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Books on the topic 'Independent films – Hong Kong'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 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

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

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7

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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8

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

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9

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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10

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

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11

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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12

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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13

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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14

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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15

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

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16

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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17

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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18

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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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

香港獨立電影圖景. Hong Kong: 手民出版社, 2018.

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22

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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23

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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24

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

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25

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

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26

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

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27

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

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28

昨日的影今日的光. 香港電影評論學會, 2022.

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29

香港電影2018. Hong Kong: 香港電影評論學會, 2019.

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30

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

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31

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

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32

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

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33

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

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34

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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35

無惡不作. 香港電影評論學會, 2022.

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36

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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37

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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38

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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39

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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40

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

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41

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

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42

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

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43

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

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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

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

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46

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

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47

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

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48

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

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49

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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50

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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