Books: 'Independent filmmakers – Hong Kong'

1

Thảo, Nguyẽ̂n Văn, and Viện nghiên cứu khoa học pháp lý (Vietnam), eds. Tài liệu chó̂ng tham nhũng. Hà Nội: Bộ tư pháp, Viện nghiên cứu khoa học pháp lý, 1994.

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2

Hanzhong, Wang. Zou jin Xianggang lian zheng gong shu. Beijing: Guo jia xing zheng xue yuan chu ban she, 2019.

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3

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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4

Hong Kong (China). Independent Commission Against Corruption. Centre of Anti-Corruption Studies. Seminar. Centre of Anti-Corruption Studies opening ceremony and seminar. Hong Kong]: Centre of Anti-Corruption Studies, Independent Commission Against Corruption, 2009.

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5

Su, Tao. Dian ying nan du: "nan xia ying ren" yu zhan hou Xianggang dian ying (1946-1966) = Drifting south : Shanghai emigre filmmakers and postwar Hong Kong cinema, 1946-1966. Beijing Shi: Beijing da xue chu ban she, 2020.

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6

香港獨立電影圖景. Hong Kong: 手民出版社, 2018.

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7

Fan, Victor. Extraterritoriality. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440424.001.0001.

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This book examines how Hong Kong filmmakers, spectators and critics wrestled with a perturbation: What is Hong Kong cinema? Framed between the Leftist Riots (1967) and the aftermath of the Umbrella Movement (2014), this book scrutinises the interdependent relationship between cinema and politics by rethinking how Hong Kong cinema has been historically in-formed by dispossession and exclusion, rather than identity and belonging. It traces how Hong Kong’s extraterritoriality has been framed: in its position of being doubly occupied and doubly abandoned by contesting juridical, political, linguistic and cultural forces. It argues that filmmakers and spectators actively define and reconfigure Hong Kong cinema and media by fostering them as a public sphere, where contesting affects associated with these political lives’ shifting extraterritorial conditions and positions can be negotiated. Based on a combination of archival research, industrial studies, textual analysis and media and political philosophies, Extraterritoriality studies how creative works in mainstream cinema, independent films, television, video artworks and documentaries – especially those by marginalised artists – actively rewrite and reconfigure the way Hong Kong cinema and media are defined and located. These stylistically and political diverse works and practices seek – in their respective manners – to foster new ways to live with Hong Kongers’ double occupancy and double ostracisation that constantly deindividuate, desubjectivise, and deautonomise them, and how they can survive in their constant state of exception.

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8

Chen, Fangyu. Nascent Filmmakers in Hong Kong, 2000-2020. Lexington Books/Fortress Academic, 2023.

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9

Costa, G. Independent Guide to Hong Kong Disneyland 2020. Independent Publishing Network, 2020.

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10

Costa, G. Independent Guide to Hong Kong Disneyland 2020. Independently Published, 2020.

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11

Independent Media Movements in Hong Kong and Taiwan: Dissenting Voices. Routledge, 2022.

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12

Kwok, Levon. Independent Media Movements in Hong Kong and Taiwan: Dissenting Voices. Taylor & Francis Group, 2022.

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13

Kwok, Levon. Independent Media Movements in Hong Kong and Taiwan: Dissenting Voices. Taylor & Francis Group, 2022.

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14

Kwok, Levon. Independent Media Movements in Hong Kong and Taiwan: Dissenting Voices. Taylor & Francis Group, 2022.

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15

Independent Media Movements in Hong Kong and Taiwan: Dissenting Voices. Routledge, 2022.

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16

Douglas W, Arner, Hsu Berry, Goo Say H, Johnstone Syren, Lejot Paul, and Kwok-Sang Tse Maurice. Financial Markets in Hong Kong. Oxford University Press, 2016. http://dx.doi.org/10.1093/law/9780198706472.001.0001.

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This new edition provides a guide to the main areas of financial regulation and financial law in Hong Kong. Given the massive changes in financial regulation globally as a result of the 2008 global financial crisis and post-crisis international regulatory reforms, this book addresses these changes in Hong Kong markets and their legal and regulatory frameworks, as well as the implications of these changes to future market development. The book is in five parts. The first part considers the evolution of Hong Kong’s role as a financial centre and the development of its financial regulatory structure, one that is perhaps unusually complex given the size of the jurisdiction. The second part discusses the regulation of the banking, securities, and insurance sectors, including the regulatory powers of the Hong Kong Monetary Authority (HKMA), the Securities and Futures Commission of Hong Kong (SFC), the Office of the Commissioner of Insurance (OCI), and the forthcoming independent Insurance Authority (IA). The third part covers regulation of financial products and services, including securities offerings and listings, investment products and asset management, financial derivatives, and takeovers and mergers. The fourth part addresses market conduct and misconduct, including corporate governance, market abuse, and financial crime. Finally, the fifth part examines the international context, focusing on the relationship between Hong Kong’s financial markets and regulation and mainland China as well as key issues for Hong Kong’s role as a major global financial centre.

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17

Speaking in images: Interviews with contemporary Chinese filmmakers. New York: Columbia University Press, 2005.

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18

Lian zheng gong shu quan zhuan: Hongkong ICAC biography. Nanjing: Jiangsu ren min chu ban she, 2009.

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19

Lee, Vivian. Ghostly Returns: the Politics of Horror in Hong Kong Cinema. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0013.

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This chapter examines the trend towards Hong Kong-China co-productions, during which Hong Kong horror films have been in decline due to censorship restrictions in Mainland China. While this mega-market direction is likely to continue in the foreseeable future, Hong Kong filmmakers have made fresh attempts to revitalize this popular genre and inject it with new meanings in the changed and changing context of cultural production and cultural politics in the city. Between 2012-2014, several low to medium budget horror films were released. Local audiences responded enthusiastically and many saw these as a sign of the resilience of the local popular culture to counter or at least deflate the hegemony of the Mainland market. This chapter traces the trajectory of Hong Kong horror through the pre- and post-handover decades, situating horror within the evolving discourse of identity and the issues of local histories and collective memory. It also elaborates on the politics of horror as seem from horror films produced and released in the midst of escalating social and political tensions attributable to a popular/populist “anti-China localism”. The chapter further reflects on the cultural politics of delocalization and relocalization in the context of “re-occupying Hong Kong screens.”

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20

Ling rong ren: Xianggang lian zheng gong shu 40 nian su tan ji lu. Beijing: Zhongguo you yi chu ban gong si, 2012.

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21

Sing, Michael C. P., and Andrew Y. T. Leung. Mandatory Building Inspection: An Independent Study on Aged Private Buildings and Professional Workforce in Hong Kong. City University of Hong Kong Press, 2015.

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22

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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23

Tsang, Raymond. What Can a Neoi Gwei Teach Us? Adaptation as Reincarnation in Hong Kong Horror of the 1950s. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0002.

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Many Hong Kong horror films of the 1950s were pedagogical in nature, and subsequently had a great influence on the Hong Kong New Wave (1980–90). Without examining these earlier films, we cannot fully understand the practice of adaptation and the depiction of the neoi gwei (female ghost) in New Wave horror. Because of the criticism from both intellectuals and cultural elites, earlier Cantonese filmmakers had tried to elevate Cantonese cinema since the 1930s, by the means of making films with ‘healthy’ themes of nationalism and anti-superstition. In the 1950s one of the means was adaptation of classic literary novels and folk tales. Interestingly, mainly dominated by stories of female ghosts, horror films – forbidden subjects in promoting ‘healthy’ Cantonese films – were often used so as to mount social and cultural interventions. This chapter predominantly focuses on two Cantonese horror films, Beauty Raised from the Dead (1956) and Nightly Cry of the Ghost (1957), in order to examine the reincarnation of neoi gwei. I argue that the little-studied Hong Kong horror films of the 1950s can be understood as a site of political and cultural intervention and dialogue. Most of these films are about reincarnation. The production of these films can also been understood as a process of ‘reincarnation’. The practice and choice of adaptation are always a matter of politics. These filmmakers not only gave new life to various literary sources, but also created social interventions in the 1950s, exploring women’s liberation, the enlightenment of science and revolutionary potentiality.

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24

East Asia travel guide: The business and independent traveller's guide to Brunei, China, Hong Kong, Indonesia, Japan, Korea, Macau, Malaysia, The Philippines, Singapore, Taiwan and Thailand. Brackley, Northants: Priory Publications, 1989.

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25

Marchetti, Gina. Women Filmmakers and the Visual Politics of Transnational China in the #MeToo Era. Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463728355.

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Manoeuvring around mainland China’s censors and pushing back against threats of lawsuits, online harassment, and physical violence, #MeToo activists shed a particularly harsh light on the treatment of women in the cinema and entertainment industries. Focusing on films from the People’s Republic of China, Hong Kong, Taiwan, and the Chinese diaspora, this book considers how female directors shape Chinese visual politics through the depiction of the look, the stare, the leer, the glare, the glimpse, the glance, the queer and the oppositional gaze in fiction and documentary filmmaking. In the years leading up to and following in the wake of #MeToo, these cosmopolitan women filmmakers offer innovative angles on body image, reproduction, romance, family relations, gender identity, generational differences, female sexuality, sexual violence, sex work, labor migration, career options, minority experiences, media access, feminist activism and political rights within the rapidly changing Chinese cultural orbit.

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26

Bettinson, Gary, and Daniel Martin. Introduction. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0001.

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This introduction to Hong Kong Horror Cinema introduces Hong Kong horror from a variety of perspectives, charting the history and development of the genre and citing key films and filmmakers; it puts Hong Kong horror in the context of East Asian horror more broadly, discussing some of the cultural specificities of Hong Kong horror that differentiate it from the popular and historical horror cycles from Japan, South Korea, Thailand and China; it provides a brief overview of horror studies within the field of academic theory, and suggests ways in which Hong Kong horror films can contribute new perspectives to these well-rehearsed arguments. A brief survey of literature covers the major related works from the fields of Hong Kong cinema and horror film history, and in doing so, makes a case for the importance, timeliness and originality of this anthology. The introduction also includes a chapter-by-chapter breakdown of Hong Kong Horror Cinema, explaining the division of chapters into sections and drawing pertinent connections between the varied studies that follow.

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27

Chang, Jing Jing. Screening Communities. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888455768.001.0001.

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Screening Communities uses multi-media archival sources, including government archives, memoirs, fan magazines, newspaper reports, and films to narrate the complexity of social change and political turmoil, both screened and lived, in postwar Hong Kong. In particular, Screening Communities explores the political, ideological, and cultural work of Hong Kong film culture and its role in the building of a postwar Hong Kong community during the 1950s and 1960s, which was as much defined by lived experiences as by a cinematic construction, forged through negotiations between narratives of empire, nation, and the Cold War in and beyond Hong Kong. As such, in order to appreciate the complex formation of colonial Hong Kong society, Screening Communities situates the analysis of the “poetics” of postwar Hong Kong film culture within the larger global processes of colonialism, nationalism, industrialization, and Cold War. It argues that postwar Hong Kong cinema is a three-pronged process of “screening community” that takes into account the factors of colonial governance, filmic expression of left-leaning Cantonese filmmakers, and the social makeup of audiences as discursive agents. Through a close study of genre conventions, characterization, and modes of filmic narration across select Cantonese films and government documentaries, I contend that 1950s and 1960s Hong Kong cinema, broadly construed, became a site par excellence for the construction and translation (on the ground and onscreen) of a postwar Hong Kong community, whose context was continually shifting—at once indigenous and hybrid, postcolonial and global.

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28

Lee, Vivian P. Y. The Other Side of Glamour. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474424622.001.0001.

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Since its inception more than a century ago, Hong Kong cinema has been a pre-eminent form of local entertainment and a site of ideological contentions propelled by colonial, national and international politics at different historical junctures. The Other Side of Glamour is a study of the historical development of the left-wing film establishment in Hong Kong. In particular, it seeks to reconstruct a more dynamic picture of left-wing film production through closer attention to the entwinement of ideological, artistic, institutional and corporate agendas that informed the practices of filmmakers on both sides of the political divide. The inquiry is informed by the following questions: What does it mean to be on the “left” of the Hong Kong film industry during the Cold War era? How did the left-wing studios balance their artistic, ideological, and commercial agendas in their production and exhibition strategies? What makes a film “left-wing” or “right-wing”? How did national, colonial, and international politics intervene in the ‘making of’ the popular left-wing cinema in Hong Kong? How did the left-wing film establishment in Hong Kong reinvent itself in the post-Cold War, post-Cultural Revolution era? What are the nuanced legacies of the classical left-wing in Hong Kong cinema today? It argues that the left-wing’s institutional character and corporate strategies in the making of a ‘popular left-wing cinema’ are indispensable to an understanding of their nuanced (and often overlooked) legacy in Hong Kong cinema today.

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29

Martin, Daniel. Extreme Asia. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748697458.001.0001.

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This book explains and analyses the unprecedented rise in visibility of ‘cult’ Asian cinema in the UK, especially between the years 2000 and 2005. Considering multiple factors behind the cultural, critical and economic success of Asia cinema in the West, this book focuses specifically on the hugely influential and pioneering (if deeply problematic) Tartan Films (formerly Metro-Tartan) Asia Extreme brand. This book is structured as a series of case studies, examining different films, filmmakers and distribution events in order to sketch an historical overview of this developing film cycle, paying attention primarily to the marketing and critical reception of these films. The Asia Extreme brand incorporated multiple genres – primarily horror, action, and erotic thrillers – and also elided the differences between various national cinemas. The role of Orientalism in both the marketing and reception of films from Hong Kong, Japan, and South Korea is also examined in detail.

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30

Chan, Kenneth, and Andrew Stuckey, eds. Sino-Enchantment. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474460842.001.0001.

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Although Chinese film audiences, including those in the PRC, Taiwan and Hong Kong, have always maintained a foundational cultural interest in the fantastic, this trend has dramatically increased over the last decade. Sino-Enchantment is the first work in English to approach this recent explosion of fantastic films in Chinese cinemas, where each re-envisioning of the form is determined by cultural, economic, political and technological factors to produce fresh inventions and creative reinventions of familiar narratives, characters and tropes. As a whole, the book argues that fantastic cinemas serve a fundamental function of re-enchanting mundane modern society with wonder and awe. Individual chapters present detailed examinations of works by famous filmmakers such as Zhang Yimou, Tsui Hark and Stephen Chow, as well as case studies of films like The Assassin (2015), Monster Hunt (2015) and The Great Wall (2016). The book focuses on a range of cinematic forms, practices and themes, which include blockbuster films, art cinema, exploitation B-movies, digital effects, ecocinema, film blanc and contemporary adaptations of traditional Chinese classics. Sino-enchantment functions as a new theoretical lens through which readers can engage with elements of the fantastic in Chinese cinema in nuanced, complex and innovative ways.

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31

Lim, Song Hwee. Taiwan Cinema as Soft Power. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197503379.001.0001.

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This book seeks to understand cinema as a form of soft-power tool. It proposes Taiwan as a prime example of cinema’s effect in assisting a small nation gain prominence on the international stage. It maps Taiwan’s cinematic output in the twenty-first century through the three keywords in the book’s subtitle—authorship, transnationality, historiography. Its object of analysis is the legacy of Taiwan New Cinema, a movement that began in the early 1980s and has had a lasting impact upon filmmakers and cinephiles worldwide for nearly 40 years. By examining case studies that include Hou Hsiao-hsien, Ang Lee, and Tsai Ming-liang, this book suggests that authorship is central to Taiwan cinema’s ability to transcend borders to the extent that the historiographical writing of Taiwan cinema has to be reimagined. It also looks at the scaling down of soft power from the global to the regional via a cultural imaginary called “little freshness,” which describes films and cultural products from Taiwan that have become hugely popular in China and Hong Kong. In presenting Taiwan cinema’s significance as a case of a small nation with enormous soft power, this book hopes to recast the terms and stakes of both cinema studies and soft power studies in academia.

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32

Platte, Nathan. Making Music in Selznick's Hollywood. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.001.0001.

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Making Music in Selznick’s Hollywood explores the network of musicians and filmmakers whose work defined the sound of Hollywood’s golden age (c. 1920s–1950s). The book’s central character is producer David O. Selznick, who immersed himself in the music of his films, serving as manager, critic, and advocate. By demonstrating music’s value in film and encouraging its distribution through sheet music, concerts, radio broadcasts, and soundtrack albums, Selznick cultivated audiences’ relationship to movie music. But he did not do it alone. Selznick’s films depended upon the men and women who brought the music to life. This book shows how a range of specialists, including composers (Max Steiner, Dimitri Tiomkin, Franz Waxman, and others), orchestrators, music directors (Lou Forbes), editors (Audray Granville), writers, instrumentalists, singers, and publicists, helped make the music for Selznick’s films stand apart from competitors’. Drawing upon thousands of archival documents, this book offers a tour of American cinema through its music. By investigating Selznick’s efforts in the late silent era, his work at three major Hollywood studios, and his accomplishments as an independent producer (including his films with Alfred Hitchcock), this book reveals how the music was made for iconic films like King Kong (1933), A Star is Born (1937), The Prisoner of Zenda (1937), Gone with the Wind (1939), Rebecca (1940), Spellbound (1945), The Third Man (1948), and A Farewell to Arms (1957).

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33

Douglas W, Arner, Hsu Berry FC, Goo Say H, Johnstone Syren, Lejot Paul, and Tse Maurice Kwong-Sang. Part II Regulation of Banking, Securities, and Insurance, 5 Insurance Regulation, the Office of the Commissioner of Insurance, and the Insurance Authority. Oxford University Press, 2016. http://dx.doi.org/10.1093/law/9780198706472.003.0005.

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This chapter looks in detail at the legal and regulatory framework for insurance in Hong Kong. The chapter examines the regulation of financial intermediaries, products, and services in the context of insurance. It concludes that Hong Kong’s regulatory system for insurance is comprehensive and of an international standard. The legal and regulatory framework for the insurance market in Hong Kong consists of the Insurance Companies Ordinance (ICO), a statutory body called the Office of the Commissioner of Insurance (OCI), and self-regulatory measures. These are supplemented by a large body of common law. However, at the time of writing, this is set to change, with the establishment of a new independent Insurance Authority (IA) with a much broader regulatory remit.

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34

Picarda, Hubert. The Law and Practice Relating to Charities. 4th ed. Bloomsbury Professional Ltd, 2020. http://dx.doi.org/10.5040/9781526519214.

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The Law and Practice Relating to Charities: First Supplement to the Fourth Edition takes into account the consolidation following the Charities Act 2006 and includes analysis of the October 2011 ruling in The Independent Schools Council v The Charity Commission for England and Wales regarding what schools must do to justify their charitable status. The supplement to the fourth edition of The Law and Practice Relating to Charities also includes: Incorporating Charities Act 2011;Protection of Freedoms Act 2012;Summarising Lord Hodgson’s Charities Act review and reactions;Initiatives being undertaken in Ireland Hong Kong and Australia;Exclusive Brethren Gnostic Centre Druid Network case;Helena Partnerships Ltd v HMRC [2012] EWCA Civ 569;Young and another v HM sg [2011] EWHC 37832 Ch (Wedgwood Museum case);Catholic Care v Charity Commission and Equal Human Rights Commission[ 2010] EWHC 520 Ch Briggs J;New Definition of charity for tax purposes.

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35

Rossoukh, Ramyar D., and Steven C. Caton, eds. Anthropology, Film Industries, Modularity. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478022190.

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From Bangladesh and Hong Kong to Iran and South Africa, film industries around the world are rapidly growing at a time when new digital technologies are fundamentally changing how films are made and viewed. Larger film industries like Bollywood and Nollywood aim to attain Hollywood's audience and profitability, while smaller, less commercial, and often state-funded enterprises support various cultural and political projects. The contributors to Anthropology, Film Industries, Modularity take an ethnographic and comparative approach to capturing the diversity and growth of global film industries. They outline how modularity—the specialized filmmaking tasks that collectively produce a film—operates as a key feature in every film industry, independent of local context. Whether they are examining the process of dubbing Hollywood films into Hindi, virtual reality filmmaking in South Africa, or on-location shooting in Yemen, the contributors' anthropological methodology brings into relief the universal practices and the local contingencies and deeper cultural realities of film production. Contributors. Steven C. Caton, Jessica Dickson, Kevin Dwyer, Tejaswini Ganti, Lotte Hoek, Amrita Ibrahim, Sylvia J. Martin, Ramyar D. Rossoukh

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36

Lee, Sangjoon. Cinema and the Cultural Cold War. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501752315.001.0001.

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This book explores the ways in which postwar Asian cinema was shaped by transnational collaborations and competitions between newly independent and colonial states at the height of Cold War politics. The book adopts a simultaneously global and regional approach when analyzing the region's film cultures and industries. New economic conditions in the Asian region and shared postwar experiences among the early cinema entrepreneurs were influenced by Cold War politics, US cultural diplomacy, and intensified cultural flows during the 1950s and 1960s. The book reconstructs Asian film history in light of the international relationships forged, broken, and re-established as the influence of the non-aligned movement grew across the Cold War. The book elucidates how motion picture executives, creative personnel, policy makers, and intellectuals in East and Southeast Asia aspired to industrialize their Hollywood-inspired system in order to expand the market and raise the competitiveness of their cultural products. They did this by forming the Federation of Motion Picture Producers in Asia, co-hosting the Asian Film Festival, and co-producing films. The book demonstrates that the emergence of the first intensive postwar film producers' network in Asia was, in large part, the offspring of Cold War cultural politics and the product of American hegemony. Film festivals that took place in cities as diverse as Tokyo, Singapore, Hong Kong, and Kuala Lumpur were annual showcases of cinematic talent as well as opportunities for the Central Intelligence Agency to establish and maintain cultural, political, and institutional linkages between the United States and Asia during the Cold War. This book reanimates this almost-forgotten history of cinema and the film industry in Asia.

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Books on the topic 'Independent filmmakers – Hong Kong'

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