By Pak Tong Cheuk
The more and more renowned movies of the Hong Kong New Wave grapple with such matters as East-West cultural conflicts, colonial politics, the divide among wealthy and bad, the plight of girls in a modernizing Asian urban, and the identification crises provoked via Hong Kong’s estranged motherland. finished and penetrating, Hong Kong New Wave Cinema analyzes the explicit movies that grew out of this dynamic period and investigates the old and social stipulations that allowed the hot Wave to flourish.Drawing at the auteur and style theories, Pak Tong Cheuk right here examines the cinematic kind and aesthetics of latest Wave administrators, so much of whom have been informed at British and U.S. movie faculties. as well as investigating the narrative content material, constitution, and mise-en-sc?ne of person motion pictures, this quantity strains the general improvement of the movie and tv industries in Hong Kong within the Nineteen Sixties and Nineteen Seventies. Cheuk’s fascinating research of the increase and fall of Hong Kong’s golden age of movie establishes the recent Wave as an period of serious old importance for students of cinema, pop culture, and the arts. “An attention-grabbing and special examine probably the most important activities within the movie through the latter a part of the 20th century. Pak’s paintings not just offers an informative assessment of the origins of the circulation, yet is going into aspect concerning the works of a few of the main amazing New Wave administrators, together with Tsui Hark, Ann Hui, and Patrick Tam, and the consequences their photographs had on film-makers from everywhere in the world.”—Neil Koch, HKfilm.net
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Extra info for Hong Kong New Wave Cinema (1978-2000)
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It was also full of human feeling, sharp images and rich details. The closure of CTV in 1979 also sped up Tsui Hark’s entry to the film industry. His debut feature, The Butterfly Murders, earned rave reviews for its tremendous creativity and sophisticated imagery. That same year, Ann Hui left RTHK and finished her earliest picture, The Secret. Alex Cheung also made a similar move, and the crime thriller Cops and Robbers was his first work. The list goes on: Patrick Tam’s The Sword, Dennis Yu’s See Bar and The Beast, Clifford Choi’s Encore and Lau Shing-hon’s The House of Lute.
This led to the making of such movies as Colourful Youth (1966) and Girls are Flowers (1966),22 which sparked off a craze for youth-oriented films. At about the same time as the youth-oriented films, novel martial arts movies, also called ‘new-style’ martial arts movies, appeared; for instance, Come Drink With Me (1996) and The One-Armed Swordsman (1967). In the early 1960s, there were martial arts series with an emphasis on mystery and magic, such as The Secret Book (1961), Buddha’s Palm (1964), and Moslem Sacred Fire Decree (1965).
This drama boosted audience numbers, surpassing those of Commercial Television, taking Rediffusion to second place in the market. Following this success, Rediffusion made other single-drama episodes, such as Ten Assassins*, Real Men* and Ten Fraud Cases, paving the ground for the use of 16mm film stock in television production. qxd 11/2/08 14:39 Page 35 THE INTERACTIVE RELATIONSHIP BETWEEN HONG KONG’S FILM AND TELEVISION INDUSTRIES | Taking advantage of the success of Ten Sensational Cases, in 1977 Rediffusion launched a ‘counter-attack’ and made two large-scale martial arts dramas.