In Loving Memory
Abstract: This book situates Hong Kong’s independent spirit within the context of global mediascapes. Hong Kong’s wealth of art films, documentaries, experimental productions, digital arts, and videos constitute its screenscapes, offering multifaceted ways to look at the city’s rich screen culture beyond the confines of the local, commercial film industry, making its connections to world film/screen culture clear. Just as […]
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Abstract: Acclaimed New Wave director Ann Hui held a preview screening of her film, The Way We Are, at the University of Hong Kong shortly after its premiere at the Hong Kong International Film Festival in April 2008. This low-budget feature deals with the quotidian lives of the residents of Tin Shui Wai, a satellite town in Hong Kong’s New […]
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In recounting the last fifteen years of the independent film movement in Hong Kong, it is impossible not to mention Tammy Cheung’s name. Even though she does not make narrative films, she has nevertheless made inroads with documentary films. She focuses on social and human problems as her subject matter and uses direct cinema as her approach. Without the use […]
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獨立電影的路途悠遠漫漫，險惡重重。在香港電影業減產轉型的今天，主流工業也上下求索，尋找生存的路徑，獨立電影人所走的路豈不是更崎嶇？香港的獨立及實驗電影由來已久，卻從未開展真正的電影運動。論者都一致認為本地的獨立電影始於上世紀六十年代，於九十年代復甦。香港於六十年代透過電影學會引進十六米釐菲林及超八，那時候還未有政府資助，業餘製作者的興趣已萌芽。「第一影室」（Studio One）在1962年成立，主要成員是在港工作的外國人，後來「大影會」在1966年成立，其前身亦即「大學生活社」學生活動的「電影小組」，主辦放映、研討和座談等活動，並且推廣電影創作的風氣。
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Abstract: This chapter explores how various moments of disjointed time in Hong Kong history are associated with the expression of a sense of ghostliness, alienation and homelessness. It discusses the possibility of writing a meta-history of Hong Kong over the past thirty years or so through a hermeneutical reading of the cinematic depictions of space. It focuses on how an […]
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Abstract: With persistent efforts on constructing personal and collective memories arising from the unprecedented transformations in post-socialist China, Jia Zhangke has produced an ensemble of realist films with an impressive personal and authentic appeal. This paper examines how his films are characterised by a variety of accents, images of authenticity, a quotidian ambience, and a new sense of materiality within […]
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James Clifford’s essay ‘Diasporas’ (1994), which discusses the need to move from the ‘ideal type’ of ‘diaspora’ to non-Jewish kinds of migratory experiences, casts significant implications on the study of Chinese diasporas. We can follow this stance to assert that ‘diaspora’ as an analytical category must be referred to in the plural form and with a lowercase ‘d’. In many […]
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Hong Kong author Xi Xi began writing in the 1960s. A prolific writer, she has produced poetry and prose ranging from short stories, novels, screenplays, and translations, to literary, film and art criticism and covering a wide variety of settings and themes. Included in her work are aspects of modern city life, identity, gender, illness, re-interpretations of historical and classical […]
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他的電影、我們的城市 關錦鵬的電影，有若其人，有一種不能言喻的親切感。打從他的第一部電影至今，他的每一個故事好像跟我們的城市的命脈不可分割。縱使他恆常地這樣娓娓道來：「既近且遠、既遠且近」，我們卻邊走邊看地跟他的電影渡過了一段起伏跌宕的歲月。本書無意給他的電影事業作什麼總結，因為當下正值香港電影的轉型時期，路仍漫漫，何來總結？但是從評論分析的角度來看，他的近作《長恨歌》(2005) 可被視為香港電影發展和他個人事業的一個里程碑。正如他自己說：「有分必有合。」香港電影源自上海，但四九年以後南來和土生土長的電影人在港締造繁華盛世，上海確是望塵莫及。
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