幻魅都市:張美君博士香港電影研究論文集

已故學者張美君博士(1958–2015)專研香港文學與電影,她從膾炙人口的香港電影中,窺見對香港複雜而矛盾的情緒,洞悉作品和它產生的時代如何密不可分。由《瘋劫》和《胭脂扣》到《香港製造》和《細路祥》,自 《阮玲玉》與《甜蜜蜜》到《長恨歌》與《歲月神偷》,電影作品的影像與聲音,在這本論文結集中堆疊成一座鬼影幢幢的幻魅都市。

» Read more

The Urban Maze Crisis and Topography in Hong Kong Cinema

Situating the new millennial films vis-à-vis several critical turns in the representations of the city in Hong Kong cinema, this chapter aims to examine the cinematic city as an episteme that grounds our knowledge of political, cultural, and socio-economic dynamics of Hong Kong society within a complex global–national–local network. It is argued that the urban cinema provokes critical discourses on […]

» Read more

A Companion to Hong Kong Cinema: Introduction

Time haunts Hong Kong cinema in a peculiar way that sets it apart from other film cultures. Critics talk about it in terms of “time pieces” (Stephens 1996), “poets of time” (Rayns 1995), “translating time” (Lim 2001), “violence of time” (Law 2006), and “marking time” (Ma 2010). As Esther M.K. Cheung and Chu Yiu-wai (2004) remind us, Hong Kong film […]

» Read more

Do We Hear the City?: Voices of the Stranger in Hong Kong Cinema

Abstract: This chapter attempts to examine the ethical relationship between self and other by way of focusing on the theme of estrangement in the New Hong Kong Cinema. In his study of the voice-over in cinema, Michel Chion creates a category of “acousmatic voices” or in French the acousmêtre. The acousmêtre refers to the image-voice relation in which one does […]

» Read more

Between Times and Spaces: Interview with Evans Chan

Abstract: A Hong Kong Second Wave filmmaker, Evans Chan’s work is characterized by its transnational context and narrative technique. Migratory experiences, border crossings, and the quest for identity are recurrent themes in his films. One can say that Chan’s migratory experiences in his life naturally have stimulated his interest in these subject matters. In 1984, he furthered his studies in […]

» Read more

Hong Kong Screenscapes: An Introduction

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 […]

» Read more

Documenting Hong Kong: Interview with Tammy Cheung

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 […]

» Read more

概論:尋找香港電影的獨立景觀

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。

» Read more

On Spectral Mutations: The Ghostly City in The Secret, Rouge and Little Cheung

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 […]

» Read more
1 2