By Meaghan Morris, Siu Leung Li, Stephen Chan Ching-Kiu
Hong Kong Connections brings best movie students jointly to discover the movement of Hong Kong cinema in Japan, Korea, India, Australia, France, and the us, in addition to its hyperlinks with Taiwan, Singapore, and the chinese language mainland. within the procedure, this assortment examines varied cultural contexts for motion cinema’s attractiveness and the issues thinking about the transnational research of worldwide well known types, suggesting that during order to understand the heritage of Hong Kong motion cinema’s effect we have to convey out the variations in addition to the hyperlinks that represent popularity.
Contributors. Nicole Brenez, Stephen Chan Ching-kiu, Dai Jinhua, David Desser, Laleen Jayamanne, Kim Soyoung, Siu Leung Li, Adrian Martin, S. V. Srinivas, Stephen Teo, Valentina Vitali, Paul Willemen, Rob Wilson, Wong Kin-yuen, Kinnia Yau Shuk-ting, Yung Sai-shing
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Extra resources for Hong Kong Connections: Transnational Imagination in Action Cinema
Sample text
Wenyipian, "literary arts" film) to the "masculine" swordplay and action genres. KINNIA YAU S H U K - T I N G THE POSTWAR JAPANESE ACTION CINEMA In contrast, a golden age of chanbara emerged in Japan between the mid-1950s and the mid-1960s. 6 This edict necessarily eliminated the whole genre of chanbara and encouraged the production of Meiji-mono (stories with settings in the Meiji period) and films of contemporary life. Under these circumstances, notable chanbara stars such as Tsumasaburo Banto, Chieizo Kataoka, Utaemon Ichikawa and Kanjuro Arashi had to change their screen personae from swordsmen to gunfighters.
An answer shared by the troupes was: self-enrichment through absorbing the strong points of the competitors. " The question that immediately follows is: what did they learn? In the mid 1930s, Sit Kok-sin began his project of staging the "Four Classical Beauties of China". In 1938, his fuexiansheng Theatre Troupe staged Diao Chan (The Beauty Diao Chan) at the Hong Kong Lee Theatre. In an advertisement from the newspaper Huaqiao Daily, which promoted this new piece, we find the following passage: YUNG SAI-SHING Dedicated to presenting Chinese operatic art in pure form, our troupe originally did not favor fanciful sets.
Henceforth this body would hold the annual Asian Film Festival, and Festival participants were member countries or regions of the Association, including Hong Kong, Japan, Singapore, Malaysia, the Philippines, Korea, Thailand, Taiwan and South Vietnam. Film company executives from all these countries would meet during the festival, talk shop and make production and distribution deals. Given the growing awareness of Japanese cinema around the world after Daiei's Rashomon (Akira Kurosawa 1950) won the Golden Lion Award at the Venice International Film Festival in 1951, film distributors were more confident in exporting Japanese movies to Hong Kong, Taiwan and Southeast Asia.