Relevant bibliographies by topics / Hong Kong films

Academic literature on the topic 'Hong Kong films'

Author: Grafiati
Published: 27 July 2024
Last updated: 29 July 2024

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Journal articles on the topic "Hong Kong films"

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Wang, Kai, and Nan Li. "ANALYSIS OF HONG KONG ZOMBIE MOVIES AUDIOVISUAL LANGUAGE IN THE 1980S." International Journal of Law, Government and Communication 7, no. 29 (September 1, 2022): 18–26. http://dx.doi.org/10.35631/ijlgc.729002.

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As a subcultural type of genre film, Hong Kong zombie films play an important role in Hong Kong films. Hong Kong zombie films through visual languages such as color, light, lens, and auditory language such as language, music, and audio create a horror atmosphere and infect the emotions of the audience. The use of audiovisual language also implies the ideological representation of the collision between China and the West in Hong Kong in the 1980s.
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Lu, Xin. "Expression of Hong Kong Directors in the Chinese Main-Melody Film: The Artistic Propaganda." Asian Journal of Social Science Studies 7, no. 7 (August 1, 2022): 61. http://dx.doi.org/10.20849/ajsss.v7i7.1246.

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By analysing the main-melody film works of Hong Kong directors and the understandings and attitudes of audiences in both mainland China and Hong Kong toward these films, it is hoped that this research will contribute to a deeper understanding of the particularity of Hong Kong people’s national identity. This would provide a significant opportunity to advance the understanding of Hong Kong’s status and value in contemporary China and the world. Furthermore, this study will offer some critical insights into the distribution of Hong Kong films in mainland China.
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Liu, Xinyu. "A Probe in the Language Features of Fruit Chan's Films from the Perspective of Audio-visual Characteristics: Taking the Trilogy on Hong Kong's Return to China as an Example." BCP Social Sciences & Humanities 15 (March 13, 2022): 138–43. http://dx.doi.org/10.54691/bcpssh.v15i.380.

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After the territory of Hong Kong formally returned in 1997 to its rightful owner of China, Fruit Chan (Chen Guo), a director, rose to fame with his trilogy on HK's return (namely Little Cheung, Made in Hong Kong, and The Longest Summer). Since then, he has successively made many films reflecting humans' real living status. Most of Hong Kong-made films in the past were standardized and industrialized, such as comedies and action films which are familiar to us, while there were few realistic films that could indeed depict and present the social changes to the public. Therefore, films like Fruit Chan's, which demonstrates tragic and profound ideas, are extremely rare and valuable in Hong Kong's film industry. Although Chan has not produced many works, all of them are endowed with realistic hue, aesthetic characteristics, and profound humanistic thoughts, which makes his films monuments of Hong Kong's realistic ones. It is easy to find sense of mission and sentimental feelings in his films, enabling us to better see how Hong Kong films move forward in the direction of visual transmission after Hong Kong’s return to China from multiplex angles of view.
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Lu, Xiao. "Hollywood Genre, Cultural Hybridity, and Musical Films in 1950s Hong Kong." Arts 12, no. 6 (November 8, 2023): 237. http://dx.doi.org/10.3390/arts12060237.

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Following the trauma of the Second World War, Hong Kong, under British governance, enjoyed considerable economic and political freedom to establish a local entertainment industry. Musical films became a major genre of Hong Kong’s film releases in the 1950s. Local melodramas, Hollywood musicals, celebrities, and ideals of female beauty were all present in the growth of Hong Kong musical films, which culminated in a glorious display of cinematic art. This article aims to provide insight into the popularity of Chinese-speaking musical films by examining the social, economic, and political complexity of 1950s Hong Kong, including post-war migration and colonial censorship. An in-depth analysis of Li Han-Hsiang’s The Kingdom and the Beauty demonstrates how Hong Kong studios adapted the Hollywood musical to tell Chinese stories and how Hong Kong musical films incorporated Chinese literature and music to represent cultural memory, local identity, and modern aesthetics. This case study sheds light on the localization of a Hollywood genre and the hybridization of Chinese and Western entertainment forms to appeal to a Chinese audience, thereby broadening the definition of cultural hybridity and informing the practice of Hong Kong’s musical filmmaking.
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Yang, Xinrui. "Postmodern Representations and Reflections in Hong Kong Urban Cinema: A Study on the Works of Heiward Mak Hei-Yan." Journal of Education, Humanities and Social Sciences 24 (December 31, 2023): 726–31. http://dx.doi.org/10.54097/bmzw1726.

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In the new millennium, a discontinuity of postmodern elements began to surface in Hong Kong commercial films. However, young director Heiward Mak Hei-yan integrated postmodern elements into her works, which are primarily urban films, inheriting and developing the postmodern tradition of Hong Kong cinema. She does this primarily by shaping marginal urban landscapes and crowds, capturing the less noticed aspects of Hong Kong city, and demonstrating the anti-grand narrative characteristic of postmodernism. By establishing a postmodern perspective on love, she breaks and "rebels" against traditional romance films, not just merely glorifying the myth of love, but emphasizing the questioning of the eternal view of modern love. Simultaneously, she illustrates the dilemmas of postmodern alienation to portray the contemporary postmodern mentality and cultural symptoms of Hong Kong people in this unique geographical location. Her urban films reflect her positive thinking about urban romance, life, and mental state in a postmodern context, providing the possibility of parallelism between commerciality and postmodernism, and offering insights for the development of Hong Kong cinema.
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Hongjin He, Hilary. ""Chinesenesses" Outside Mainland China: Macao and Taiwan through Post-1997 Hong Kong Cinema." Culture Unbound 4, no. 2 (June 1, 2012): 297–325. http://dx.doi.org/10.3384/cu.2000.1525.124297.

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By examining the filmic representation of Macao and Taiwan in Hong Kong films, mostly released after the 1997 sovereignty transfer, this paper will address the notion of Chineseness in its plural form as associated with different Chinese societies. The purpose is to bring attention to the cosmopolitan side of Chineseness in Hong Kong cinema rather than the mere influence from the Mainland (PRC). I will argue that it is this pluralised, composite Chineseness reflected in Hong Kong cinema that has reinforced its very “Hong Kong-ness” against the impact from the “orthodox” Chineseness of the Mainland. Through a combination of textual and contextual analyses of selected Hong Kong diaspora films respectively set in Macao and Taiwan, this paper aims to provide a general understanding of the imbrications of various Chinese societies within Greater China and, most importantly, the changing role and position of Hong Kong (cinema) within this conceptual China as “one country” before and after it became a special part of the PRC.
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Chan, Charlene Peishan. "“I Want to be More Hong Kong Than a Hongkonger”." Lifespans and Styles 6, no. 1 (May 24, 2020): 13–27. http://dx.doi.org/10.2218/ls.v6i1.2020.4398.

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The years leading up to the political handover of Hong Kong to Mainland China surfaced issues regarding national identification and intergroup relations. These issues manifested in Hong Kong films of the time in the form of film characters’ language ideologies. An analysis of six films reveals three themes: (1) the assumption of mutual intelligibility between Cantonese and Putonghua, (2) the importance of English towards one’s Hong Kong identity, and (3) the expectation that Mainland immigrants use Cantonese as their primary language of communication in Hong Kong. The recurrence of these findings indicates their prevalence amongst native Hongkongers, even in a post-handover context.
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Chen, Fangyu. "The post-2000 Hong Kong young filmmakers: Embrace, resistance and new chances." New Cinemas: Journal of Contemporary Film 17, no. 2 (September 1, 2020): 209–26. http://dx.doi.org/10.1386/ncin_00017_1.

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This article is a text-based analysis of 107 Hong Kong local productions produced from 2000 to August 2018. These films are made by the current young generation of filmmakers who joined the industry in the new millennium, when it gradually entered an era marked by the domination of Hong Kong–mainland co-productions. With the aim of expanding the scholarly discussion on the emerging ‘Hong Kong SAR New Wave Cinema’, it identifies four themes that recurrently appear in their films: (1) a tendency to feature people with physical or mental disabilities as their protagonists; (2) the possession of a sense of nostalgia for the glorious 1980s; (3) a manifestation of larger Hong Kong–mainland relations through characters; and (4) varying degrees of politicization. The young generation of filmmakers, whose works denote the social responsibility these young people bring to their filmmaking, shows their greater engagement with civic issues, less consideration of the mainland market and capital and a stronger desire to tell local Hong Kong stories, preserve local Hong Kong culture and emphasize the Hong Kong identity it represents. These traits, as the conclusion argues, are rooted deeply in economic, cultural and political realities.
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Dong, Zhaoyang. "Encoding and Decoding: Mapping Social Value Shifts and Social Contexts in Hong Kong Crime Films." Communications in Humanities Research 9, no. 1 (October 31, 2023): 44–50. http://dx.doi.org/10.54254/2753-7064/9/20231099.

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Since the 1980s, Hong Kong film has had a wide impact on the world. Amongst this, crime films take a salient position. It results from the strong artistic tension within the production of crime films itself, and on the other hand, it provides us with rich material for studying the changing socio-cultural context of Hong Kong. The creation and dissemination of art is both a process of coding for the creator and a process of coding for the social context, a process that involves both the personal expression of the creator and inevitably the shaping of cultural codes by ideology. Since A Better Tomorrow, Hong Kong crime films, as a category of films closely connected to social reality, have had a significant impact in responding to social issues. The main content of Hong Kong crime films also has a strong role in shaping social contexts and influencing audiences perceptions in a subtle way. Therefore, in the process of creation, apart from thinking about the artistry of the films, the impact on the shaping of social perceptions of the films also needs to be taken into consideration.
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Laukkanen, Tatu-Ilari. "Shanghai gangster films and the politics of change." Novos Olhares 9, no. 1 (July 10, 2020): 81–97. http://dx.doi.org/10.11606/issn.2238-7714.no.2020.172000.

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In this paper through a very close textual reading I will show the ideological differences between two films based on the life of Shanghai gangster Du Yuesheng (1888, Pudong – 1951, Hong Kong) through close formal and narrative analysis. Du was already a celebrity in his day in the Republican era and is still a con-troversial figure in Greater China. However, there are only two films based on the life of the French Con-cession opium kingpin, the recent Hong Kong/PRC co-production The Last Tycoon (Da Shang Hai, Wong Jing, 2012) and the epic two part Lord of the East China Sea I & II (Shang Hai huang di zhi: Sui yue feng yun & Shang Hai huang di zhi: Xiong ba tia xia, Hong Kong, Poon Man-kit 1993). I show how these films reflect HK's and China's politico-economic changes focusing on the representation of social class and the subject, depiction of internal migration and immigration, and nationalism. The films will be discussed in their relation to changes in the Hong Kong film industry, Chinese and world cinema and the transnational gangster genre, showing how local and global cinemas have affected these films.
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Dissertations / Theses on the topic "Hong Kong films"

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Wong, Wai-kit, and 黃蔚潔. "Macau in Hong Kong films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952872.

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Wong, Wai-kit. "Macau in Hong Kong films." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22199974.

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Yung, Wai-kei, and 戎偉基. "Pictorial representations of "Hong Kong": a study of 1980s and 90s Hong Kong films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951788.

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Yung, Wai-kei. "Pictorial representations of "Hong Kong" : a study of 1980s and 90s Hong Kong films /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20059760.

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Lee, Sin-man, and 李善雯. "Adaptation of Hong Kong films in 1990's." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952689.

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Lee, Sin-man. "Adaptation of Hong Kong films in 1990's." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22199172.

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Robertson, Robert Philip. "Ghostwriting Hong Kong : post-colonial documentary and the western tradition /." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20007450.

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Castillo, Gilbert Gerard. "Gender, Identity, and Influence: Hong Kong Martial Arts Films." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3354/.

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This project is an examination of the Hong Kong film industry, focusing on the years leading up to the handover of Hong Kong to communist China. The influence of classical Chinese culture on gender representation in martial arts films is examined in order to formulate an understanding of how these films use gender issues to negotiate a sense of cultural identity in the face of unprecedented political change. In particular, the films of Hong Kong action stars Michelle Yeoh and Brigitte Lin are studied within a feminist and cultural studies framework for indications of identity formation through the highlighting of gender issues.
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WONG, Nga Man. "Images of older persons in Hong Kong popular films." Digital Commons @ Lingnan University, 2003. https://commons.ln.edu.hk/soc_etd/25.

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Film watching is a popular leisure activity in modern society. Films, as a medium, provide powerful tools to deliver social messages and to create images of particular social groups. The cinematic images portrayed by films toward a particular social group may consequently shape our social perceptions and expectations of that social group. The ways that cinematic images portray older persons are, therefore, a potentially major source for detecting social values and views about them. As some cinematic images tend to reflect social attitudes and behaviours, the present research aimed at investigating how popular films portray the images of older persons. Focus was on the examination of: 1) the representation of older persons in Hong Kong movies, 2) whether older persons are positively or negatively portrayed in movies, and 3) any changes in the cinematic images of older persons over the last two decades. The present research examined Hong Kong movies released between 1981 and 2001. The population of the present study is the most popular Hong Kong movies, based on the turnover of the Hong Kong ticket offices. The sampled films were derived from the three highest-turnover movies for each year from 1981 to 2001. Content analysis was employed in this study to determine the representation and images of older persons in the 63 sampled movies. Generally speaking, older persons were found to be under-represented in the sampled movies relative to their presence in the population. Older persons were portrayed as having white hair, wrinkle skin, and walk independently in terms of physical appearance. Older persons were also portrayed as having generally good health status. However, older persons were portrayed to have a decline in both family status and socio-economic status in the 1990s as compared to that of the 1980s. In terms of occupation, most older persons were portrayed as retired persons in the movies. Apart from these features, the present research also found that there was a gender differences in the portrayal of older persons. Many older persons were depicted in the movies in the home setting, perhaps reinforcing traditional Asian family values and stereotypes. However, this perhaps underplays older persons’ active roles and contributions in the light of such current concepts as productive and active aging. There is a temporal division in that older persons in many movies of the 1980s were portrayed as more home-based while, in the 1990s, they were becoming more actively involved in external activities.
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Luk, Siu-leng. "The dialogics of representation : Shanghai in contemporary Hong Kong films /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/HKUTO/record/B38628752.

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Books on the topic "Hong Kong films"

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Sing, Andy Chan Kai. Hong Kong films after 1997. London: LCP, 2001.

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Logan, Bey. Hong Kong action cinema. Woodstock, N.Y: Overlook Press, 1996.

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Logan, Bey. Hong Kong action cinema. London: TitanBooks, 1994.

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Xianggang ying ye xie hui. Xianggang dian ying: Hong Kong films 1989·1990. Xianggang: Xianggang ying ye xie hui, 1991.

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Meaghan, Morris, Li Siu Leung 1958-, and Chan Stephen Ching-kiu, eds. Hong Kong connections: Transnational imagination in action cinema. Durham: Duke University Press, 2005.

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1955-, Fu Poshek, and Desser David, eds. The Cinema of Hong Kong: History, arts, identity. Cambridge, UK: Cambridge University Press, 2000.

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Wong, Joan. Hong Kong films and cinema in the seventies and eighties. [Derby]: Derbyshire College of Higher Education, 1986.

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Bordwell, David. Planet Hong Kong: Popular Cinema and the Art of Entertainment. Madison, Wisconsin: Irvington Way Institute Press, 2011.

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Li, Caixia. Shao shi jia zu ying shi wang guo da guan: A marvelous overview of Shawbrother's films and televisions. Beijing: Hai yang chu ban she, 2019.

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Venuti, Andrea. John Woo e il crime movie di Hong Kong tra eleganza, manierismo, sacrificio ed amicizia virile. Roma: Profondo rosso, 2020.

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Book chapters on the topic "Hong Kong films"

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Gorfinkel, Lauren, and Xuezhong Su. "Hong Kong, Films, and the Building of China’s Soft Power: The Cross-Promotion of Chinese Films on Globally Oriented State Television." In Hong Kong and Bollywood, 265–93. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-349-94932-8_15.

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Lee, Vivian P. Y. "Karmic Redemption: Memory and Schizophrenia in Hong Kong Action Films." In Hong Kong Cinema Since 1997, 138–59. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230245433_7.

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Bettinson, Gary. "Hong Kong Puzzle Films: The Persistence of Tradition." In The Poetics of Chinese Cinema, 119–45. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-55309-6_7.

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Yue, Audrey. "In the Mood for Love: Intersections of Hong Kong Modernity." In Chinese Films in Focus II, 144–52. London: British Film Institute, 2008. http://dx.doi.org/10.1007/978-1-349-92280-2_19.

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Sham, Ricky Y. H. "Cantonese Cameo: Pre-war Hong Kong Films and /ɿ/ of Early Cantonese." In Chinese Culture in the 21st Century and its Global Dimensions, 123–39. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-2743-2_8.

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Sun, Yi. "Defining Hong Kong Cinema Through Distribution: Milkyway Films in the United States." In Milkyway Image, 91–107. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-6578-0_6.

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"Hong Kong films." In Hong Kong Cinema, 99–112. Routledge, 2003. http://dx.doi.org/10.4324/9780203222072-9.

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"Hong Kong films." In Hong Kong Cinema, 113–40. Routledge, 2003. http://dx.doi.org/10.4324/9780203222072-10.

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Yiu-Wai, Chu. "Will Our Time Come? Ann Hui’s Fallen City." In Main Melody Films, 54–79. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474493864.003.0003.

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A key Hong Kong New Wave filmmaker who continues to be among the leading figures of Hong Kong cinema after four decades, Ann Hui is well known for her humanistic concerns and social awareness. She is also among the most experienced Hong Kong directors to take part in mainland-Hong Kong co-productions. After offering a brief account of her films related to the history of Hong Kong, this chapter looks at Our Time Will Come, a mainland-financed film that reconsidered a less-known chapter in Hong Kong history: the unsung heroes who evacuated Chinese intellectuals from Hong Kong during the Japanese occupation. Lastly, it dwells on the (im)possibility of conveying messages in a main melody film situated in Hong Kong.
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"Hong Kong films: the cultural specificity of quasi-national film." In Hong Kong Cinema, 85–98. Routledge, 2003. http://dx.doi.org/10.4324/9780203222072-8.

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Conference papers on the topic "Hong Kong films"

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Chen, Antong. "Hong Kong Action Films’ Aesthetics of Violence." In 2021 International Conference on Public Art and Human Development ( ICPAHD 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220110.023.

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Yi, Jing, and Guannan E. "Hong Kong Films in the Social Evolution after 1997." In 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.68.

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Dai, Nan. "Nostalgic Representation of “Old Shanghai” in Hong Kong and Taiwan Films." In 8th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220306.070.

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Lo, V. C. "Modeling of electromigration-induced resistance change in aluminum thin films." In Proceedings 1998 IEEE Hong Kong Electron Devices Meeting. IEEE, 1998. http://dx.doi.org/10.1109/hkedm.1998.740203.

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Li, Xiaoyun. "A Study on Hong Kong Nanyang-themed Films During the Cold War." In 2021 Conference on Art and Design: Inheritance and Innovation (ADII 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220205.018.

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Law, C. W., K. Y. Tong, K. L. Wong, J. H. Li, and Kun Li. "Electrical characteristics of MIS capacitors with BST thin films deposited on n-Si(100) by the sol-gel method." In Proceedings 1998 IEEE Hong Kong Electron Devices Meeting. IEEE, 1998. http://dx.doi.org/10.1109/hkedm.1998.740187.

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Zheng, Ge. "The Spatial Production of Films Illustrated by the Case of Hong Kong Kowloon Walled City." In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.31.

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Tang, Xulin. "An Analysis of the Impact of the Development of Hong Kong Society on Local Romance Films between 1990-2000." In 2022 International Conference on Social Sciences and Humanities and Arts (SSHA 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220401.023.

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Liu, Yuqing. "GHOST FROM THE FUTURE: HONG KONG TEMPORALITIES IN THE FILM ROUGE." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.22.

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This paper explores how the film Rouge (1987) adapts and transforms traditional ghost narratives and how the cinematic anxiety of time is associated with the countdown temporality of Hong Kong in the 1980s. I argue that Rouge transforms two narrative structures of traditional Chinese literature — Caizi-jiaren (scholar-beauty) and the “historical ghost tale” — to foreground the particular temporality of Hong Kong. Firstly, the returning of the female ghost and her failure in pursuit of love intensifies the conflict between the modern linear time and the cosmological ghostly time and poignantly manifests the impossibility of a fifty-year unchanged commitment. Secondly, unlike traditional “historical ghost tales” in which ghosts were called back by traumas of the collapse of old dynasties, the revenant of the heroin in this film returns to the living world for the prearranged trauma of the future, due to the particular temporality of countdown Hong Kong has confronted since 1982. The countdown forced Hong Kong to enter a circular time and to experience the prearranged calamity in the future. Thus, I contend that this film rehearses a demise of Hong Kong, which exacerbates, rather than alleviates, the anxiety and pain associated with the traumatic experience.
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Zhou, Qiang. "The Changes of Hong Kong Police Image in Hong Kong Film from CEPA." In 3rd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iccessh-18.2018.139.

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Reports on the topic "Hong Kong films"

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Bhattacharya, Utpal, Amit Kumar, Sujata Visaria, and Jing Zhao. Do Women Receive Worse Financial Advice? An Audit Study in Hong Kong, China. Asian Development Bank, May 2023. http://dx.doi.org/10.22617/wps230181-2.

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This audit study examines whether financial advisors’ recommendations vary by client gender. It provides evidence that women are more likely than men to receive low-quality financial advice from some types of advisory firms. We explain this as the result of firms’ incentives and advisors’ beliefs about gender differences in financial knowledge.
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