By Gina Marchetti, Tan See Kam
In contemporary years, with the institution of the Hong Kong movie Archive and turning out to be scholarly curiosity within the heritage of Hong Kong cinema, formerly overlooked ancient files and difficult-to-access movies have provided new examine fabrics. As Hong Kong movie heritage comes into sharper concentration, its inextricable hyperlinks around the many years to Southeast Asia, Korea, Japan, the USA, and to the a ways reaches of the chinese language diaspora have additionally develop into extra obvious. Hong Kong’s reference to Hollywood comprises ties that compile artwork cinema and well known genres in addition to movie fairs and the media market with well known transnational genres.
Giving clean and facsinating insights into the colourful region of Hong Kong, this exciting new book hyperlinks Hong Kong with global movie tradition either inside and past the economic Hollywood paradigm. It emphasizes Hong Kong movie when it comes to different cinema industries, together with Hollywood, and demonstrates that Hong Kong movie, all through its heritage, has challenged, redefined, extended, and passed its borders.
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Extra resources for Hong Kong Film, Hollywood and New Global Cinema: No Film is An Island
Thematically, John Woo’s films centred on the parallel construction of initial protagonists and antagonists who end up as two sides of the same coin and through the course of the narrative becoming one under a shared heroic principle. A number of these elements have become de rigueur for inclusion in contemporary action films to claim bona fide action film status. In Hollywood, John Woo continues to work within the action genre while simultaneously expressing in numerous interviews his desire to direct musicals and to distance himself from his action director only status.
There are two more clues on the Zai Jian Shanghai billboard which may suggest Tsui’s parodic citation of the 1934 film. First, the name of the production company on the top right-hand corner of the bill looks vaguely like ‘Lian Hua’, the studio which produced Zai Hui Ba Shanghai. Second, although the surname of the actor who gets top billing is similarly out-offocus, her name, Lingyu, is the same as the ‘Lian Hua’ star who plays Bai Lu. This star is none other than Ruan Lingyu, a sensation of the 1930s Shanghai movie world.
One sentry-guard tells the white man about the curfew, and also informs him that the Japanese troops are on the outskirts of the city, preparing an offensive. ’ sneers the white man, ‘This is the French Concession. The Japanese won’t dare attack us here. ’ Then he instructs his chauffeur to drive on. Orientalist images are simultaneously invoked and parodied here: an authoritative white man, his silent female companion and his invisible chauffeur. As expected in an Orientalist scenario, the sentries give way to the white subject.
Hong Kong Film, Hollywood and New Global Cinema: No Film is An Island by Gina Marchetti, Tan See Kam