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 […]

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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 […]

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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 […]

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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 […]

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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 […]

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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 […]

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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。

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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 […]

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給關錦鵬的情書

親愛的關錦鵬: 拿起筆桿寫情書,是少不更事時的片刻衝動,那時候不需要勇氣,只有熱情。因此今天向你表白真情,總感到萬分尷尬,踟蹰不前。雖然知道你是十分平易近人,但總覺得不知從何說起。但自從我的母親離去後,我愈發抓緊向我所愛人的表白,我在惶恐和傷痛中害怕再沒有表白的機會,因為人生苦短,我也不知道自己還有多少日子,所以我努力的與時間競賽,希望在我有生之年,能夠寄出所有的情書。這是我在倉卒間寫下的第三封情書,並且學會了用e貓小蒙恬手寫板寫的。這實在有點可惜,因為那些愛上我的人,特別是男人,都鍾愛我那工整秀麗的筆跡。我知道你我注定不能相愛,秀麗的筆跡既然不派用場,我也樂於請科技代勞了。

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