Relevant bibliographies by topics / Independent films – Hong Kong

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Independent films – Hong Kong'

Author: Grafiati
Published: 29 July 2024
Last updated: 31 July 2024

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Journal articles on the topic "Independent films – Hong Kong"

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Wu, Helena. "The making of the citizen-spectator in postmillennial Hong Kong: Authorial and spectatorial engagement with independent documentary films." Asian Cinema 33, no. 2 (October 1, 2022): 191–207. http://dx.doi.org/10.1386/ac_00055_1.

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Established by several independent filmmakers in Hong Kong in 1997, Ying E Chi (YEC) has facilitated the production and the distribution of Hong Kong independent films by means of VCD/DVD releases, video streaming, film festivals and community screenings. The non-profit body has played a key role in aiding local independent filmmakers’ projects, seeking film distribution opportunities locally and transnationally and building community networks in its home city. As the organizer of the Hong Kong Independent Film Festival since 2008, YEC has demonstrated its fluid translocal positioning by not just promoting the works of local filmmakers, but also introducing worldwide independent cinema to Hong Kong audiences. In retrospect, the development of YEC has reflected the transforming cultural landscape of Hong Kong to different degrees. From cinephiles and academics to the public, the audiences YEC has developed over the years indicates an ever-changing spectatorship in the making, bespeaking the various responses to the social environment under which these films were made, shown and watched. This article will use YEC as a case study to explore the mutual impacts between documentary films and their spectatorship which have shaped independent filmmakers’ production and distribution strategies continuously in postmillennial Hong Kong, particularly in the wake of the 2014 Umbrella Movement and the 2019 Anti-Extradition Law Amendment Bill Movement. The article will draw on interviews with local independent filmmakers, in order to understand how industry practices and dynamics have responded to identification, social events and audience behaviours over time. In this regard, spectatorship is understood as not just an embodied experience of film viewing, but also a series of affinities between the filmmaker, the audience and the film work. As a whole, the article will probe how the idea of citizen-spectator has evolved and has become inscribed in spectatorial engagement with independent documentary films, which has oscillated between audiences’ approval and authorities’ disapproval in postmillennial Hong Kong.
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Ingham, Mike, and Kenny K. K. Ng. "Introduction: Hong Kong independent documentaries and their visibility." Asian Cinema 33, no. 2 (October 1, 2022): 117–30. http://dx.doi.org/10.1386/ac_00050_2.

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In their general introduction to the present Special Issue the authors trace the origins of and motivation behind much of the independent documentary filmmaking produced in the city during a period of great sociopolitical turbulence, leading up to the tight censorship protocols put in place after the mainland government’s promulgation of the repressive National Security Law in 2020. With reference to the individual essays that comprise this volume, they chart the sudden and unprecedented rise of documentary filmmaking in Hong Kong following many decades of public indifference to the genre. Limited public and underground screenings that took place before absolute censorship measures were implemented in 2021 showed huge box-office demand for these topical films, reflecting images of ordinary Hong Kong people and their struggle for political representation. This opening essay introduces a range of essays and one interview, mostly in relation to specific films, dealing with the now-contentious coupling of documentary films or television broadcasts and democracy. As the essays indicate, some directors and producers of these observational and participatory documentaries are still active overseas and many of the films discussed can now only be screened outside Hong Kong. Nevertheless, they bear witness to a spirit of resilience and resistance as well as a deep-seated desire for a genuine democracy based on universal suffrage constantly reneged on by the city’s various rulers, from the colonial era until now.
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Yee, Winnie L. M. "The post-urban gaze and Hong Kong independent cinema: An ecofeminist perspective." Asian Cinema 30, no. 2 (October 1, 2019): 219–34. http://dx.doi.org/10.1386/ac_00005_1.

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The city has always been a prominent subject in Hong Kong cinema. Land has been seen only as a profitable commodity, controlled by property developers and the wealthy. Instead of exploring the countryside and the traditional farming and fishing villages, people shifted their focus to Hong Kong: its skyline became the only valid point of perception. This marginalization of nature, however, was challenged in 2008 during the dispute between the villagers of Choi Yuen village and the Hong Kong government regarding the construction of Guangzhou‐Hong Kong High-Speed Rail Link, which would demolish the village of 500 people that lay along its path. This article looks at Jessey Tsang’s documentary Flowing Stories (2014) and adopts an ecofeminist perspective on the ways in which Hong Kong’s cultural imaginary has been reinvented in films. The role of documentaries in the independent film scene will be reviewed, especially the social-issue documentaries that have become popular since 2008. An ecofeminist approach to our understanding of Hong Kong could shift the paradigm of our stagnant cultural imaginary ‐ the urban city ‐ and resituate Hong Kong in a closer connection with its surroundings and the world.
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Lee, Joseph Tse-Hei. "Despair and hope: cinematic identity in Hong Kong of the 2000s." Social Transformations in Chinese Societies 13, no. 2 (September 5, 2017): 173–88. http://dx.doi.org/10.1108/stics-04-2017-0010.

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Purpose The goal of this article is to examine the current trends of political cinema in postcolonial Hong Kong. Many leaders of the Hong Kong mainstream cinema have accepted the Chinese authoritarian rule as a precondition for expanding into the ever-expanding Mainland film market, but a handful of conscientious filmmakers choose to make political cinema under the shadow of a wealthy and descendant industry, expressing their desire for democracy and justice and critiquing the unequal power relations between Hong Kong and China. Design/methodology/approach This paper consults relevant documentary materials and cinematic texts to contextualize the latest development of political cinema in Hong Kong. It presents an in-depth analysis of the works of two local independent filmmakers Herman Yau and Vincent Chui. Findings This study reveals a glimpse of hope in the current films of Herman Yau and Vincent Chui, which suggests that a reconfiguration of local identity and communal relationship may turn around the collective despair caused by the oppressive measures of the Chinese authoritarian state and the end of the Umbrella Movement in late 2014. Research limitations/implications Despite the small sample size, this paper highlights the rise of cinematic localism through a closer look at the works of Hong Kong independent filmmakers. Practical implications This study reveals an ambivalent mentality in the Hong Kong film industry where critical filmmakers strive to assert their creativity and agency against the externally imposed Chinese hegemonic power. Originality/value This investigation is an original scholarly study of film and politics in postcolonial Hong Kong.
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Marchetti, Gina. "Documentary and democracy: An interview with Evans Chan." Asian Cinema 33, no. 2 (October 1, 2022): 257–75. http://dx.doi.org/10.1386/ac_00059_7.

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Gina Marchetti’s interview with NewYork-based Hong Kong independent filmmaker Evans Chan took place after Chan had said goodbye to his former home and to nearly three decades of filmmaking in the city, following the introduction of Hong Kong’s National Security Law in 2020. Her interview focuses on Chan’s non-fiction filmmaking, particularly his recent films dealing with Hong Kong’s two protest movements of 2014 and 2019, namely Raise the Umbrellas 撐傘 () and We Have Boots 我們有雨靴 (). While the latter part of the interview concerns Chan’s thoughts on the relationship between documentaries and democracy, it also explores the signature aesthetics of his films and an underlying ‘story of Hong Kong’, which the interviewer sees as a consistent thread running through his fiction and non-fiction filmography. A wide range of cinematic, literary, sociopolitical and philosophical influences in his work emerge in the course of this in-depth interview with the filmmaker.
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Zheng, Victor, and Siu-lun Wong. "Road to independence." Social Transformations in Chinese Societies 12, no. 2 (October 3, 2016): 114–32. http://dx.doi.org/10.1108/stics-08-2016-0012.

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Purpose The paper aims to explore the road to independence of the less-fortunate women in early Hong Kong society and their means in passing of wealth after death. In the 1970s, about 400 Chinese wills from the 1840s to the 1940s were dug up on a construction site in Hong Kong. One-fourth of these were from women who had held a substantial amount of property. How they obtained this property intrigued us because, at that time, women were seen as subordinate to men and excluded from the labor market. Why they had wills led to further questions about Hong Kong society of that time and the role of women in it. Design/methodology/approach The analysis of this paper is based on archival data gathered from the Hong Kong Public Records Office. These data include 98 women’s wills filed from the 1840s to the 1940s and a 500-page government investigation report on the prostitution industry released in 1879. The former recorded valuable information of brief testators’ family and personal life history, amount of assets, and profolio of investment, etc. The latter included testimonials of brothel keepers and prostitutes and their life stories and the background of legalizing prostitution in early Hong Kong. Apart from basic quantitative analysis on women’s marital status, number of properties, nature of wills and number of brothels, qualitative analysis is directed to review the testator’s life of self-reliance, wealth accumulation and reasons of using wills for arranging wealth transmission after death. Findings In this paper, the authors found that because the colonial government declared prostitution legal, and only women could obtain employment by becoming prostitutes or brothel keepers, they earned their own livelihood, saved money and finally became independent. However, because these professions were not seen as “decent”, and these women were excluded from the formal marriage system, intestacy could cause problems for them. Through their socio-business connections, they became familiar with the Western concept of testate inheritance. So, they tended to use wills – a legal document by which a person assigns someone to distribute his or her property according to his or her wishes after his or her death – to assign their property. Research limitations/implications Because only archival data are chosen for analysis, the research results may lack generalizability. Follow-up researches to examine whether the studied women acquired their wealth through their own work or simply as gifts from others are required. Originality/value This paper explores the understudied women’s life and method of estate passing after death in the early Hong Kong society. It fills the academic gap of women’s contribution to Hong Kong’s success and enriches our understanding on the important factors that could attribute women’s real independence.
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Chiu, Kit Fung Henry. "Going to the people: Community screening, documentary and the plebeian public sphere in Hong Kong." Asian Cinema 33, no. 2 (October 1, 2022): 209–24. http://dx.doi.org/10.1386/ac_00056_1.

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This article is an ethnographic and historical study that focuses on the ‘plebeian public sphere’ – a democratic sphere opened up by the community screening of independent documentary films. My article argues that this innovative public screening establishes a mode of communication that connects audiences with the neighbourhood where people gather together and form local communities by sharing experience and emotion based on history, story and memory. This process evokes a source of affective energy that is capable of catalysing social change. It challenges not only previous theoretical approaches to the public sphere, but also the stereotypical understanding of ‘the public’ in the Hong Kong context.
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Marchetti, Gina. "Hong Kong Independent Filmmaking." Afterimage 14, no. 10 (May 1, 1987): 16–17. http://dx.doi.org/10.1525/aft.1987.14.10.16.

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Marchetti, Gina. "Hong Kong Independent Filmmaking." Afterimage 14, no. 10 (May 1, 1987): 16–17. http://dx.doi.org/10.1525/aft.1987.14.10.16.

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Lo, Sonny Shiu-Hing. "Hong Kong in 2019." Asian Survey 60, no. 1 (January 2020): 34–40. http://dx.doi.org/10.1525/as.2020.60.1.34.

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The anti-extradition movement in Hong Kong began in June 2019 and has evolved since July into protests against police power and the mainlandization of the territory. Although Beijing supports Chief Executive Carrie Lam and the police, the movement persists amid demands for the creation of an independent commission of inquiry into police actions.
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Dissertations / Theses on the topic "Independent films – Hong Kong"

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Hess, Nicole A. "Imagining independence the circulation and thematic concerns of independent film from Hong Kong and China /." Thesis, Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B36726102.

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Chung, Wai-tao. "Appointment system of the Independent Commission Against Corruption." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2205053X.

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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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Books on the topic "Independent films – Hong Kong"

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

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

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

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Book chapters on the topic "Independent films – Hong Kong"

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Yeo, Su-Anne. "Translating the Margins: New Asian Cinema, Independent Cinema, and Minor Transnationalism at the Hong Kong Asian Film Festival." In Chinese Film Festivals, 301–20. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-55016-3_15.

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Wong, Kam C. "Independent Inquiry." In Public Order Policing in Hong Kong, 217–68. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-98672-2_7.

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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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Kwok, Levon. "The Practicality of Social Media and Independent Media." In The Independent Media Movements in Hong Kong and Taiwan, 80–101. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003294993-5.

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Kwok, Levon. "Characteristics of Inmediahk and Coolloud's Independent Media Movements." In The Independent Media Movements in Hong Kong and Taiwan, 65–79. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003294993-4.

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Kwok, Levon. "Conclusion." In The Independent Media Movements in Hong Kong and Taiwan, 102–13. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003294993-6.

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Kwok, Levon. "Standing With Laborers and Activists." In The Independent Media Movements in Hong Kong and Taiwan, 43–64. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003294993-3.

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Conference papers on the topic "Independent films – Hong Kong"

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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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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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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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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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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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Bing Lu, Alireza Dibazar, and Theodore W. Berger. "Nonlinear Hebbian Learning for noise-independent vehicle sound recognition." In 2008 IEEE International Joint Conference on Neural Networks (IJCNN 2008 - Hong Kong). IEEE, 2008. http://dx.doi.org/10.1109/ijcnn.2008.4633971.

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Chin-Teng Lin, Nikhil R. Pal, Chien-Yao Chuang, Tzyy-Ping Jung, Li-Wei Ko, and Sheng-Fu Liang. "An EEG-based subject- and session-independent drowsiness detection." In 2008 IEEE International Joint Conference on Neural Networks (IJCNN 2008 - Hong Kong). IEEE, 2008. http://dx.doi.org/10.1109/ijcnn.2008.4634289.

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Chi-Tie Lu, Tian-Shyug Lee, and Chih-Chou Chin. "Statistical process monitoring using independent component analysis based disturbance separation scheme." In 2008 IEEE International Joint Conference on Neural Networks (IJCNN 2008 - Hong Kong). IEEE, 2008. http://dx.doi.org/10.1109/ijcnn.2008.4633795.

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Shijian Lu, Cuntai Guan, and Haihong Zhang. "Learning adaptive subject-independent P300 models for EEG-based brain-computer interfaces." In 2008 IEEE International Joint Conference on Neural Networks (IJCNN 2008 - Hong Kong). IEEE, 2008. http://dx.doi.org/10.1109/ijcnn.2008.4634141.

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