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The Hong Kong Filmography, 1977-1997
Thanks to the successes of directors and actors like John Woo, Jackie Chan, and Chow Yun-Fat, the cinema of Hong Kong is wildly popular worldwide, and there is much more to this diverse film culture than most Western audiences realize. Beyond martial arts and comedy, Hong Kong films are a celebration of the grand diversity and pageantry of moviemaking--covering action, comedy, horror, eroticism, mythology, historical drama, modern romances, and experimental films. Information on 1,100 films produced in British Hong Kong from 1977 to 1997 is included here.
Encyclopedia of Contemporary Chinese Culture
First Published in 2009. Routledge is an imprint of Taylor & Francis, an informa company.
Contemporary Film Directors
"Wong Kar-Wai" traces this immensely exciting director's perennial themes of time, love, and loss, and examines the political implications of his films, especially concerning the handover of former British colony Hong Kong to the People's Republic of China. This book is the first in any language to cover all of Wong's work, from his first film, As Tears Go By, to his most recent, the still unreleased 2046. It also includes his best'known, highly honored films, "Chungking Express, Happy Together, " and above all, "In the Mood for Love." Most importantly, Peter Brunette describes the ways in which Wong's supremely visual films attempt to create a new form of cinema by relying on stunning, suggestive visual images and audio tracks to tell their story, rather than on traditional notions of character, dialogue, and plot. The question of Wong Kar-wai's use of genre film techniques in art films is also explored in depth. "
John Woo's A Better Tomorrow
A Better Tomorrow has always been hailed as a milestone in Hong Kong cinema. This book describes the different responses to the movie in Hong Kong and later in its reception worldwide, which paved the way for the promotion of John Woo and Chow Yun-fat to their current prominence in Hollywood. Fang examines the different notions of the genre of action cinema in Asian and Western film industries. She tracks the connections between ying shung pian, or "hero" movie, the term by which Woo's film became famous in Hong Kong, and the spectacle of violence emphasized in the term "heroic bloodshed," the category in which the film was known in the West. Finally, she concludes with a discussion of the status of the film and its huge success in the current globalized industry.
Making Your Money Count
God gave us the ability to create wealth in order for Him to establish His covenant with us, which is to bless us, to glorify Him and to bless others through us. So how do we go about creating wealth? In this amazing process, which Jesus taught to His disciples, Ulmer explores God's way of taking care of business. “This generation coming up,” explains Dr. Ulmer, “will be the first one that is not financially better off than the previous generation, What kind of legacy are we leaving if we don't train our children about the proper Kingdom principle of asset creation and money management?” In this groundbreaking look at the parables of the talents and the man of noble birth, pastor, teacher and author Dr. Kenneth Ulmer reveals God's process for moving you from a consumer to a producer.
The New Poverty Row
Since cinema's earliest beginnings, there has been friction between producers and directors. Shady accounting practices, which favored the distributors at the expense of the filmmakers, were all too common, causing many filmmakers to form independent companies to make and distribute their own product. This book examines six such low-budget exploitation companies--Associated Distributors Productions, Filmgroup, Hemisphere Pictures, American General Pictures, Independent-International Pictures, Dimension Pictures, and the author's own American-Independent Productions. A brief history of each company, laced with quotes from the company's principals, is presented, followed by a filmography that lists all known credits for that company.
A Companion to Wong Kar-wai
With 25 essays that embrace a wide spectrum of topics and perspectives including intertextuality, transnationality, gender representation, repetition, the use of music, color, and sound, depiction of time and space in human affairs, and Wong’s highly original portrayal of violence, A Companion to Wong Kar-Wai is a singular examination of the prestigious filmmaker known around the world for the innovation, beauty, and passion he brings to filmmaking. Brings together the most cutting edge, in-depth, and interesting scholarship on arguably the greatest living Asian filmmaker, from a multinational group of established and rising film scholars and critics Covers a huge breadth of topics such as...
Historical Dictionary of Taiwan Cinema
Taiwan was able to solidly build and sustain a film industry only after locally-produced Mandarin films secured markets in Hong Kong and Southeast Asia during the 1960s and 1970s. Though only a small island with a limited population, in its heyday, Taiwan was among the top-10 film producing countries/areas in the world, turning out hundreds of martial arts kung fu films and romantic melodramas annually that were screened in theaters across Southeast Asia and other areas internationally. However, except for one acclaimed film by director King Hu, Taiwan cinema was nearly invisible on the art cinema map until the 1980s, when the films of Hou Hsiao-hsien, Edward Yang, and other Taiwan New Cinem...
Multi-Tier Approaches to the Resolution of International Disputes
Provides a comprehensive global survey on multi-tier dispute resolution, examining its trends, its strengths and weaknesses, and the way forward.
Surveillance in Asian Cinema
Critical theory and popular wisdom are rife with images of surveillance as an intrusive, repressive practice often suggestively attributed to eastern powers and opposed to western liberalism. Hollywood-dominated global media has long promulgated a geopoliticized east-west axis of freedom vs. control. This book focuses on Asian and Asia-based films and cinematic traditions obscured by lopsided western hegemonic discourse and—more specifically—probes these films’ treatments of a phenomenon that western film often portrays with neo-orientalist hysteria. Exploring recent and historical movies made in post-social and anti-Communist societies such as China, Hong Kong, Taiwan, Vietnam and South Korea, the book picks up on the political and economic concerns implicitly underlying Sinophobic and anti-Communist Asian images in Hollywood films while also considering how these societies and states depict the issues of centralization, militarization and technological innovation so often figured as distinctive of the difference between eastern despotism and western liberalism.
