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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. -
3D423bbe0559a0c47624d24383
BENDS straddles the Hong Kong- Shenzhen border and tells the story of ANNA, an affluent housewife and FAI, her chauffeur, and their unexpected friendship ABOUT as they each negotiate the pressures of Hong Kong life and the city’s increasingly complex relationship to mainland China. Fai is struggling to find a way to bring his THE pregnant wife and young daughter over the Hong Kong border from Shenzhen to give birth to their second child, even though he crosses the border easily every FILM day working as a chauffeur for Anna. Anna, in contrast, is struggling to keep up the facade of her ostentatious lifestyle into which she has married, after the sudden disappearance of her husband amid financial turmoil. Their two lives collide in a common space, the car. PRODUCTION NoteS SHOOT LOCATION: Hong Kong TIMELINE: Preproduction, July/August 2012 Principal Photography, September/October 2012 (23 days) Completion, Spring 2013 PREMIERE: Cannes Film Festival 2013, Un Certain Regard (Official Selection) LANGUAGE: Cantonese & Mandarin FORMAT: HD, Colour LENGTH: 92 minutes THE CaST ANNA - Lead Female Role Carina Lau 劉嘉玲 SelecTED FILMOGRAPHY: Detective Dee and the Mystery Phantom Flame Let the Bullets Fly 2046 Flowers of Shanghai Ashes of Time Days of Being Wild FAI - Lead Male Role Chen Kun 陳坤 SelecTED FILMOGRAPHY: Painted Skin I & II, Rest On Your Shoulder, Flying Swords of Dragon Gate 3D Let the Bullets Fly Balzac and the Little Chinese Seamstress Writer/Director Flora Lau 劉韻文 Cinematographer Christopher Doyle (H.K.S.C.) 杜可風 A Very Special Thanks To William Chang Suk Ping 張叔平 Flora was born and raised in Hong Kong. -
43E Festival International Du Film De La Rochelle Du 26 Juin Au 5 Juillet 2015 Le Puzzle Des Cinémas Du Monde
43e Festival International du Film de La Rochelle du 26 juin au 5 juillet 2015 LE PUZZLE DES CINÉMAS DU MONDE Une fois de plus nous revient l’impossible tâche de synthétiser une édition multiforme, tant par le nombre de films présentés que par les contextes dans lesquels ils ont été conçus. Nous ne pouvons nous résoudre à en sélectionner beaucoup moins, ce n’est pas faute d’essayer, et de toutes manières, un contexte économique plutôt inquiétant nous y contraint ; mais qu’une ou plusieurs pièces essentielles viennent à manquer au puzzle mental dont nous tentons, à l’année, de joindre les pièces irrégulières, et le Festival nous paraîtrait bancal. Finalement, ce qui rassemble tous ces films, qu’ils soient encore matériels ou virtuels (50/50), c’est nous, sélectionneuses au long cours. Nous souhaitons proposer aux spectateurs un panorama généreux de la chose filmique, cohérent, harmonieux, digne, sincère, quoique, la sincérité… Ambitieux aussi car nous aimons plus que tout les cinéastes qui prennent des risques et notre devise secrète pourrait bien être : mieux vaut un bon film raté qu’un mauvais film réussi. Et enfin, il nous plaît que les films se parlent, se rencontrent, s’éclairent les uns les autres et entrent en résonance dans l’esprit du festivalier. En 2015, nous avons procédé à un rééquilibrage géographique vers l’Asie, absente depuis plusieurs éditions de la programmation. Tout d’abord, avec le grand Hou Hsiao-hsien qui en est un digne représentant puisqu’il a tourné non seulement à Taïwan, son île natale mais aussi au Japon, à Hongkong et en Chine. -
BIBLIOTECA DEL CAREI II.Indd
MT LIBROS, PELÍCULAS, DISCOS, EXPOSICIONES...DEL C.A.R.E.I. CENTRO ARAGONÉS DE RECURSOS PARA LA EDUCACIÓN INTERCULTURAL 1. Para conocernos y aprender a convivir 7 Materiales audiovisuales 7 Materiales visuales 7 Literatura infantil y juvenil 8 Literatura popular 8 Lecturas interculturales 9 Primaria 9 PARA LA Secundaria 10 PARA LEER EN 2. Para hacer: materiales con aplicaciones didácticas 11 LENGUAS ENSEÑANZA Y Fenómeno migratorio 11 Prejuicios 11 Educación en valores 11 DE APRENDIZAJE DE Conocimientos de otras culturas 12 Guías de juegos 12 NOVIEMBRE 2006 DEPÓSITO LEGAL: HU‐ 379/06 ESPAÑOL 3. Páginas web para trabajar la interculturalidad ORIGEN en el aula 12 Información general sobre países 12 Mapas 13 Lenguas del mundo 13 Religiones 13 Loher Publicidad : Fiestas 13 Gastronomía 13 Grandes obras y personajes 15 Gentes y costumbres 13 Música 13 El Principito, de Saint-Exupéry 15 Autoformación 4 Cuentos 13 El Quijote, en distintas lenguas 15 Canciones y juegos para niños 13 Colección de TinTin 16 Métodos para la enseñanza del Educación para la paz y la convivencia 13 IMPRESIÓN Y MAQUETACIÓN Colección de Asterix 16 español ELE/ L2 4 Materiales para la enseñanza del español 14 Colección de Lucky Luck 16 Mila 16 Primaria 4 El Código da Vinci 16 Secundaria 5 Los pilares de la Tierra 16 La sombra del viento 16 Materiales complementarios 5 PARA Lenguas de orígen 16 50010 ZARAGOZA 50010 ZARAGOZA Primaria 5 Secundaria 5 TRABAJAR LA GOBIERNO DE ARAGÓN. DEPARTAMENTO DE EDUCACIÓN, CULTURA Y DEPORTE. CAREI: San Antonio Abad, 38, Antonio CAREI: San DEPORTE. Y DE EDUCACIÓN, CULTURA ARAGÓN. -
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. -
Aspects of Chinese Cinema Today
Aspects of Chinese Cinema Today By Toh, Hai Leong Spring 1997 Issue of KINEMA 1. THE TAIWANESE ANTONIONI: TSAI MING-LIANG’S DISPLACEMENT OF LOVE IN AN URBAN ENVIRONMENT NO, Tsai Ming-liang is not in fact Taiwanese. The bespectacled 40-year-old bachelor was born in Kuching, Sarawak (East Malaysia) and only came to Taiwan for a college education. After graduating with a degree in drama and film in Taiwan’s University, he settled there and impressed critics with several experimental plays and television movies such as Give Me A Home (1988), The Happy Weaver(1989), My Name is Mary (1990), Ah Hsiung’s First Love(1990). He made a brilliant film debut in 1992 with Rebels Of The Neon God and his film Vive l’amour shared Venice’s Golden Lion for Best Film with Milcho Manchevski’s Before The Rain (1994). Rebels of the Neon God, a film about aimless and nihilistic Taipei youths, won numerous awards abroad: Among them, the Best Film award at the Festival International Cinema Giovani (1993), Best Film of New Director Award of Torino Film Festival (1993), the Best Music Award, Grand Prize and Best Director Awards of Taiwan Golden Horse Festival (1992), the Best Film of Chinese Film Festival (1992), a bronze award at the Tokyo International Film Festival in 1993 and the Best Director Award and Leading Actor Award at the Nantes Festival des Trois Continents in 1994.(1) For the sake of simplicity, he will be referred to as ”Taiwanese”, since he has made Taipei, (Taiwan) his home. In fact, he is considered to be among the second generation of New Wave filmmakers in Taiwan. -
Bamcinématek Presents Stephen Chow: the King of Comedy, Oct 6—12
BAMcinématek presents Stephen Chow: The King of Comedy, Oct 6—12 “The reigning king of Hong Kong comedy.”—J. Hoberman Co-presented with the Hong Kong Economic and Trade Office in New York. The Wall Street Journal is the title sponsor for BAM Rose Cinemas and BAMcinématek. Brooklyn, NY/Sep 8, 2014—From Monday, October 6 through Sunday, October 12, BAMcinématek presents Stephen Chow: The King of Comedy, an eight-film retrospective of the Hong Kong actor, writer, and director. Chow’s audaciously anarchic comedies combine surreal sight gags, non sequiturs, extensive pop culture quoting, and gravity-defying martial arts to sublimely silly effect. Endlessly inventive, the reigning king of Hong Kong mo lei tau (―nonsense comedy‖) yields unfiltered cinematic pleasure. Initially prominent as a children’s television star, Chow became synonymous with mo lei tau, a style of film comedy in which traditional melodramas and kung fu tales are peppered with rapid- fire, fourth-wall-breaking slapstick bits and corny puns. A bigger box-office draw in his homeland than Jackie Chan or Jet Li, Chow—who cites Spielberg and Kubrick, along with Jim Carrey, as influences—has used his clout in recent years to fashion himself as an auteur, scripting, editing, and directing a series of high-budget, homage-filled blockbusters. Typical of Chow’s earliest hits, Johnnie To’s Justice, My Foot! (1992—Oct 8) casts the actor as a fast-talking lawyer whose mouth gets him into trouble, and whose kung fu-fighting wife gets him out of it—one of many tough, smart heroines Chow uses as foils for his feckless alter egos. -
Anthony Wong
26 April/4 May 2019 – Udine – Teatro Nuovo and Cinema Centrale FAR EAST FILM FESTIVAL 21 rd Programme for Friday the 3 of May ANTHONY WONG The Hong Kong superstar returns to the Far East Film Festival after 20 years! Back in Udine to collect his Golden Mulberry Award for Outstanding Achievement and present the wonderful Still Human. Press release for the 2nd of May 2019 For immediate release UDINE – Friday the 3rd of May. Penultimate day of the 21st Far East Film Festival. After Jeon Do-yeon and Yao Chen, it's time to turn the festival's spotlights on another superstar: Anthony Wong! He's played the lead in masterpieces like Johnnie To's The Mission. He's starred in unforgettable cult movies like Andrew Lau and Alan Mak's Infernal Affairs. He's been a hit man, a cop, a romantic hero and a serial killer. He's played every role in every genre, from crime and comedy to fantasy and splatter. His filmography is practically infinite, and it's no exaggeration to say that he is the face of the last thirty years of Hong Kong cinema... Already a guest at the very first edition of the FEFF in 1999, when he presented Beast Cops by Gordon Chan and Dante Lam, Anthony now returns to Udine exactly twenty years later to collect his Golden Mulberry Award for Outstanding Achievement (taking his place in the Udine hall of fame alongside other giants of Asian cinema including Jackie Chan, Joe Hisaishi, Feng Xiaogang, Johnnie To and Brigitte Lin). -
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. -
Hong Kong University Press
Hong Kong University Press Chapter Title: Order/Anti-Order: Representation of Identity in Hong Kong Action Movies Chapter Author(s): Dai Jinhua Book Title: Hong Kong Connections Book Subtitle: Transnational Imagination in Action Cinema Book Editor(s): Meaghan Morris, Siu Leung Li, Stephen Chan Ching-kiu Published by: Hong Kong University Press . (2005) Stable URL: http://www.jstor.org/stable/j.ctt2jc7qh.10 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Hong Kong University Press is collaborating with JSTOR to digitize, preserve and extend access to Hong Kong Connections. http://www.jstor.org This content downloaded from 202.40.201.159 on Mon, 14 Mar 2016 03:50:00 UTC All use subject to JSTOR Terms and Conditions 5 Order/Anti-Order: Representation of Identity in Hong Kong Action Movies Dai Jinhua In the late 1980s and early 1990s, as the reality was fast approaching that China would resume sovereignty over Hong Kong in 1997 and the power structure in Hong Kong society was beginning to experience gradual changes, a profound anguish and a sense of political power- lessness permeated Hong Kong society. At the level of cultural expres- sion, these feelings of anguish and powerlessness became an oppressing sense of uncertain identity. -
Newsletter 35
Hong Kong Film Archive Quarterly 35 Newsletter 02.2006 17 Editorial@ChatRoom 3 The Glorious Modernity of Kong Ngee 6 The Nanyang Connection 9 The Cultural Map of Locations 12 Our Pilgrimage to the US 14 Film Conservation Jargons The Glorious Modernity of Kong Ngee www.filmarchive.gov.hk Published in April 2006 Hong Kong Film Archive Head Angela Tong Section Heads Venue Mgt Rebecca Lam IT Systems Lawrence Hui Acquisition Mable Ho Conservation Edward Tse Resource Centre Chau Yu-ching [[email protected]] Research Wong Ain-ling Editorial Kwok Ching-ling It’s Film Festival Time Again Programming Sam Ho Winnie Fu Every year, the Hong Kong Film Archive organises the Hong Kong retrospective programme and produces a book on the topic to complement the Hong Kong International Film Festival in April. The Film Festival celebrates Newsletter its 30th anniversary this year. Retrospective catalogues published in the past two decades have become Editors Kwok Ching-ling indispensable reference materials for researchers of Hong Kong cinema. Since the HKFA took over the reins of the Edith Chiu retrospective five years ago, we have explored Cathay and Shaw Studios, as well as the development of the film industry and network between Hong Kong and Guangdong. The latest topic—Kong Ngee and its relationship 50 Lei King Road, Sai Wan Ho, Hong Kong with Hong Kong and Singapore cinema—finetunes the limelight of Hong Kong film studies on interactions between Tel: 2739 2139 Hong Kong and Singapore/Malaysia. Fax: 2311 5229 The book’s title The Glorious Modernity of Kong Ngee is editor Wong Ain-ling’s open appreciation for Kong E-mail: [email protected] Ngee’s urban modernity, while Sam Ho and his colleagues’ special visit to Mr Ho Kian-ngiap in Singapore adds Design: TomSenga Design Printing: Quality Printing Limited different angles to the study of Hong Kong cinema (see pp 3-8). -
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.