Cinema of Hong Kong

Sam Maloney International Cinemas September 19th, 2011 Restivo, MW 12:00 EXAM 1 “One artistic strength of Hong Kong cinema, then, is its use of parallels and motifs—musical, visual, or verbal—to bind together episodically plotted films.” : In Plots p 120 So far in this Chinese Cinemas class, I have noticed something every film we have viewed in class and every Hong Kong film I have watched outside of the lecture: the stories flow perfectly. At first the films could come off as confusing

The Construction of the ‘Western Other’ in Hong Kong Post-colonial Cinema Hong Kong has always remained a very unique city, one which is said to have ‘a Western past, an Eastern future’. Since its colonisation by the British in the 1860s, it has maintained to a very large extent its Chinese identity and its connection to its Motherland, while at the same time, has frequent contact with the Western world, politically, economically, and culturally. Hong Kong’s unique position has made the city a

relationship with genre within the context of the Hong Kong film industry, along with Wong’s various international influences, in order to argue, Chungking Express was a major turning point in his career in terms of his complex relationship with various elements of film genre. Contextualising genre within the Hong Kong film industry: Of all the international film industries across the globe Hong Kong is certainly one that is synonyms with genre cinema. Considering the commercial nature of its film industry

She wears the same type of cloths, has the same hair do and her rather eccentric attitude to life also corresponds to that of her French counterpart. The primary function of the traditional Hong Kong film industry was to churn out movies aimed at the general public and make sure that they bring in a profit. This is much like the French film industry was before the emergence of the French New Wave. However Wai’s ‘ChungKing Express’

quoted by BMW films. BMW took place along the major film studios with the production of short films that can unite the talents of several fields of various high effort crossed. Wong Kar Wai is not denying the author a cinema feature and a mystical, which stands apart from many mainstream Hong

Identifying the Author: The Mood For Love By Jullian Marcelo Marimla ‘In The Mood For Love’ is a Romance melodrama and is Directed and written by Wong Kar-Wai which is a Hong Kong film and released in the year 2000. The film’s plot takes place in 1962 which tells the story of two married couples that move into the residents of Shanghai living in rented rooms of a neighbouring apartment, a newspaper editor Mr Chow (played by Tony Leung) and his wife, Mrs Chan (played by Maggie Cheung) and her husband

the artistic director of Pacific Arts Movement and of the San Diego Asian Film Foundation who received his PhD in Cinema and Media Studies at UCLA. His lecture presented grave insight into National cultural specifics but emphasized mostly on China and Hong Kong. He also broke down genres as they play a role in the film industry. Martial-arts as a genre are very specific to Chinese cinema and Japan has samurai films of loyalty and justice. As a genre, martial-arts take place at a temples or a forest

Eat Drink Man Woman is a movie directed by Ang Lee. The movie takes place in Taiwan in the year 1994. The movie is about a widowed, senior chef, Mr. Chu, and his three grown daughters. Chu Jia-Jen, the oldest, is an unmarried chemistry teacher who is not being able to love someone after being heartbroken in her college years. Chu Jia-Chen, the middle daughter, is a thriving airline executive whose career comes before all and is handed opportunities like never before, although has the passion of

a particular style of murmuring, the movie “In the Mood for Love” isn’t an exception. Wong focuses on describing the regret and helplessness repeatedly during the movie time. Yet the background of the movie is based on the period of 1960s in Hong Kong, Wong keeps highlighting the city Shanghai and leaves many clues of it: the song singing in Shanghainese in the very beginning of the movie; the Shanghainese land lady, who is willing to sharing her room with the main character Suu, who also moved

Hong Kong occupies a unique place in history; it exists as a city with an expiration date. In his films, Wong Kar-wai is known for exploring the idea of deja desparu—the already disappeared. In the Mood for Love was his first film following the 1997 transition, when the city changed from being a colony of Great Britain to the Special Administrative Region of China. The film explores the post-1997 mood and experiences a true sense of nostalgia, not for the past, but for that which could have been