/twin-dragons-2093119/actors Trouble Couples https://www.listvote.com/lists/film/movies/trouble-couples-15919708/actors The Lady Iron Chef https://www.listvote.com/lists/film/movies/the-lady-iron-chef-7745129/actors The Thirty Million Dollar https://www.listvote.com/lists/film/movies/the-thirty-million-dollar-rush-23709791/actors Rush Slim till Dead https://www.listvote.com/lists/film/movies/slim-till-dead-3486695/actors Let's Make Laugh https://www.listvote.com/lists/film/movies/let%27s-make-laugh-15130701/actors How to Pick Girls Up! https://www.listvote.com/lists/film/movies/how-to-pick-girls-up%21-11132990/actors A Chinese Ghost Story https://www.listvote.com/lists/film/movies/a-chinese-ghost-story-300356/actors Doubles Cause Troubles https://www.listvote.com/lists/film/movies/doubles-cause-troubles-56525929/actors Men Suddenly in Love https://www.listvote.com/lists/film/movies/men-suddenly-in-love-4185556/actors God of Gamblers https://www.listvote.com/lists/film/movies/god-of-gamblers-629847/actors Martial Angels https://www.listvote.com/lists/film/movies/martial-angels-6774691/actors The Romancing Star II https://www.listvote.com/lists/film/movies/the-romancing-star-ii-14510200/actors.

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Alternative Digital Movies As Malaysian National Cinema A
Unfolding Time to Configure a Collective Entity: Alternative Digital Movies as Malaysian National Cinema A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Hsin-ning Chang April 2017 © 2017 Hsin-ning Chang. All Rights Reserved. 2 This dissertation titled Unfolding Time to Configure a Collective Entity: Alternative Digital Movies as Malaysian National Cinema by HSIN-NING CHANG has been approved for Interdisciplinary Arts and the College of Fine Arts by Erin Schlumpf Visiting Assistant Professor of Film Studies Elizabeth Sayrs Interim Dean, College of Fine Arts 3 ABSTRACT CHANG, HSIN-NING, Ph.D., April 2017, Interdisciplinary Arts Unfolding Time to Configure a Collective Entity: Alternative Digital Movies as Malaysian National Cinema Director of dissertation: Erin Schlumpf This dissertation argues that the alternative digital movies that emerged in the early 21st century Malaysia have become a part of the Malaysian national cinema. This group of movies includes independent feature-length films, documentaries, short and experimental films and videos. They closely engage with the unique conditions of Malaysia’s economic development, ethnic relationships, and cultural practices, which together comprise significant understandings of the nationhood of Malaysia. The analyses and discussions of the content and practices of these films allow us not only to recognize the economic, social, and historical circumstances of Malaysia, but we also find how these movies reread and rework the existed imagination of the nation, and then actively contribute in configuring the collective entity of Malaysia. 4 DEDICATION To parents, family, friends, and cats in my life 5 ACKNOWLEDGMENTS I would like to express my sincere gratitude to my advisor, Prof.
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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.
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Written & Directed by and Starring Stephen Chow
CJ7 Written & Directed by and Starring Stephen Chow East Coast Publicity West Coast Publicity Distributor IHOP Public Relations Block Korenbrot PR Sony Pictures Classics Jeff Hill Melody Korenbrot Carmelo Pirrone Jessica Uzzan Judy Chang Leila Guenancia 853 7th Ave, 3C 110 S. Fairfax Ave, #310 550 Madison Ave New York, NY 10019 Los Angeles, CA 90036 New York, NY 10022 212-265-4373 tel 323-634-7001 tel 212-833-8833 tel 212-247-2948 fax 323-634-7030 fax 212-833-8844 fax 1 Short Synopsis: From Stephen Chow, the director and star of Kung Fu Hustle, comes CJ7, a new comedy featuring Chow’s trademark slapstick antics. Ti (Stephen Chow) is a poor father who works all day, everyday at a construction site to make sure his son Dicky Chow (Xu Jian) can attend an elite private school. Despite his father’s good intentions to give his son the opportunities he never had, Dicky, with his dirty and tattered clothes and none of the “cool” toys stands out from his schoolmates like a sore thumb. Ti can’t afford to buy Dicky any expensive toys and goes to the best place he knows to get new stuff for Dicky – the junk yard! While out “shopping” for a new toy for his son, Ti finds a mysterious orb and brings it home for Dicky to play with. To his surprise and disbelief, the orb reveals itself to Dicky as a bizarre “pet” with extraordinary powers. Armed with his “CJ7” Dicky seizes this chance to overcome his poor background and shabby clothes and impress his fellow schoolmates for the first time in his life.
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Ng Man-tat Ð¤Ð¸Ð»Ð¼ ÑÐ ¿Ð¸ÑÑ ŠÐº (Ð¤Ð¸Ð»Ð¼Ð¾Ð³Ñ€Ð°Ñ„Ð¸Ñ) The Wandering Earth https://bg.listvote.com/lists/film/movies/the-wandering-earth-57966215/actors The Royal Scoundrel https://bg.listvote.com/lists/film/movies/the-royal-scoundrel-4902561/actors My Heart Is That Eternal Rose https://bg.listvote.com/lists/film/movies/my-heart-is-that-eternal-rose-3331191/actors Gameboy Kids https://bg.listvote.com/lists/film/movies/gameboy-kids-2119212/actors A Better Tomorrow 2 https://bg.listvote.com/lists/film/movies/a-better-tomorrow-2-787091/actors Sixty Million Dollar Man https://bg.listvote.com/lists/film/movies/sixty-million-dollar-man-3485767/actors A Chinese Odyssey https://bg.listvote.com/lists/film/movies/a-chinese-odyssey-868483/actors All for the Winner https://bg.listvote.com/lists/film/movies/all-for-the-winner-2837581/actors Tricky Brains https://bg.listvote.com/lists/film/movies/tricky-brains-775390/actors A Chinese Odyssey Part Two: https://bg.listvote.com/lists/film/movies/a-chinese-odyssey-part-two%3A-cinderella- Cinderella 3278995/actors Lee Rock II https://bg.listvote.com/lists/film/movies/lee-rock-ii-10881515/actors Shaolin Soccer https://bg.listvote.com/lists/film/movies/shaolin-soccer-536299/actors Fight Back to School https://bg.listvote.com/lists/film/movies/fight-back-to-school-3071625/actors King of Beggars https://bg.listvote.com/lists/film/movies/king-of-beggars-6412210/actors The Mad Monk https://bg.listvote.com/lists/film/movies/the-mad-monk-3275152/actors Holy Weapon https://bg.listvote.com/lists/film/movies/holy-weapon-1092407/actors
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Fight Back to School 1991
Fight back to school 1991 Action · A SWAT team leader is going undercover at a high school to retrieve a stolen gun for his .. Fight Back To School () was a hilarious comedy that starred Stephen Chow as a cop who goes undercover at a local high school. Fight Back To School is a Hong Kong comedy film directed by Gordon Chan and starring Stephen Chow. Contents. [hide]. 1 Plot; 2 Cast; 3 References. Fight Back To School (simplified Chinese: 逃学威龙; traditional Chinese: 逃學威龍) is a Hong Kong comedy. This is a comedy movie which Stephen Chow is the main actors: Fight Back To School 2 Fight Back to. Fight Back To School 1 Stephen Chow Sing Sing Ng Man Tat Subtitle Indonesia #Comedy #Movie. Classic, slapstick, all-out-ridiculous Hong Kong action-comedy delivered by the one-and-only Stephen Chow. Fight Back To School Stephen Chow in Fight Back To School Audio latino Dr. Slump. Loading. Stephen Chow Sing Chi || Fight Back to School Engsub (Action Films) - Duration: Gregory D. Fight Back To School () was a hilarious comedy that starred Stephen Chow as a cop who goes. Stephen Chow's prodigious skills with guns and martial arts take center stage once again in this successful action film from Hong Kong. Watch online Fight Back to School full with English subtitle. Watch online free Fight Back to School, Dennis Chan, Stephen Chow, Man Tat Ng, Sharla. Fight Back To School est un film réalisé par Gordon Chan avec Stephen Chow, Man Cheung. Synopsis: Un policier retourne à l'école sous une fausse identité.
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The Shifting of Chow Yun-Fat's Star Image Since 1997
7 Translocal Imagination of Hong Kong Connections: The Shifting of Chow Yun-fat’s Star Image Since 1997 Lin Feng Anyone who is interested in Hong Kong cinema must be familiar with one name: Chow Yun-fat (b. 1955). He rose to film stardom in the 1980s when Hong Kong cinema started to attract global attention beyond East Asia. During his early screen career, Chow established a star image as an urban citizen of modern Hong Kong through films such as A Better Tomorrow/Yingxiong bense (John Woo, 1986), City on Fire/Longhu fengyun (Ringo Lam, 1987), All About Ah-Long/A Lang de gushi (Johnnie To, 1989), God of Gamblers/Du shen (Wong Jing, 1989), and Hard Boiled/Lashou shentan (John Woo, 1992). Many Hong Kong film critics claim that Chow’s popularity among local audiences is deeply tied to the rising awareness of Hong Kong’s local identity under the context that the city was undergoing transition from being a British colonial city to becoming the Hong Kong Special Administrative Region (HKSAR) in 1997 (Sek Kei et al. 2000). However, after over a decade of prosperity in the 1980s and early 1990s, Hong Kong cinema has been in a long period of recession. Mo Jianwei (2008) notes that the local film industry’s annual production dropped by nearly 40 per cent, from 242 films in 1993 to 150 in 2000. The decline of Hong Kong cinema saw a number of local stars and film-makers migrating overseas. Following his friends and long-time collaborators John Woo, Ringo Lam and Terence Cheung, who moved to America in the early 1990s, Chow also announced his decision to continue his career in Hollywood in 1995.
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INFERNAL AFFAIRS (2002, 101 Min.) Online Versions of the Goldenrod Handouts Have Color Images & Hot Links
November 13 2018 (XXXVII:12) Wai-Keung Lau and Alan Mak: INFERNAL AFFAIRS (2002, 101 min.) Online versions of The Goldenrod Handouts have color images & hot links: http://csac.buffalo.edu/goldenrodhandouts.html DIRECTED BY Wai-Keung Lau (as Andrew Lau) and Alan Mak WRITING Alan Mak and Felix Chong PRODUCED BY Wai-Keung Lau producer (as Andrew Lau), line producers: Ellen Chang and Lorraine Ho, and Elos Gallo (consulting producer) MUSIC Kwong Wing Chan (as Chan Kwong Wing) and Ronald Ng (composer) CINEMATOGRAPHY Yiu-Fai Lai (director of photography, as Lai Yiu Fai), Wai-Keung Lau (director of photography, as Andrew Lau) FILM EDITING Curran Pang (as Pang Ching Hei) and Danny Pang Art Direction Sung Pong Choo and Ching-Ching Wong WAI-KEUNG LAU (b. April 4, 1960 in Hong Kong), in a Costume Design Pik Kwan Lee 2018 interview with The Hollywood Reporter, said “I see every film as a challenge. But the main thing is I don't want CAST to repeat myself. Some people like to make films in the Andy Lau...Inspector Lau Kin Ming same mood. But because Hong Kong filmmakers are so Tony Chiu-Wai Leung...Chen Wing Yan (as Tony Leung) lucky in that we can be quite prolific, we can make a Anthony Chau-Sang Wong...SP Wong Chi Shing (as diverse range of films.” Lau began his career in the 1980s Anthony Wong) and 1990s, serving as a cinematographer to filmmakers Eric Tsang...Hon Sam such as Ringo Lam, Wong Jing and Wong Kar-wai. His Kelly Chen...Dr.
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Miramax's Asian Experiment: Creating a Model for Crossover Hits Lisa Dombrowski , Wesleyan University, US
Miramax's Asian Experiment: Creating a Model for Crossover Hits Lisa Dombrowski , Wesleyan University, US Prior to 1996, no commercial Chinese-language film had scored a breakout hit in the United States since the end of the 1970s kung fu craze. In the intervening period, the dominant distribution model for Asian films in America involved showcasing subtitled, auteur-driven art cinema in a handful of theaters in New York and Los Angeles, then building to ever more screens in a platform fashion, targeting college towns and urban theaters near affluent, older audiences. With the American fan base for Hong Kong action films steadily growing through video and specialized exhibition during the 1980s, Miramax chieftain Harvey Weinstein recognized the opportunity to market more commercial Chinese-language films to a wider audience outside the art cinema model as a means of generating crossover hits. Beginning in 1995, Weinstein positioned Miramax to become the primary distributor of Hong Kong action films in the United States. Miramax's acquisition and distribution strategy for Hong Kong action films was grounded in a specific set of assumptions regarding how to appeal to mass-market American tastes. The company targeted action-oriented films featuring recognizable genre conventions and brand- name stars, considering such titles both favorites of hardcore Hong Kong film fans and accessible enough to attract new viewers. Rather than booking its Hong Kong theatrical acquisitions into art cinemas, Miramax favored wide releases to multiplexes accompanied by marketing campaigns designed to highlight the action and hide the "foreignness" of the films. Miramax initially adopted a strategy of dubbing, re-scoring, re-editing, and often re-titling its Hong Kong theatrical and video/DVD releases in order to make them more appealing to mainstream American audiences.
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Gender Trouble in Hongkong Cinema Tammy Cheung Et Michael Gilson
Document généré le 28 sept. 2021 10:00 Cinémas Revue d'études cinématographiques Journal of Film Studies Gender Trouble in Hongkong Cinema Tammy Cheung et Michael Gilson Le nouveau cinéma chinois Résumé de l'article Volume 3, numéro 2-3, printemps 1993 Cet article fait le point sur le cinéma contemporain de Hongkong en se penchant plus particulièrement sur des questions entourant les URI : https://id.erudit.org/iderudit/1001198ar représentations de personnages féminins et masculins. Les films, la société et DOI : https://doi.org/10.7202/1001198ar la culture du Hongkong d’aujourd’hui commencent à peine à s’intéresser à la réalité gaie et lesbienne, et, dans une certaine mesure, au féminisme. Comment Aller au sommaire du numéro les différents types de personnages féminins sont-ils présentés dans le cinéma contemporain de Hongkong? Comment le concept traditionnel chinois de « mâle » diffère-t-il de celui que nous connaissons en Occident? La popularité récente de personnages transsexuels dans plusieurs films est aussi examinée. Éditeur(s) Les auteurs soutiennent que des représentations stéréotypées de personnages Cinémas féminins, masculins et homosexuels prédominent dans l’industrie cinématographique de Hongkong et que les représentations positives de gais et de lesbiennes y sont le plus souvent absentes. ISSN 1181-6945 (imprimé) 1705-6500 (numérique) Découvrir la revue Citer cet article Cheung, T. & Gilson, M. (1993). Gender Trouble in Hongkong Cinema. Cinémas, 3(2-3), 181–201. https://doi.org/10.7202/1001198ar Tous droits réservés © Cinémas, 1993 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne.
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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.
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Manfred WONG (Alias Man Chun) 文雋（B
Manfred WONG (alias Man Chun) 文雋（b. 1957.6.5） Screenwriter, Actor, Producer Originally named Wong Man-chun, Wong was born in Hong Kong. As a child, Wong already performed in many children’s radio dramas at Radio Television Hong Kong (RTHK). He started submitting movie reviews to Youth’s Weekly in 1975 when he was still in secondary school, and became a regular writer under the pseudonym ‘Man Chun’. He was later admitted to the Department of Communication of Hong Kong Baptist College. When Rediffusion Television (RTV) started its own creative unit, Wong went on board to become a professional writer before completing his education. He created screenplays for series including Beloved Daughter (1978), Dragon Strikes (1979) and Blowing in the Wind (1980). Wong’s first movie script was for Encore (1980). After leaving RTV for Johnny Mak Production Ltd., he wrote Lonely Fifteen (1982) and Everlasting Love (1984). He then joined the creative team of Golden Harvest as a full-time writer to create Sworn Brothers (1987) and Killer’s Nocturne (1987), all the while penning screenplays for other companies, including the gangster epics Tragic Hero (1987) and Rich and Famous (1987) jointly presented by Win’s Film Co. and Johnny Mak Production Ltd. After leaving Golden Harvest in 1987, he ventured into film distribution by joining D & J which advertised the projects of D & B Films. Wong also did some acting, and one of his more memorable roles comes from The Yuppie Fantasia (1989). After the closure of D & J, Wong continued to work with various companies as a freelance screenwriter.
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1 Desperate Housewives
Desperate housewives: An analysis of the characterisations of female gamblers portrayed in gambling movies in Hong Kong This is the Published version of the following publication Ohtsuka, Keis and Chan, Chi Chuen (2009) Desperate housewives: An analysis of the characterisations of female gamblers portrayed in gambling movies in Hong Kong. International Journal of Mental Health and Addiction, 7 (1). pp. 229-238. ISSN 1557-1874 (Print) 1557-1882 (Online) The publisher’s official version can be found at http://dx.doi.org/10.1007/s11469-008-9180-2 Note that access to this version may require subscription. Downloaded from VU Research Repository https://vuir.vu.edu.au/1916/ Int J Ment Health Addiction (2009) 7:229-238 DOI 10.1007/s11469-008-9180-2 Desperate housewives: An analysis of the characterisations of female gamblers portrayed in gambling movies in Hong Kong Keis Ohtsuka Chi Chuen Chan Received: 12 June 2008 / Accepted 25 September 2008 / Published online: 7 October 2008 © Sprinter Science + Business Media, LLC 2008 Note: An earlier version of this article was presented at the International Gambling Conference - Looking Forward: New Directions in Research and Minimising Public Harm, Auckland 2008 - Manuscript publication Please direct all correspondences to: Keis Ohtsuka School of Social Sciences and Psychology, Victoria University, P.O. Box 14428, Melbourne, Vic 8001, Australia e-mail: [email protected] 1 Int J Ment Health Addiction (2009) 7:229-238 DOI 10.1007/s11469-008-9180-2 Abstract This article examines portrayals of female gamblers in recent Hong Kong movies. The authors report that the depiction of female gamblers is very different from that of male gamblers in the movies made in the same period.
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