The Hong Kong Filmography, 1977-1997 by John Charles download in ePub, pdf, iPad
Tsui was a notorious Hong Kong New Wave tyro who symbolised that movement's absorption into the mainstream, becoming the industry's central trendsetter and technical experimenter Yang et al. In addition to the numerical ratings, Charles often suggests choices among similarly themed films, a useful aide considering how imitative Hong Kong films can be of one another. Postwar Hong Kong cinema, like postwar Hong Kong industries in general, was catalyzed by the continuing influx of capital and talents from Mainland China. Charles is less pessimistic than many, however, about the resiliency of Hong Kong cinema, citing the independently made The Odd One Dies as the possible harbinger of a renewed industry.
Major studios that thrived in this period were Grandview, Universal, and Nanyang which later became the Shaw Brothers Studio that would have an enduring influence on Chinese film. Ironically, this was the same period during which Hong Kong cinema emerged into something like mainstream visibility in the U. The guarantee operates to secure a percentage of monies loaned by banks to film production companies. Cantonese film and wuxia film remained popular despite government hostility, and the British colony of Hong Kong became a place where both of these trends could be freely served. The director was stage actor and director Liang Shaobo.
These events definitively shifted the center of Chinese-language cinema to Hong Kong. The Book, but omitted it when the title was reprinted in expanded form as Asian Cult Cinema. In the second half of the s, the Shaws inaugurated a new generation of more intense, less fantastical wuxia films with glossier production values, acrobatic moves and stronger violence. California-born, Bruce Lee only found minor roles in U. Charles frequently points out how fears about the return to China became a common, if sometimes displaced, feature of films after the Tiananmin Square massacre.
This reviewer is especially grateful that theatrical aspect ratios have been included for each title, a small - but crucial - detail sadly lacking in most other movie books. But changes were beginning that would greatly alter the industry by the end of the decade. An increasingly cosmopolitan, upwardly mobile Hong Kong middle class that often looks down upon local films as cheap and tawdry. Directors and producers Tsui Hark and Wong Jing can be singled out as definitive figures of this era.
The Fists of Fury, came into theatres. Whatever the future of Hong Kong cinema may be, The Hong Kong Filmography, offers such an excellent guide to the range of its past productions that it merits inclusion in reference collections. Some New Wave filmmakers such as Ann Hui and Yim Ho continued to earn acclaim with personal and political films made at the edges of the mainstream. Shooting without sound also contributed to an improvisatory filmmaking approach. Detailed accounts of this period therefore have inherent limitations and uncertainties.
In earlier days, beloved performers from the Chinese opera stage often brought their audiences with them to the screen. Naked Killer also became an international cult classic. From the s to mids, Mandarin film productions became dominant, especially those made by the Shaw Brothers studio in Hong Kong. Filmed Cantonese operas proved even more successful than wuxia and constituted the leading genre of the s.
Rampant video piracy throughout East Asia. And yet, for all its virtues and noble ambitions, the book is a disappointment. Alex Fong In the s, there have been some bright spots. Predictions are notoriously difficult in this rapidly changing part of the world, but the trend may be towards a more pan-Chinese cinema, as existed in the first half of the twentieth century. As is common in commercial cinema, the industry's heart is a highly developed star system.
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