By Gina Marchetti, Tan See Kam
In contemporary years, with the institution of the Hong Kong movie Archive and transforming into scholarly curiosity within the heritage of Hong Kong cinema, formerly missed old records and difficult-to-access movies have provided new examine fabrics. As Hong Kong movie historical past comes into sharper concentration, its inextricable hyperlinks around the many years to Southeast Asia, Korea, Japan, the U.S., and to the some distance reaches of the chinese language diaspora have additionally develop into extra glaring. Hong Kong’s reference to Hollywood consists of ties that assemble artwork cinema and well known genres in addition to movie gala's and the media market with renowned 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 industrial Hollywood paradigm. It emphasizes Hong Kong movie on the subject of different cinema industries, together with Hollywood, and demonstrates that Hong Kong movie, all through its background, has challenged, redefined, improved, and passed its borders.
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Extra resources for Hong Kong Film, Hollywood and New Global Cinema: No Film is An Island
Sample text
2). Where the South Pacific billboard advertises a film made well ahead of its time, the film which the second billboard promotes actually never exists: there is no such film in the Chinese language film corpus. However it may be a sly reference to a controversial Mandarin film from the classical Shanghai period, namely Zai Hui Ba Shanghai, made in 1934,27 for the following reasons. First, the title of the two films contains the term ‘Shanghai’, the name of the city where Stool presently is, and where Shu-Shu and Do-Re-Mi have just left behind.
Both are country girls; they go to Shanghai, seeking a new life. Bai is a teacher; Stool applies for a teaching position. Bai is raped by a well-to-do doctor, while Stool is nearly raped by Boss, the rich merchant. So if Zai Jian Shanghai is indeed a parodic reference to Zai Hui Ba Shanghai, it is as temporally incongruent with the diegetic setting of Shanghai Blues as South Pacific is because Lian Hua closed down in 1937 (consequent to the Japanese occupation of Shanghai), while Ruan Lingyu died some two years earlier.
John Woo is a versatile director who first achieved box-office success in Hong Kong with a Cantonese opera film in 1976, Princess Chang Ping, and a year later with a comedy, Money Crazy. By the time he shifted to contemporary action films in 1986 with A Better Tomorrow, John Woo had a series of box-office failures, which nearly ended his film career in Hong Kong. It was under the good graces of Tsui Hark and his Film Workshop that John Woo had a chance to attain international auteur status with what became known as ‘heroic bloodshed’ films.