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Books on the topic 'Hong Kong films'

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Author: Grafiati

Published: 27 July 2024

Last updated: 29 July 2024

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1

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

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2

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

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3

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

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4

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

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5

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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6

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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7

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

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8

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

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9

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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10

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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11

Hong Kong (China). Provisional Urban Council. and Xianggang dian ying zi liao guan., eds. The making of martial arts films: As told by filmmakers and stars. Hong Kong: Provisional Urban Council, 1999.

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12

Witterstaetter, Renee. Dying for action: The life and films of Jackie Chan. New York: Warner Books, 1997.

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13

David, Jackson Andrew, Gibb Michael, and White Dave, eds. How East Asian films are reshaping national identities: Essays on the cinemas of China, Japan, South Korea, and Hong Kong. Lewiston, N.Y: Edwin Mellen Press, 2006.

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14

Hong Kong Film Arts Association., ed. Fan hua sheng fang: Xianggang dian ying mei shu, 1979-2001 = Wild blooms of imagination : art direction in Hong Kong films, 1979-2001. Xianggang: San lian shu dian (Xianggang) you xian gong si, 2005.

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15

Huang, Xiaonan. Xiao tiao CULT pian bao zha li: Na ge di chao qi de Xianggang dian ying = Depression cult movies explosive power : Hong Kong movies and the society, in the times of adversity. Xianggang: San lian shu dian (Xianggang) you xian gong si, 2020.

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16

Kee, Jacky Leung Oi. Hong Kong kung fu film. London: LCP, 2001.

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17

Chu, Yiu-Wai. Hong Kong Pop Culture in the 1980s. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463728669.

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This book deals with the 1980s – the “golden decade” of Hong Kong pop culture – in which a cosmopolitan lifestyle of pop and chic emerged in the city. Bookended by two major historical incidents, the 1980s will probably enter the annals of Hong Kong history as the decade that defined its future after reversion to Mainland China. Having witnessed and experienced the rise of Hong Kong pop culture to unprecedented heights in this decade, the author enhances its context through a story about his own personal belongings. Examining popular genres including television, film, music, fashion, disco and city magazine, this book teases out the distinctive aspects of Hong Kong pop culture that defined (his) Hong Kong. As Hong Kong has been undergoing drastic changes in recent years, it is necessary to point toward new imaginaries by re-examining its development. Toward this end, this book will shed light on an important research area of Hong Kong Studies as an academic discipline.

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18

Xianggang dian ying zi liao guan and Hong Kong International Film Festival (29th : 2005 : Hong Kong, China), eds. The Hong Kong-Guangdong film connection. Hong Kong: Hong Kong Film Archive, 2005.

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19

Jean-Jacques, Malo, and Williams, Tony, 1946 Jan. 11-, eds. Vietnam war films: Over 600 feature, made-for-tv, pilot and shortmovies, 1939-92, from the United States, Vietnam, France, Belgium, Australia, Hong Kong, South Africa, Great Britain and other countries. North Carolina: McFarland, 1993.

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20

1958-, Malo Jean-Jacques, and Williams, Tony, 1946 Jan. 11-, eds. Vietnam war films: Over 600 feature, made-for-TV, pilot, and short movies, 1939-1992, from the United States, Vietnam, France, Belgium, Australia, Hong Kong, South Africa, Great Britain, and other countries. Jefferson, N.C: McFarland, 1994.

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21

Aitken, Ian. Hong Kong Documentary Film. Edinburgh University Press, 2014.

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22

昨日的影今日的光. 香港電影評論學會, 2022.

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23

香港電影2018. Hong Kong: 香港電影評論學會, 2019.

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24

Aitken, Ian, and Michael Ingham. Hong Kong Documentary Film. Edinburgh University Press, 2014.

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25

Aitken, Ian, and Michael Ingham. Hong Kong Documentary Film. Edinburgh University Press, 2015.

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26

Aitken, Ian, and Michael Ingham. Hong Kong Documentary Film. Edinburgh University Press, 2014.

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27

Aitken, Ian, Aitken Ian and Ingha, and Michael Ingham. Hong Kong Documentary Film. Edinburgh University Press, 2014.

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28

Martin, Daniel, and Gary Bettinson. Hong Kong Horror Cinema. Edinburgh University Press, 2019.

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29

無惡不作. 香港電影評論學會, 2022.

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30

香港獨立電影圖景. Hong Kong: 手民出版社, 2018.

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31

Yau, Esther C. M., Esther M. K. Cheung, and Gina Marchetti. Companion to Hong Kong Cinema. Wiley & Sons, Limited, John, 2020.

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32

Yau, Esther C. M., Esther M. K. Cheung, and Gina Marchetti. Companion to Hong Kong Cinema. Wiley & Sons, Incorporated, John, 2015.

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33

Yau, Esther C. M., Esther M. K. Cheung, and Gina Marchetti. Companion to Hong Kong Cinema. Wiley & Sons, Incorporated, John, 2015.

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34

Yau, Esther C. M., Esther M. K. Cheung, and Gina Marchetti. Companion to Hong Kong Cinema. Wiley & Sons, Limited, John, 2015.

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35

Chu, Stephen Yiu-Wai. Main Melody Films: Hong Kong Film Directors in China. Edinburgh University Press, 2022.

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36

Chu, Stephen Yiu-Wai. Main Melody Films: Hong Kong Film Directors in China. Edinburgh University Press, 2022.

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37

Chu, Stephen Yiu-Wai. Main Melody Films: Hong Kong Film Directors in China. Edinburgh University Press, 2022.

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38

正義迴廊劇本集: The Sparring Partner. Hong Kong: e Media Marketing Limited, 2023.

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39

Lo, Kwai-Cheung. Erasing China in Japan’s “Hong Kong Films”. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199731664.013.006.

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40

Fang, Karen. Arresting Cinema: Surveillance in Hong Kong Film. Stanford University Press, 2017.

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41

Fang, Karen. Arresting Cinema: Surveillance in Hong Kong Film. Stanford University Press, 2017.

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42

Kronengold, Charles. Audiovisual Objects, Multisensory People, and the Intensified Ordinary in Hong Kong Action Films. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0003.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter explores audiovisual intensification in post-1997 Hong Kong action films, focusing on the performance of everyday activities in Johnnie To’s 2004Breaking News (Dai si gin, 2004) This film’s heightened depictions of materiality, temporality, and the ordinary provide a means to register multisensory experience in a changing urban society. Sound and music work alongside the narrative and the mise-en-scène, creating a contrapuntal weave of lines through the film. Without relying on dialogue,Breaking Newsreveals the weight and dimensionality of the human in ways specific to both digital cinema and Hong Kong experience. Everyday objects, and the quotidian activities associated with them, are granted a strong audiovisual presence; this helps create an intensified ordinary that deepens and supplements the film’s status as action cinema.

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43

(Editor), Poshek Fu, and David Desser (Editor), eds. The Cinema of Hong Kong: History, Arts, Identity. Cambridge University Press, 2000.

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44

Diffrient, David Scott. Hands, Fingers and Fists: ‘Grasping’ Hong Kong Horror Films. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0008.

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The cultural imaginary of kung-fu cinema has been codified as a physically balletic and graceful, if also violently bloody and brutal, genre defined in part by the persistent presence of deadly, thrusting hands. Of course, hands are also central to another type of cultural production, one that has often incorporated kung-fu action and iconography. This chapter assesses a broad range of motion pictures that showcase hands in thematically complex and symptomatically relevant ways, be they the severed anatomical remnants of long- departed souls sprung back to life in Witch from Nepal (1986) or the skeletal appendages that comically grab the protagonist’s crotch in Encounters of the Spooky Kind (1980). This chapter strives to pin down the powerful forces that lay dormant within the genre, including its tendency to dredge up and display moments of excessive, otherwordly violence for which there is seemingly no “rational” explanation.

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45

Main Melody Films: Hong Kong Directors in Mainland China. Edinburgh University Press, 2024.

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46

Spooky Encounters: A Gwailo's Guide to Hong Kong Horror. Critical Vision, 2004.

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47

Hong Kong Filmography, 1977-1997: A Reference Guide to 1,100 Films Produced by British Hong Kong Studios. McFarland & Company, Incorporated Publishers, 2009.

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48

Charles, John. Hong Kong Filmography, 1977-1997: A Reference Guide to 1,100 Films Produced by British Hong Kong Studios. McFarland & Company, Incorporated Publishers, 2009.

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49

Charles, John. The Hong Kong Filmography, 1977-1997: A Complete Reference to 1,100 Films Produced by British Hong Kong Studios. McFarland & Company, 2000.

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50

Willis, Andy. From Killer Snakes to Taxi Hunters: Hong Kong Horror in an Exploitation Context. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0004.

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From the Shaw Brothers production line to the clones of Bruce Lee, Hong Kong cinema has long been seen as driven by raw commercial concerns. Like many other commercial film industries, most notably Hollywood, production in the Hong Kong film industry has also been focused on popular cycles of production. These have included phases when family melodramas, historical swordplay and kung-fu films, screwball comedies and triad based crime films have all proved successful at the domestic and regional box-office. As with other commercially focused film industries there has also been a low budget sector within Hong Kong industry. Here producers and directors have fashioned energetic, populist films that were designed to appeal to audiences’ desire for films that contained sex and violence. The horror genre seemed the perfect vehicle to satiate these needs. This chapter explores the work of filmmakers who worked at this rougher end of Hong Kong horror in the 80s and 90s. As well as placing them into this exploitation context of production, this chapter discusses their excessive content and the visual style employed by directors such as Kuei Chih-hung (Killer Snakes, Hex) and Herman Yau (The Untold Story, Ebola Syndrome) to deliver their exploitative content.

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