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Johnnie to Kei-Fung's
JOHNNIE TO KEI-FUNG’S PTU Michael Ingham Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2009 Michael Ingham ISBN 978-962-209-919-7 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 Ltd. in Hong Kong, China Contents Series Preface vii Acknowledgements xi 1 Introducing the Film; Introducing Johnnie — 1 ‘One of Our Own’ 2 ‘Into the Perilous Night’ — Police and Gangsters 35 in the Hong Kong Mean Streets 3 ‘Expect the Unexpected’ — PTU’s Narrative and Aesthetics 65 4 The Coda: What’s the Story? — Morning Glory! 107 Notes 127 Appendix 131 Credits 143 Bibliography 147 ●1 Introducing the Film; Introducing Johnnie — ‘One of Our Own’ ‘It is not enough to think about Hong Kong cinema simply in terms of a tight commercial space occasionally opened up by individual talent, on the model of auteurs in Hollywood. The situation is both more interesting and more complicated.’ — Ackbar Abbas, Hong Kong Culture and the Politics of Disappearance ‘Yet many of Hong Kong’s most accomplished fi lms were made in the years after the 1993 downturn. Directors had become more sophisticated, and perhaps fi nancial desperation freed them to experiment … The golden age is over; like most local cinemas, Hong Kong’s will probably consist of a small annual output and a handful of fi lms of artistic interest. -
Sesiones ESPECIALES 8 1/2 WOMAN
SEsIONES ESPECIALES 8 1/2 WOMAN 8 1/2 WOMAN Producción: Kees Kasander, para Delux Productions, Continent Films, Movie Master, Woodline Productions. Nacionalidad: Netherlands/United Kingdom/ Luxembourg/Germany 1999. Directed: Peter Greenaway. Guión: Peter Greenaway. Fotografía. Sacha Vierny. Color. Vestuario: Emi Wada. Montaje: Elmer Leupen. Intérpretes: John Standing, Matthew Delamere, Vivian Wo, Annie Shizuka Inoh, Barbara Sarafian, Kirina Mano, Toni Collette, Amanda Plummer, Natacha Amal, Manna Fujiwara, Polly Walker, Elizabeth Berrington , Myriam Muller, Don Warrington, Claire Johnston. Duración: 120 min. V.O.S.E. 8 1/2 Woman es un penetrante e innovador estudio sobre el sexo, el poder, las clases sociales, las culturas, la mujer... Peter Greenaway explora las relaciones entre hombres y mujeres y el sexo en uno de sus films más logrados de los últimos años, en el que retoma su obsesión por las simetrías, los números y las estructuras artificiales, aunque en favor de una trama más accesible y hasta divertida. Un adinerado hombre de unos 55 años pierde a su esposa de toda la vida. Queda desolado por la tristeza. Su hijo intenta consolarlo, le propone reunir a un grupo de mujeres en un castillo y descubrir una sexualidad aún latente. Mujeres con las que ambos experimentarán libremente. 8 y 1/2 mujeres, de distintas procedencias culturales y sociales, son llamadas a integrar el harén. Todas lo hacen a cambio de algo. Con el tiempo, no mucho, padre e hijo se darán cuenta que las mujeres empiezan a desafiar su poder y que son criaturas más complejas que simples pedazos de carne. Una a una se alejan casi hastiadas de la presencia masculina. -
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. -
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 ................................................................................................................... -
Download Heroic Grace: the Chinese Martial Arts Film Catalog (PDF)
UCLA Film and Television Archive Hong Kong Economic and Trade Office in San Francisco HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Front and inside cover: Lau Kar-fai (Gordon Liu Jiahui) in THE 36TH CHAMBER OF SHAOLIN (SHAOLIN SANSHILIU FANG ) present HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Heroic Grace: The Chinese Martial Arts Film catalog (2003) is a publication of the UCLA Film and Television Archive, Los Angeles, USA. Editors: David Chute (Essay Section) Cheng-Sim Lim (Film Notes & Other Sections) Designer: Anne Coates Printed in Los Angeles by Foundation Press ii CONTENTS From the Presenter Tim Kittleson iv From the Presenting Sponsor Annie Tang v From the Chairman John Woo vi Acknowledgments vii Leaping into the Jiang Hu Cheng-Sim Lim 1 A Note on the Romanization of Chinese 3 ESSAYS Introduction David Chute 5 How to Watch a Martial Arts Movie David Bordwell 9 From Page to Screen: A Brief History of Wuxia Fiction Sam Ho 13 The Book, the Goddess and the Hero: Sexual Bérénice Reynaud 18 Aesthetics in the Chinese Martial Arts Film Crouching Tiger, Hidden Dragon—Passing Fad Stephen Teo 23 or Global Phenomenon? Selected Bibliography 27 FILM NOTES 31-49 PROGRAM INFORMATION Screening Schedule 51 Print & Tape Sources 52 UCLA Staff 53 iii FROM THE PRESENTER Heroic Grace: The Chinese Martial Arts Film ranks among the most ambitious programs mounted by the UCLA Film and Television Archive, taking five years to organize by our dedicated and intrepid Public Programming staff. -
Technical Program
MONDAY, JULY 30 11:00AM 1801770 Polysaccharide Composites as Barrier Materials Jeffrey Catchmark, Penn State, University Park, PA TECHNICAL PROGRAM United States (Presenter: Jeffrey Catchmark) (Jeffrey MONDAY, JULY 30 Catchmark, Kai Chi, Snehasish Basu) 9:30AM-12:00PM 11:15AM 1800994 Production and characterization of in situ synthesis of silver nanoparticles into TEMPO-mediated oxi- The purpose of these Sessions is the open exchange of dized bacterial cellulose and their antivibriocidal ac- ideas, therefore, remarks made by a participant or mem- tivity against shrimp pathogens Sivaramasamy Elayaraja, Zhejiang University, ber of the audience cannot be quoted or attributed to ei- Hangzhou, Zhejiang China, People’s Republic of (Pre- ther the individual or the individuals’ company. NO senter: Sivaramasamy Elayaraja) (Sivaramasamy Ela- RECORDING of the participants’ remarks or discussion is yaraja, Liu Gang, Jianhai Xiang, Songming Zhu) 11:30AM 1801330 Design, Development, Evaluation of Gum Arabic permitted. Pictures of any material shown here are not Milling Machine permitted. Eyad Eltigani, University of Khartoum, Khartoum, Khar- toum Sudan (Presenter: Eyad Eltigani) (Eyad Mohamed Eltigani Abuzeid, Khalid Elgassim Mohamed Ahmed, In respect for the presenters and the people attending the Hossamaldein Fadoul Brima) conference, ASABE would request that anyone having a 11:45AM 1801112 The Design of Longitudinal - axial cylinder for the combine pager, cell phone, or other electronic device please turn Meng Fanhu, Sandong University Technology, Zibo, them off. If your situation does not allow for these devices Shandong province China, People’s Republic of (Pre- to be turned off, please reseat yourself close to an exit senter: Meng Fanhu) (Meng Fanhu) such that everyone can benefit from the information pre- sented here without disruption. -
Martial Arts Cinema and Hong Kong Modernity
Martial Arts Cinema and Hong Kong Modernity Aesthetics, Representation, Circulation Man-Fung Yip Hong Kong University Press Th e University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2017 Hong Kong University Press ISBN 978-988-8390-71-7 (Hardback) 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 infor- mation storage or retrieval system, without prior permission in writing from the publisher. An earlier version of Chapter 2 “In the Realm of the Senses” was published as “In the Realm of the Senses: Sensory Realism, Speed, and Hong Kong Martial Arts Cinema,” Cinema Journal 53 (4): 76–97. Copyright © 2014 by the University of Texas Press. All rights reserved. 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 Paramount Printing Co., Ltd. in Hong Kong, China Contents Acknowledgments viii Notes on Transliteration x Introduction: Martial Arts Cinema and Hong Kong Modernity 1 1. Body Semiotics 24 2. In the Realm of the Senses 56 3. Myth and Masculinity 85 4. Th e Diffi culty of Diff erence 115 5. Marginal Cinema, Minor Transnationalism 145 Epilogue 186 Filmography 197 Bibliography 203 Index 215 Introduction Martial Arts Cinema and Hong Kong Modernity Made at a time when confi dence was dwindling in Hong Kong due to a battered economy and in the aft ermath of the SARS epidemic outbreak,1 Kung Fu Hustle (Gongfu, 2004), the highly acclaimed action comedy by Stephen Chow, can be seen as an attempt to revitalize the positive energy and tenacious resolve—what is commonly referred to as the “Hong Kong spirit” (Xianggang jingshen)—that has allegedly pro- pelled the city’s amazing socioeconomic growth. -
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. -
Music from the 1990S to the Present
j：,/ � • .. ….......:._. ‘. • '1- ;V . jn/w Tnn • ft ¾( ! \ ..' � •'. I . I .广, I n . .....Vv'Z …'.J I O > 3 . • • I •• . ^ • jr ,' ‘:'. ； , ''Jr ... Hong Kong Film Music from the 1990s to the Present CHENG LingYan A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Philosophy in Ethnomusicology © The Chinese University of Hong Kong June 2004 The Chinese University of Hong Kong holds the copyright of this thesis. Any person(s) intending to use a part or whole of the materials in the thesis in a proposed publication must seek copyright release from the Dean of the Graduate School. ^ST university~7^// ^XLIBRARy SYSTEM^W Abstract i Hong Kong Film Music from the 1990s to the Present Submitted by LingYan CHENG for the degree of Master of Philosophy in Ethnomusicology at The Chinese University of Hong Kong in June 2004 Abstract This thesis focuses on Hong Kong film music from the 1990s to the 2000s. In recent years, there has been much research and theory on western film music, especially the Hollywood film industry, by musicologists and scholars in film studies, popular music studies, and other fields. However, there has been little research on Hong Kong Film music, the system of which is different from that of western film music, and therefore I will apply basic film music concepts, but using the real situation of Hong Kong film music to formulate my own argument. The methodology used in this thesis will include the application of basic concepts used by scholars of film music, such as the functions of music in film, combined with fieldwork and analysis of films. -
Géographie Et Cultures, 102 | 2017 Le Hong Kong Hollywoodien 2
Géographie et cultures 102 | 2017 Imaginaires de la vi(ll)e en hauteur Le Hong Kong hollywoodien ville verticale, ville exotique, ville politique ? A Hollywood Perspective of Hong Kong: vertical city, exotic city, political city? Nashidil Rouiaï Édition électronique URL : http://journals.openedition.org/gc/5503 DOI : 10.4000/gc.5503 ISSN : 2267-6759 Éditeur L’Harmattan Édition imprimée Date de publication : 1 septembre 2017 Pagination : 143-166 ISBN : 978-2-343-14135-0 ISSN : 1165-0354 Référence électronique Nashidil Rouiaï, « Le Hong Kong hollywoodien », Géographie et cultures [En ligne], 102 | 2017, mis en ligne le 28 septembre 2018, consulté le 10 décembre 2020. URL : http://journals.openedition.org/gc/ 5503 ; DOI : https://doi.org/10.4000/gc.5503 Ce document a été généré automatiquement le 10 décembre 2020. Le Hong Kong hollywoodien 1 Le Hong Kong hollywoodien ville verticale, ville exotique, ville politique ? A Hollywood Perspective of Hong Kong: vertical city, exotic city, political city? Nashidil Rouiaï 1 Hong Kong est la ville la plus verticale au monde : avec ses 7 696 immeubles en 2013, son indice de verticalité – qui tente de quantifier l’impact visuel de la skyline des villes en fonction du nombre d’étages de chaque immeuble – s’élève à 128 786, là où celui de New York, en deuxième position des villes les plus verticales, n’atteint malgré ses 5 991 immeubles que 40 450, trois fois moins que la métropole chinoise (Questions Internationales, 2013). Cette élévation de la ville est due à sa topographie particulière : sur un territoire de seulement 1 104 km2 dont les 4/5 es sont inoccupés (réserves naturelles entre autres), se concentrent 7,2 millions d’habitants. -
Howard Choya4
Global Cities Schizophrenic Hong Kong: Postcolonial Identity Crisis in the Infernal Affairs Trilogy HOWARD Y. F. CHOY Michel Foucault avers: «one should totally and absolutely suspect anything that claims to be a return. there is in fact no such thing as a return.» It is, however, in rigid irredentist claims of the return that Hong Kong was handed over from British to Chinese rule in 1997. To the natives of Hong Kong, this postcolonial turn is actually less a decolonization than a recolonization of the capitalist Cantonese city by the mainland Mandarin master. They find themselves helplessly trapped in the dual nationality of overseas British and Chinese nationals. This existential agony is deftly cinematized in the Infernal Affairs trilogy under the disguise of a police epic. The 2002 box-office success and its 2003 prequel and sequel tell a story about an undercover cop and a mafia mole. A crisis of consciousness arises from both the former’s desire to regain his true identity and the latter’s struggle to become a real cop. The identity crisis is not only about, as critics suggest, split personalities between good and evil, but also political tensions between the colonized and colonizers. This paper argues that the collective failure of identity change before and after the fin de siècle changeover characterizes the Special Administrative Region’s schizophrenic return. Schizophrenic Hong Kong : Postcolonial Identity Crisis in the Infernal Affairs Trilogy Chineseness/Britishness: Return and Depart Michel Foucault avers: «One should totally and absolutely suspect anything that claims to be a return. there is in fact no such thing as a return».1 It was, however, in rigid irredentist claims of a «return» that the People’s Republic of China (PRC) took over Hong Kong from Great Britain in 1997. -
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.