The Hong Kong New Wave

2011 ◽  
pp. 131-138 ◽  
Author(s):  
Vivian P. Y. Lee
Keyword(s):  
Hong Kong ◽  
New Wave

The Irresistible Rise of Asian Cinema 1

1994 ◽  
Author(s):  
Gerald Pratley
Keyword(s):  
Hong Kong ◽  
South Korea ◽  
Motion Pictures ◽  
The Philippines ◽  
New Wave ◽  
World Today ◽  
The World ◽  
Production Activity ◽  
Exciting Development ◽  
Asian Cinema

PRODUCTION ACTIVITY It was not so many years ago it seems when speaking of motion pictures from Asia meant Japanese films as represented by Akira Kurosawa and films from India made by Satyajit Ray. But suddenly time passes and now we are impressed and immersed in the flow of films from Hong Kong, Taiwan, China, South Korea, the Philippines, with Japan a less significant player, and India and Pakistan more prolific than ever in making entertainment for the mass audience. No one has given it a name or described it as "New Wave," it is simply Asian Cinema -- the most exciting development in filmmaking taking place in the world today. In China everything is falling apart yet it manages to hold together, nothing works yet it keeps on going, nothing is ever finished or properly maintained, and yes, here time does wait for every man. But as far...

Wong Kar-Wai

2002 ◽  
Vol 12 (2) ◽  
pp. 291-310 ◽  
Author(s):  
Timothy R. Gleason ◽  
Qi Tang ◽  
Jean Giovanetti
Keyword(s):  
Hong Kong ◽  
New Wave ◽  
Social Environments ◽  
Structure Approach ◽  
Political Transformations ◽  
Hong Kong Cinema ◽  
French New Wave ◽  
Production Company

Wong Kar-Wai is the premier auteur of Hong Kong cinema. This article analyzes his 1994 film, Chungking Express, using the “auteur as structure” approach. This approach emphasizes the influence of the director on a film. It can only be applied to films that were mainly controlled by the director and not the studio or production company. Using this approach requires researchers to find the signature of the director within the film. This research introduces the work of an internationally-acclaimed film director to communication scholars, and it deciphers a film inherently complex to interpret. The authors’ analysis reveals Wong utilizes a French New Wave style to represent his view of a Hong Kong undergoing social and political transformations. Wong’s style is similar to French directors such as Truffaut and Godard because of his spontaneity and use of movement within the movie image. Even though Wong is influenced by the French New Wave, his films are also influenced by their physical and social environments. This is especially true in Chungking Express, with its crime urban surroundings, and constant references to expiration dates, the latter referring to Hong Kong’s hand-over to China.

Breaking the Wave

2019 ◽  
pp. 70-110
Author(s):  
Victor Fan
Keyword(s):  
Hong Kong ◽  
Women Filmmakers ◽  
New Wave ◽  
Pier Paolo Pasolini ◽  
Commercial Television ◽  
Free Indirect Discourse ◽  
Gay Male ◽  
Male Characters ◽  
Indirect Discourse ◽  
Classical Hollywood

This chapter asks the question: Can women filmmakers, cinematic spectators, and televisual viewers speak from their doubly––sociopolitically and gendered––extraterritorialised position? It -historicises the theoretical discourse and film practice of the first phase (1968–78) of the Hong Kong New Wave from the perspectives of women filmmakers and critics. It also discusses three different ways by which women speak through the cinema and television as authors, all aiming to establish what Pier Paolo Pasolini (1922–75) would call a free indirect discourse. For independent filmmaker Tang Shu-hsuen, through unlearning Euro-American aesthetics and relearning medieval Chinese one from the perspective of modern women, a cinema specific to the extraterritorial position of a Hong Kong female spectator can be fostered. For screenwriter Joyce Chan and her collaborator director Patrick Tam, a free indirect discourse can only be achieved when the addresser-message-addressee mode of communication in commercial television is actively challenged. Finally, for director Ann Hui and screenwriter Shu Kei and Wong Chi, the classical Hollywood paradigm can be reconfigured to enable desubjectivised and abjectivised gay male characters to negotiate their traumas and desires in terms that are understandable by heterosexual and heteronormative viewers.

Mass resignations reconfigure Hong Kong opposition

2020 ◽  
Keyword(s):  
Hong Kong ◽  
Economic Assistance ◽  
New Wave ◽  
Content Type ◽  
Social Distancing ◽  
The Past ◽  
Independent Judiciary ◽  
Dramatic Rise ◽  
The Government

Significance The resignations will end the gridlock and obstructionism of the past few years, when opposition lawmakers blocked legislation supported by the government and establishment politicians. Impacts Contested politics will for now shift to the democratically elected (but legally powerless) District Councils and the independent judiciary. A refreshed, more moderate opposition bloc may emerge at the LegCo election next year. Hong Kong is unlikely to pass further economic assistance packages, despite new social distancing requirements amid a new wave of COVID-19. Absent a crisis or dramatic rise in repression, Western governments are unlikely to go much further in changing how they treat Hong Kong.

Sign in / Sign up

Export Citation Format

Share Document