Hong Kong cinema

1
Hong Kong cinema

• Michael Curtin
• Industrial analysis
• Shaw Brothers TVB
• Rovig Swordsman, dir. Chu Yuan, 1980
• Golden Harvest
• Wins
• Vertical vs. horizontal industry

• Chu Yiu Wai
• Concept of nationalism/nation
• Cultural Studies
• Michael Hui The Private Eyes, 1976
• Tsui Hark Once Upon a Time in China series,
  1991-97

2
Hong Kong

• Tsui Hark
• Swodsman
• Once Upon a Time in China
• Peking Opera Blues
• Shanghai Blues
• The Blade
• John Woo
• A Better Tomorrow, 1986
• Killer, 1989
• Bullet in the Head, 1990
• Once A Thief, 1991
• Hardboiled, HK 1992
• Face/Off, USA 1997
• Mission Impossible II, USA 2000
• Windtalkers, USA 2001
• Red Cliff, 2008

• Cathay
• Film Workshop - Tsui Hark
• Cinema City - Raymond Wong
• Milkyway Image - Johnnie To Wai Ka Fai

3

• Check also these directors films
• Zhang Che
• Chu Yuan
• Liu Chia-liang/Lau Kar Leong
• Bruce Lee films
• Jackie Chan
• Ching Siu-tung
• Stephen Chow
• Ann Hui
• Wong Kar-wai
• Ringo Lam
• Peter Chan
• Patrick Yau
• Fruit Chan
• Stanley Kwan
• Alan Mak the Internal Affairs -series
• The Young and Dangerous -series

4

• David Bordwell
• Stylistic analysis
• historical poetics
• Working against/within constraints
• Filmmaking agents
• Cultural studies interpretation on John Woo, etc
  anxiety over 1997
• ---
• Martial arts/wuxia/gongfu
• Eight Diagram Pole Fighter, dir. Lau Kar-leung,
  1983
• King Hu A Touch of Zen, 1969 (Taiwan)
• Tsui Hark Once Upon a Time in China, 1991
• Action/hero/triad genre
• John Woo Killer, 1991
• Johnnie To Mission, 1999

5
Taiwan history

• Different masters since 16th century
• Japanese colony, Formosa 1895-1945
• 1949-2000 Kuoming-tang gov.
• Febr. 28, 1947 incident (228), martial law
• Central Motion Picture Corporation (KMT)
• Helmikuun. 28, 1947 incident (228), martial law
• 2000 Democratic Progressive Party DPP to power
• 2008 KMT wins presidential elections
• Taiwan between a province and a state -
  sovereignty not recognized by te UN
• One of the Asian economic tigers since 1980s

6
History of Taiwanese cinema

• Japanese influence benshi narrator, wartime
  censorship, not much national production 1937-45
  Taiwan Motion Picture Association ja Taipei News
  Picture Assoc. gt Taiwan Film Studio)
• Filmmakers from Mainland to Taiwan 1945-gt Central
  Motion Picture Corporation (CMPC), Taiwan Film
  Studio, China Movie Studio, China Educational
  Film Studio
• The Battle for the Republic of China, dir. Ting
  Shan-hsi, 1982 , CMPC Shaw Bros (Ti Lung)

7
...hist (cont.)

• 1960s constructing national film industry -
  loans, quota import
• Golden Horse Awards
• C-productions with Japan, sending films to
  foreign festivals
• 1960-70s over 200 films yearly production
• genres wuxia, kung-fu
• melodrama, ten romance based on the novels by
  Chiung Yao, starring Brigitte Lin

8
genres

• wuxia, wenyi
• 1960-70s black cinema, exploitation
• Popular cinema, romance, comedy

9
King Hu, 1931-97

• Come Drink with Me/Da zui xia , 1966, Hongkong
• Dragon Inn/Long men ke zhen, 1966-68
• Touch of Zen/Hsia nu, 1969-71
• Raining in the Mountain/Kong shan ling yu, 1977
• Legend of the Mountain/Shan-chung ch'uan-ch'i ,
  1979

10
Taiwanese New Wave

• 1980s new wave Hou Hsiao-hsien, Edward Yang, Ang
  Lee gtTaiwanese cinema on the world cinema map
• 1990s new new wave Tsai Ming-liang
• National support around 1990
• International co-production
• With Mainland China
• Art house cinema c-financing (from Japan, France
  etc.)
• working abroad (Ang Lee)

11
Why New Wave?

• Literature modernists (Western modernism,
  narrative structure, language, aesthetics)
  Chiang-tu-literature aka nativists (everyday
  experience dualism countryside vs. city,
  generational gap, pan-Chineseness vs. Taiwanese)

• New directors to studios as apprentice learners
• Foreign film festivals
• Demand for democratization, censorship ease-up,
• language local language (hakka)

12
New wave background

• Filmmakers who studied abroad, critic, producer
  Peggy Chiao
• Golden Horse Awards -new organizaton and film
  festival
• changes in filmand cultural law
• threats from foreign films and piraticism
• Hongkong new wave

• Hou Hsiao-hsien A Summer at Grandpas/Dongdong
  de jiaqi, 1984

13
Taiwan and globalism

• Pan-Asian entertainent cinema Ang Lee Crouching
  Tiger, Hidden Dragon/Wo hu cang long, 2000 Ang
  Lees career in Hollywood
• art houseco.productions Hou Hsiao-hsien Cafe
  Lumiere, 2004, Japan
• Tsai Ming-liang Wayward Cloud, 2005

14
Ang Lee

• Wedding Banquet, 1993
• Eat Drink Man Woman, 1994
• Sense and Sensibility, 1995
• Ice Storm, 1997
• Crouching Tiger, Hidden Dragon, 2000
• Brokeback Mountain, 2005
• Lust, Caution, 2007
• Taking Woodstock, 2009

15
Edward Yang

• Urban professionals, beg. career contemporary
• That Day, On the Beach, 1983
• Terrorizers, 1986
• Fredric Jameson, Remapping Taipei
• A Brighter Summer Day, 1991
• A Confusian Confusion, 1994
• Mahjong, 1996
• Yi-Yi, 2000

16
Tsai Ming-liang

• Non-melodramatic, one scene-one take, non-moving
  camera
• Use of same actors from film to film, esp. Lee
  Kang-sheng, Miao Tien
• Rebels of the Neon God, 1992
• Vive LAmour, 1994
• Father series The River, 1997 The Hole, 1998
• What Time is it There?, 2001
• Goodbye Dragon Inn, 2003
• The Wayward Cloud, 2005

17
Hou Hsiao-hsien

• Long take, long shot
• Planimetric staging
• Blogging the actors within the cinematic space
• Lighting (chiaroscuro), colors, synch sound
• Real locations, many amateur actors, countryside,
  small towns, different languages
• Depth of space constructed through layers
• Ordinary people through Taiwanese history
• Restrained melodrama

18
Hou Hsiao-hsien

• Cute Girl, 1980
• Green Green Grass of Home, 1981
• The Boys from Fengkuei, 1983
• Summer at Grandpas, 1984
• A Time to Live, A Time to Die, 1985
• Dust in the Wind, 1986
• A City of Sadness, 1989
• http//cinemaspace.berkeley.edu/Papers/CityOfSadne
  ss/table.html
• Puppetmaster, 1993
• Good Men, Good Women, 1995
• Goodbye South, Goodbye, 1996
• Flowers of Shanghai, 1998
• Millennium Mambo, 2001
• Café Lumiere, 2003
• Three Times, 2005