Relevant bibliographies by topics / Movies – Hong Kong

Academic literature on the topic 'Movies – Hong Kong'

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

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Journal articles on the topic "Movies – Hong Kong"

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Zhu, Xuehan, and Sooyeoun Sohn. "A Study of Hong Kong Movies Cultural Identity: Focus on Movies The Actress and The Golden Era." Korean Society of Culture and Convergence 44, no. 11 (November 30, 2022): 639–53. http://dx.doi.org/10.33645/cnc.2022.11.44.11.639.

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2022 is the 25th year of Hong Kong's return to China; the return implies that Hong Kong has transferred from colonial history to the new political environment of “one country, two systems.” Meanwhile, Hong Kong's cultural identity would be sharply reconstructed after the return. This study is based on movies and aims to understand whether the change in cultural identity is reflected in the culture and arts areas. Specifically, this paper compares two Hong Kong movies, “The Actress” and “The Golden Era.” The reason is that those two movies have similar background contexts, but they are produced in different periods (i.e., before and after Hong Kong’s return). This paper has the following findings: there have been great changes in the film industry, cultural identity and movie style. Overall, this study shed light on how the political environment changes affect the culture and arts field; moreover, our findings broaden the understanding of the Chinese and Hong Kong movie industries.
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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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Xin Yi, Wong, Mansour Amini, and Maryam Alipour. "Genre and Translation Style in Chinese Translation of Hollywood Blockbuster Movie Titles in Mainland China and Hong Kong." Journal of Modern Languages 33, no. 2 (December 16, 2023): 120–43. http://dx.doi.org/10.22452/jml.vol33no2.7.

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The title of a movie is the first to attract the audience's attention. Poorly translated movie titles may result in a “low box office”, as translators in different countries have their styles and preferences in translating film titles, which might eventually result in different translations of the same movie title and cause confusion to the audience. This qualitative research used exploratory induction to investigate the influence of genre and translation style on the Chinese translation of Hollywood blockbuster movie titles in Mainland China and Hong Kong. Titles of 300 Chinese movies produced between 2001 and 2020 were purposefully selected from the top 50 Hollywood movies in the adventure, horror, and action genres. Genre was found to be slightly effective in the choice of translation style and strategies. Among the three genres, horror was found to have the greatest influence on the choice of translation strategy. It was concluded that translators from Mainland China were more conservative in title translation compared to translators from Hong Kong, whose attempt was to create innovative translations. The findings may have some theoretical and practical implications for film translators, book translators, advertising translators, translation trainers, and trainees.
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Bren, Frank. "Connections and Crossovers: Cinema and Theatre in Hong Kong." New Theatre Quarterly 14, no. 53 (February 1998): 63–74. http://dx.doi.org/10.1017/s0266464x0001174x.

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From the run-up to its return to Chinese rule in July 1997 to the stock-market crash in October, Hong Kong has seldom been out of the news during the past year. But the attention paid to its political and economic provenance has not been matched by much interest in its cultural output – despite the existence in Hong Kong of a cinema industry with a prodigious output now approaching ten thousand films. Although a professional theatre has been a relatively more recent development, the connections between film and theatre in Hong Kong have always been close – from the film adaptations of Cantonese opera in the 1930s, through the ‘female’ films of the post-war period and the western following for Bruce Lee's kung fu movies, to the present dominance of the cross-generic production company, Springtime, in the 1990s, with a creative interest in its own past which verges on the metatheatrical. Frank Bren, who is presently living and working in Hong Kong, here captures something of the history and the distinctive flavour of the overlapping movie and theatre industries, and assesses why the relationship remains mutually profitable in artistic as well as economic terms.
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Ma, Jiaxue. "Analysis of the Cultural Causes of Undercover Images in Hong Kong Action Movies after the New Wave Movement." Communications in Humanities Research 16, no. 1 (November 28, 2023): 163–68. http://dx.doi.org/10.54254/2753-7064/16/20230596.

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In the 1980s, the New Wave Movement opened up new space for Hong Kong cinema, providing opportunities for innovation and transformation of action films. Diversified action movies and characters tend to appear at this time. As a type of character with highly localized characteristics in Hong Kong, the complexity of undercover images helps people examine society from different perspectives. This paper reviews the development of undercover films in Hong Kong by selecting representative undercover films, and reveals that undercover is actually a reflection of the collective situation of social identity. Based on the concept of marginalized individuals, this paper finds through literature analysis and case analysis that the diverse types of undercover identities that emerged after the New Wave Movement not only reflect the survival dilemma of undercover agents themselves but also a true portrayal of the identity recognitions dilemma among Hong Kong people in the rapidly changing political and social trends.
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Ho, S. Y., M. P. Wang, H. K. Lai, A. J. Hedley, and T. H. Lam. "'Carcinogens in a puff': smoking in Hong Kong movies." Tobacco Control 19, no. 6 (September 18, 2010): 518–19. http://dx.doi.org/10.1136/tc.2010.037879.

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Chen, Chapman. "On the Hong Kong Chinese Subtitling of English Swearwords." Meta 49, no. 1 (September 13, 2004): 135–47. http://dx.doi.org/10.7202/009029ar.

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Abstract The objectives of this article are to illustrate how American English swearwords are under-translated in Hong Kong; to explain why English swearwords are inadequately translated in Hong Kong in terms of patronage, illocutionary strategies, and socio-linguistics; to advocate the adoption of Cantonese dynamic equivalents in subtitling English-speaking movies, in particular, American swearwords; to suggest Cantonese dynamic equivalents for American swearwords in Chinese subtitling; and to emphasize the need to pay attention to linguistic, psychosexual, and religious differences between Chinese and Western cultures when subtitling American swearwords.
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Tieben, Hendrik. "Magic Carpet. Re-envisioning Community Space in Hong Kong." Journal of Public Space 1, no. 1 (October 18, 2016): 151. http://dx.doi.org/10.5204/jps.v1i1.17.

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Magic Carpet was launched in 2013 by Hendrik Tieben of the School of Architecture and Anthony Fung of the School of Journalism and Communication at The Chinese University of Hong Kong, as an outreach program combining documentation of daily life, community engagement and urban design. The project was first held in Sai Ying Pun in 2013 and was subsequently brought to Tin Shui Wai (2014) and To Kwa Wan (2016).<br /> Magic Carpet transforms a public space into an outdoor cinema in which movies about the neighbourhood are shown. The movies are produced by local secondary school students, following a series of workshops that prepare them to conduct video-interviews with the community.<br />At Magic Carpet, community members and the general public interact with each other, building a stronger bond between themselves while empowering them to re-envision the possibilities of public space together.
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Chan, Titta. "Study on Film-Making & Lens Design Fundamentals for Hong Kong Movies under Ethnographic Research." Advances in Education, Humanities and Social Science Research 5, no. 1 (May 12, 2023): 316. http://dx.doi.org/10.56028/aehssr.5.1.316.2023.

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In the context of Hong Kong movies, discussion about the contemporary significance of directors and their works would not be separated from the deep description of "mainland people" in the film. The film uses collages and realistic narrative techniques of various ways of expression to unrealize reality, and shows a contemporary China that is both strange and realistic from the perspective of "mainland people". This paper introduces the concept of "deep description" in ethnography research, looks for details from different film texts of Hong Kong directors in different periods, analyzes the modern landscape and era fables displayed in the film, and attempts to summarize the philosophical significance behind the details of the narrative based on combing the narrative content of the film with the help of metaphor theory.
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Jacka, Liz. "The Film Industry in Australia: Trends in the Eighties." Media Information Australia 42, no. 1 (November 1986): 17–21. http://dx.doi.org/10.1177/1329878x8604200103.

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In this companion to Thomas Guback's paper on the American film industry I survey the changes in the film industry in Australia. One could as well say, echoing his title, the American film industry in Australia because the cinema trade here is still dominated by Hollywood. To illustrate this, in 1980 there were 223 movies from the US registered in Australia and only 20 from Australia.1 Although 827 films in total were registered that year (including 176 from Hong Kong), the vast majority of these films received no major theatrical release. Movies emanating from the traditional American-owned sources continue to dominate the major city cinemas.
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Dissertations / Theses on the topic "Movies – Hong Kong"

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Lau, Tsz-wan Christal. "Ethics in the production of Hong Kong movies." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/HKUTO/record/B39559105.

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Lau, Tsz-wan Christal, and 劉芷韻. "Ethics in the production of Hong Kong movies." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B39559105.

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CERDA, Alexandre. "Triad movies and young people's perception of triads in Hong Kong." Digital Commons @ Lingnan University, 2013. https://commons.ln.edu.hk/soc_etd/36.

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Triads are Chinese organized crime groups based in Hong Kong. Their origin remains uncertain despite the many different versions given. As they are secret and illegal, many facts remain unknown about them. Even though they have been associated with values such as honor and loyalty in the past, they are nowadays involved mainly in vice related activities such as gambling and prostitution. Their goal which is supposed to have been nationalistic also seems to have changed to only be profit making. Despite the fact that the scope of their activities have decreased since the 1970`s they are still active nowadays. The police force and the government describe them as dangerous criminals. Since the mid 1980`s, many movies used the criminal underworld as a setting and Triad members as main protagonists. Triad Movies became extremely popular in Hong Kong during this period. Typical Triad protagonists in Triad movies are associated with values such as honor and loyalty despite their criminal affiliation. They are also often rich and powerful which can lead to think that Triad movies portray Triad members in an appealing way. Al Bandura`s Social Learning Theory explains that through vicarious experimentation, people tend to endorse actions made by others when those actions are successful. By watching movies, people can change their attitudes regarding a topic or a group of people especially if they are young. This study analyzes the values attributed to Triad members in Triad movies and how the portrayal of Triad members in movies can influence young people `s perception of real life Triad members. This is a two part study, in the first part, the 10 most popular Triad movies at the Hong Kong box office have been analyzed and coded in order to find which values are associated to Triads in movies. Based on these results, a questionnaire to assess people`s perception of Triads has been developed. In the second part of the experiment, a pre questionnaire is given to a group of young students before the presentation of a Triad movie and after the presentation, a post questionnaire containing the same items is given to the students, the results are then analyzed.
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Yip, Wing-see Audrey, and 葉泳詩. "Conserved in celluloid: an approach to the contextual understanding of urban Hong Kong through post-war movies." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B47092816.

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This dissertation shows the way in which movies, as a form of popular culture and contemporary medium, can be used as a tool for facilitating an alternatively impressionable approach in understanding social history in context, which can be complementary to the purely historical approach in conducting research in the field of heritage conservation. 6 representative post-war Hong Kong movies from the 1950’s to 2000’s are selected for discussion through textual analysis of key cinematic frames based on 5 specific criteria. The ‘cinematic reality’ of each is discussed against the ‘historical reality’ of the year of its release, so as to facilitate a contextual understanding of the social-economic, architectural-geographical and ideological-political conditions of Hong Kong for the past 5 decades.
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Conservation
Master
Master of Science in Conservation
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Liu, Ka-wang Angus, and 廖家泓. "Popular culture in Hong Kong: discourse of law and order in the gangster movies of the 1990s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952756.

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Liu, Ka-wang Angus. "Popular culture in Hong Kong : discourse of law and order in the gangster movies of the 1990s /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22198969.

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吳月華. "歌影拍和 : 粤語青春歌舞片歌曲與電影的關係 (1966-1969) = Songs in tune with movies : the relationship of movie songs and Cantonese youth musicals in 1966-1969." HKBU Institutional Repository, 2006. http://repository.hkbu.edu.hk/etd_ra/687.

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楊舒恒. "戲裏戲外 : 香港六十年代國語電影女星的螢幕再現與現實生活 = Inside/outside the movies: Hong Kong Mandarin film actresses of the 1960s : their representations on screen and their real lives." HKBU Institutional Repository, 2008. http://repository.hkbu.edu.hk/etd_ra/926.

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Xu, Kai, and 徐锴. "On a slow moving slope in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B4715939X.

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This thesis investigates the mechanism of a slow moving landslide through a case study based on a full-scale field monitoring conducted in a slow moving natural slope. The slope is gentle and located within a southwest-trending valley which is about 500 meters long with an average slope angle of 17°. The slope is mainly consisted of a thin colluvium top layer and a thick completely decomposed andesite layer underneath. The slope was intersected by a natural drainage channel at its toe. Previous records indicate that the slope moved slowly during or after rainfall but there is still lack of sufficient information allowing one to fully understand the mechanism. To characterize soil properties of the slope, a detailed site investigation and laboratory tests were carried out prior to the instrumentation. The full-scale comprehensive field instrumentation had been completed at the end of 2007. The real-time monitoring system was consisted of a rain gauge, vibrating wire piezometers, moisture probes, WTDRs (water time-domain reflectometry), jet-fill tensiometers, in-place inclinometers and an automatic data acquisition system with wireless transmission ability. Field monitoring of the slope was successfully conducted for two years between 2008 and 2009. With the monitored data, spatial distribution of groundwater levels in two years was obtained. The variations of groundwater levels were analyzed with hourly rainfall; groundwater responses during selected rainfall events were also analyzed. Moisture contents and matric suctions within the shallow soils at the site were monitored and analyzed. Field measured Soil-water Characteristic Curves (SWCCs) were obtained and compared with the laboratory measured SWCCs. Variations of moisture contents measured in deep soils were also analyzed. Based on the monitored results of the hydrogeological responses; a hypothetical conceptual hydrogeological model was proposed. The subsurface deformations recorded by the inclinometers were analyzed and the deformation mode of the site was also discussed. A coupled seepage and deformation analysis was conducted based on the finite element program ABAQUS. Then, the numerical simulation results were compared with field monitored data. Consequently, the simulation results verified the hypothetical conceptual hydrogeological model. It is believed that the deformation of the slope is mainly associated with the quick rise of the groundwater table during or after the heavy rainfalls. Finally, conclusions and recommendations for future research on natural terrain landslide were given. It is hoped that the study of the slow moving slope can provide a useful reference for the future research.
published_or_final_version
Civil Engineering
Doctoral
Doctor of Philosophy
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Wang, Zheng Grace. "Code-switching in the Hong Kong gangster movie series :Infernal Affairs." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3953537.

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Books on the topic "Movies – Hong Kong"

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1947-, Bolton Kingsley, ed. A dictionary of Cantonese slang: The language of Hong Kong movies, street gangs, and city life. Singapore: Singapore University Press, 2005.

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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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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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Salaff, Janet W. Hong Kong movers and stayers: Narratives of family migration. Urbana: University of Illinois Press, 2010.

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Siu-lun, Wong, and Greve Arent, eds. Hong Kong movers and stayers: Narratives of family migration. Urbana: University of Illinois Press, 2010.

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1940-, Wang Liang-Huew, and Yeh, Anthony G. O., 1952-, eds. Keep a city moving: Urban transport management in Hong Kong. Tokyo, Japan: Asian Productivity Organization, 1993.

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T, Dimitriou Harry, Goethe-Institut (Hong Kong China), and University of Hong Kong. Centre of Urban Planning and Environmental Management, eds. Moving away from the motor vehicle: The German and Hong Kong experience. Hong Kong: Centre of Urban Planning and Environmental Management, The University of Hong Kong, 1994.

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T, Dimitriou Harry, and Moving Awayfrom the Motor Vehicle (1992 : Hong Kong), eds. Moving away from the motor vehicle: The German and Hong Kong experience. Hong Kong: Centre of UrbanPlanning and Environmental Management, University of Hong Kong, 1992.

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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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University of Maryland, Baltimore. School of Law., ed. Judicial discretion in dispensing with the service of process requirement in Hong Kong under Order 45, Rule 7(7): Moving towards a doctrine? Baltimore, Md: University of Maryland School of Law, 2004.

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Book chapters on the topic "Movies – Hong Kong"

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Kinnia, Yau Shuk-Ting. "Transformation of Hong Kong Gangster Movies Before and After CEPA." In Hong Kong and Bollywood, 51–68. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-349-94932-8_3.

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Babin, Laurie A., and Claire Stammerjohan. "A Comparison of American and Hong Kong Consumers’ Attitudes Toward Product Placement in Movies." In Thriving in a New World Economy, 196. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-24148-7_61.

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Bath, Vivienne, and Tianqi Gu. "Foreign Investment, Investment Treaties and Corruption in China and Hong Kong." In Corruption and Illegality in Asian Investment Arbitration, 209–34. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-9303-1_8.

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AbstractThis chapter focuses on the interaction of domestic regulation of corruption in China and Hong Kong and the increasing number of international arbitration cases brought by and against China. In conjunction with the enormous growth in foreign investment in China since it opened up at the end of the 1970s, China has developed a comprehensive network of international investment agreements (IIAs). Hong Kong is also a party to about 30 IIAs in its own name. Government and business corruption and bribery have been a problem in both jurisdictions. China and Hong Kong have taken active steps to criminalize, and to investigate and prosecute, corruption and to participate in major international initiatives relating to corruption. While corruption has, so far, made a limited appearance in the small number of investor–state dispute settlement (ISDS) cases brought by investors against China and cases brought against other states by Chinese and Hong Kong investors, based on existing material, a number of tentative conclusions and recommendations can be made. China should move towards a higher level of transparency, both in relation to ISDS cases and to its domestic criminal law system; both China and Hong Kong should play a more active role in prosecuting bribery by enterprises outside China, including by joining the OECD Convention on Combating Bribery of Foreign Officials; and, finally, China should consider including provisions relating to corruption in its future IIAs in order to demonstrate its commitment to the international war on corruption in business.
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Hioe, Brian. "Moving Beyond Projection: Hong Kong, Taiwan, and the China Factor." In Reorienting Hong Kong’s Resistance, 233–43. Singapore: Springer Singapore, 2022. http://dx.doi.org/10.1007/978-981-16-4659-1_16.

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Chow, Yiu Fai, Jeroen de Kloet, and Leonie Schmidt. "The Worst of Times, The Best of Music." In Contemporary East Asian Visual Cultures, Societies and Politics, 71–107. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-6710-0_3.

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AbstractIn September 2014, thousands of people started occupying different areas of Hong Kong, demanding “true democracy,” ushering in what was known as the “Umbrella Movement.” The popular protest might have taken the world by surprise; for us, it can be read as a logical outcome of a much longer process of postcolonial anxiety. Popular culture, among which popular music, constitutes an important domain to narrate versions of the past, present, and future that present alternatives to official versions. We therefore shift our eyes and ears from the tumultuous and politically explicit street protests to the aestheticised show of popular sentiments: the 2012 and 2017 Tat Ming Pair concerts. How does Tat Ming’s performance imagine the postcolonial city and its histories? How does it negotiate Hong Kong’s current socio-historical moment? And what kinds of futures does it fantasise for Hong Kong? And what differences can we distinguish between both concerts, one before and the other after the Umbrella Movement? For both concert series, we zoom in onto three songs: “Today Could Have Been a Happy Day 今天應該很高興,” “Tonight the Stars are Bright 今夜星光燦爛,” and “It’s My Party.” These three songs present different articulations of temporality; we start with reflecting on how the (colonial) history of Hong Kong is represented, then move on to analyse how Hong Kong’s present-day predicament is articulated, finally to probe into imaginations of the future in the concerts. These three temporalities, in conjunction with the two different moments the concerts took place, 2012 and 2017, are always already implicated with each other. Following our introduction in Chapter 1, they allow us to study how the constructs of the past, the present, and the possible futures of the city, are woven into the fibre of the concerts.
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Chow, Yiu Fai, Jeroen de Kloet, and Leonie Schmidt. "Forbidden Love, Forgetting Gender." In Contemporary East Asian Visual Cultures, Societies and Politics, 109–36. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-6710-0_4.

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AbstractSince their inception, Tat Ming Pair has been famous, or in some circles, notorious, for their gender and sexuality politics. It is of an advantage that when spoken, the Chinese language makes no distinction between “he” or “she,” thus allowing for more gender ambivalence. This ambivalence extents to sexuality; in their campy, extravagant performances, the duo exudes a queer aesthetics, without ever coming out as such—what Helen Leung calls Hong Kong’s “queer undercurrent” (2008). But then, as an unexpected blast that cracks open the undercurrents of queer invisibility and unrepresentability, reality overtook theory, and surprised and challenged it, in the year 2012. The coming out of Anthony Wong during a Tat Ming Pair live performance marked the turning point. This act was soon followed by similar acts of coming out of other pop stars. Chapter 4 investigates the articulation between sexuality and popular music, in particular Tat Ming, in the context of Hong Kong and mainland China. In doing so, we will trace the emergence of a Chinese movement to find indigenous ways of understanding sexual diversity. Interwoven with such resistance against dominant Western theories and practices, particularly the politics of visibility, is a local cultivation of ambivalence and invisibility, itself a complex manifestation of the ongoing interaction between queer identity and Hong Kong identity. Reflecting upon the events in 2012, we will come back to—and try to make sense of—the disruptive surprise of public figures coming out, apparently in accordance with Western models and in contrast to earlier local sexual politics of ambivalence and invisibility. However, as we will finally show, in the years following 2012, the potentiality of this disruptive surprise has shifted and has been, sadly, pushed back. First, by national policies against effeminate masculinities and sexuality- and gender-related activism at large. Second, by increasingly strict policies towards NGOs and social movements. Paradoxically, and again sadly, the political activities of Anthony Wong in and after the Umbrella Movement may have further jeopardised the potentialities of queer politics. Ironically, these political developments may well inspire a strategic move back towards a politics of invisibility and ambivalence.
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Chang, Jing Jing. "Hong Kong at the Movies." In The Global 1960s, 176–95. Routledge, 2017. http://dx.doi.org/10.4324/9781315200828-10.

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Soyoung, Kim. "Postcolonial Genre as Contact Zone: Hwalkuk and Action Cinema." In Korean Cinema in Global Contexts. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463729147_ch08.

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Shifting the focus from a doubled vision of Europe and Asia to that of Hong Kong and Korea, this chapter aims to transform the grounds of comparison and contribute to inter-Asian cultural studies and film studies by taking a look at the Hong Kong connection in Korean action movies, or hwalkuk. As soon as Korean action movies catch the eye, one enters the uncanny contact zone crowded and haunted by various forces. Korean action movies provide a space contested by Japanese swordplay, Hong Kong action and Hollywood action.
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"Chapter 7 Transness: Hong Kong’s Bond Movies (Bangpian)." In Hong Kong Cinema and Sinophone Transnationalisms, 154–72. Edinburgh University Press, 2021. http://dx.doi.org/10.1515/9781474476386-011.

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Chin, Andy. "What Can The Corpus of Mid-20th Century Hong Kong Cantonese Tell Us About Early Hong Kong Society?" In Sinica venetiana. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-406-6/010.

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This paper reports on a corpus-based sociolinguistic study of terms of address with a special focus on kinship terms found in The Corpus of Mid-20th Century Hong Kong Cantonese (http://hkcc.eduhk.hk/) which has a size of about one million Chinese character tokens. The corpus data was collected by transcribing the speech dialogues of 80 black-and-white movies produced in Hong Kong between 1940 and 1970. The kinship terms extracted from the corpus can tell us about the family structure and marital life of Hong Kong six decades ago.
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Conference papers on the topic "Movies – Hong Kong"

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Koizumi, Michio. "Operation and Maintenance of APM at New Hong Kong International Airport." In Eighth International Conference on Automated People Movers. Reston, VA: American Society of Civil Engineers, 2001. http://dx.doi.org/10.1061/40582(2001)26.

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Hoshii, Tsutomu, Kunihiro Tatecho, Yoshio Oda, and Kento Arkawa. "APM Line Extension and FBTC Replacement with CBTC at Hong Kong International Airport." In 15th International Conference on Automated People Movers and Automated Transit Systems. Reston, VA: American Society of Civil Engineers, 2016. http://dx.doi.org/10.1061/9780784479797.005.

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Du, Xiaoxuan. "On Translation Varieties of English Movie Titles–Language Features in Chinese Mainland, Hong Kong, and Taiwan." In International Conference on Education, Economics and Information Management (ICEEIM 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200401.022.

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Liu, Dezhu, Jie Feng, Zhaoli Li, and Feng Zeng. "Research on underwater acoustic moving target 3-D imaging using spatial scattering model." In 163rd Meeting Acoustical Society of America/ACOUSTCS 2012 HONG KONG. ASA, 2013. http://dx.doi.org/10.1121/1.4774055.

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Ho, Chuan Hsiu. "Challenges and Innovations of the Movie-Television Industry in the Guangdong-Hong Kong-Macao Greater Bay Area." In 2021 6th International Conference on Social Sciences and Economic Development (ICSSED 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210407.163.

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Lin Rui, Du Zhijiang, He Fujun, Kong Minxiu, and Sun Lining. "Tracking a moving object with mobile robot based on vision." In 2008 IEEE International Joint Conference on Neural Networks (IJCNN 2008 - Hong Kong). IEEE, 2008. http://dx.doi.org/10.1109/ijcnn.2008.4633874.

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Zhang, Jun, Ning Li, and Y. F. Li. "The detection of multiple moving objects using fast level set method." In 2008 IEEE International Joint Conference on Neural Networks (IJCNN 2008 - Hong Kong). IEEE, 2008. http://dx.doi.org/10.1109/ijcnn.2008.4633986.

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Yuji Matsumoto, Motohide Umano, and Masahiro Inuiguchi. "Visualization with Voronoi tessellation and moving output units in Self-Organizing map of the real-number system." In 2008 IEEE International Joint Conference on Neural Networks (IJCNN 2008 - Hong Kong). IEEE, 2008. http://dx.doi.org/10.1109/ijcnn.2008.4634286.

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Zhang, Wei, Mingyuan Yang, Xiaolin Zhang, and Peipei Dong. "Study on the Characteristics of Temporal and Spatial Variation of Suspended Sediment in the Pearl River Estuary." In ASME 2009 28th International Conference on Ocean, Offshore and Arctic Engineering. ASMEDC, 2009. http://dx.doi.org/10.1115/omae2009-79033.

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Abstract:
The Lingding Estuary is one of the main parts of the whole Pearl River Delta, which lies in the South Sea, China. It is about 60 km wide from Hong Kong in the east to Macao in the west and the water areas are approximately 2110 km2. The process of suspended sediment movement is influenced by many factors, such as the estuarine geometry, tidal range and ravine flows etc.. In this paper, large scale hydrological observations in the Lingding Estuary have been respectively carried out in July, 2003. Based on these data, characteristics of temporal and spatial variation of suspended sediment concentration (SSC) in the Lingding Estuary are studied. The research result shows that SSC changes with the variation of tide current and runoff, the sediment re-suspension is often occurred 1–2 hour following the flood or ebb tide. The maximum turbidity appears near the gauging station V3. In the flood dominant stage, the sediments move towards the mainland, while during the ebb sediments move down.
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Wu, Dingling. "Research on CNN Recommender System Based on Movie Ratings." In AIBDF 2023: 2023 3rd Guangdong-Hong Kong-Macao Greater Bay Area Artificial Intelligence and Big Data Forum. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3660395.3660417.

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Reports on the topic "Movies – Hong Kong"

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Tusor, Anita. Mapping Global Populism — Panel 2: Populism, Macho-Fascism and Varieties of Illiberalism in The Philippines. European Center for Populism Studies (ECPS), June 2023. http://dx.doi.org/10.55271/rp0041.

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This report is based on the second panel of ECPS’s monthly panel series called “Mapping Global Populism” which was held online in Brussels on April 27, 2023. After concluding our “Mapping European Populism” Panel Series, ECPS is moving beyond the borders of Europe and expanding its project to include cases of populism around the world by organizing a new panel series to map global populism, bringing scholars together every month to discuss the state of political populism in a different region of the world. The second panel hosted 4 prominent scholars from Australia, Hong Kong and the Philippines. As a by-product of this fruitful panel, the report consists of brief summaries of the speeches delivered by the speakers.
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