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Relevant bibliographies by topics / Erotic films – China – Hong Kong

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Journal articles

Academic literature on the topic 'Erotic films – China – Hong Kong'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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Journal articles on the topic "Erotic films – China – Hong Kong"

1

Marchetti, Gina. "The gendered politics of sex work in Hong Kong cinema." Alphaville: Journal of Film and Screen Media, no. 10 (December 16, 2015): 12–30. http://dx.doi.org/10.33178/alpha.10.01.

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The portrayal of women as prostitutes is common in Hong Kong cinema, and filmmakers have looked at sex work from various perspectives: as a social problem, as an index of women’s economic exploitation more generally, as a way to explore the relationship between economics and sexuality, as a window onto the world of sexual minorities and as erotica. Scriptwriter Elsa Chan, working in conjunction with director Herman Yau, has made two features about women in the Hong Kong sex industry—Whispers and Moans (性工作者十日談, 2007) and True Women for Sale(性工作者2 我不賣身·我賣子宮, 2008)—based on Chan’s anthropologica

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2

Wai-Ming, Benjamin. "Japanese Elements in Hong Kong Erotic Films." Asian Cinema 15, no. 1 (2004): 217–24. http://dx.doi.org/10.1386/ac.15.1.217_1.

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3

Hongjin He, Hilary. ""Chinesenesses" Outside Mainland China: Macao and Taiwan through Post-1997 Hong Kong Cinema." Culture Unbound 4, no. 2 (2012): 297–325. http://dx.doi.org/10.3384/cu.2000.1525.124297.

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By examining the filmic representation of Macao and Taiwan in Hong Kong films, mostly released after the 1997 sovereignty transfer, this paper will address the notion of Chineseness in its plural form as associated with different Chinese societies. The purpose is to bring attention to the cosmopolitan side of Chineseness in Hong Kong cinema rather than the mere influence from the Mainland (PRC). I will argue that it is this pluralised, composite Chineseness reflected in Hong Kong cinema that has reinforced its very “Hong Kong-ness” against the impact from the “orthodox” Chineseness of the Main

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4

Laukkanen, Tatu-Ilari. "Shanghai gangster films and the politics of change." Novos Olhares 9, no. 1 (2020): 81–97. http://dx.doi.org/10.11606/issn.2238-7714.no.2020.172000.

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In this paper through a very close textual reading I will show the ideological differences between two films based on the life of Shanghai gangster Du Yuesheng (1888, Pudong – 1951, Hong Kong) through close formal and narrative analysis. Du was already a celebrity in his day in the Republican era and is still a con-troversial figure in Greater China. However, there are only two films based on the life of the French Con-cession opium kingpin, the recent Hong Kong/PRC co-production The Last Tycoon (Da Shang Hai, Wong Jing, 2012) and the epic two part Lord of the East China Sea I & II (Shang

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5

Changsong, Nam Wang, and Rohani Hashim. "How Chinese Youth Cinema Develops? Reviewing Chinese Youth Genre in Mainland China, Taiwan and Hong Kong, 1950s-2000s." GATR Global Journal of Business Social Sciences Review 2, no. 1 (2014): 54–67. http://dx.doi.org/10.35609/gjbssr.2014.2.1(7).

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Objective - This study considers Chinese youth cinema as a historical object that represents the gamut of social practices and styles of production. Methodology/Technique - The authors examine the historical development of young people for tracing how different social and historical contexts interpret the Chinese young people's world. Findings - The youth films produced in the major Chinese regions—Mainland China, Taiwan and Hong Kong—illustrate how much social practices dominated the film content and style. For instance, youth genre in Hong Kong, once prevalent in the Cantonese cinema of the

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6

Chan, Charlene Peishan. "“I Want to be More Hong Kong Than a Hongkonger”." Lifespans and Styles 6, no. 1 (2020): 13–27. http://dx.doi.org/10.2218/ls.v6i1.2020.4398.

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 The years leading up to the political handover of Hong Kong to Mainland China surfaced issues regarding national identification and intergroup relations. These issues manifested in Hong Kong films of the time in the form of film characters’ language ideologies. An analysis of six films reveals three themes: (1) the assumption of mutual intelligibility between Cantonese and Putonghua, (2) the importance of English towards one’s Hong Kong identity, and (3) the expectation that Mainland immigrants use Cantonese as their primary language of communication in Hong Kong. The recurrence of thes

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7

Yeh, Emilie Yueh-yu, and Shi-yan Chao. "Policy and creative strategies: Hong Kong CEPA films in the China market." International Journal of Cultural Policy 26, no. 2 (2018): 184–201. http://dx.doi.org/10.1080/10286632.2018.1448805.

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8

Wu, Hang. "The Translocalized McDull Series: National Identity and the Politics of Powerlessness." Animation 12, no. 1 (2017): 28–44. http://dx.doi.org/10.1177/1746847716686550.

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The animated film Me & My Mum was released in mainland China and Hong Kong in 2014 and proved to be a huge box office hit, cashing in on the existing McDull animated films that are hailed as the best animations in Hong Kong. Previous scholarship suggests that the McDull animated film series is a symbol of Hong Kong local culture; it serves as a repository of the changing landscapes of Hong Kong and demonstrates hybrid identities. However, this article argues that the McDull animated film series is more translocal than local, a fact which reveals the dynamics of the Hong Kong–mainland China

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9

Lee, Sangjoon. "Destination Hong Kong: The Geopolitics of South Korean Espionage Films in the 1960s." Journal of Korean Studies 22, no. 2 (2017): 343–64. http://dx.doi.org/10.1215/21581665-4226478.

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Abstract As the apparent progeny of Cold War politics in the West, espionage films witnessed unprecedented popularity around the globe in the 1960s. With the success of Dr. No (1962) and Goldfinger (1964)—along with French, Italian, and German copycats—in Asia, film industries in Japan, Hong Kong, Taiwan, and South Korea recognized the market potential and embarked on churning out their own James Bond-mimetic espionage films in the late 1960s. Since the regional political sphere has always been multifaceted, however, each country approached genre conventions with its own interpretation. In the

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10

Lee, Joseph Tse-Hei. "Despair and hope: cinematic identity in Hong Kong of the 2000s." Social Transformations in Chinese Societies 13, no. 2 (2017): 173–88. http://dx.doi.org/10.1108/stics-04-2017-0010.

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Purpose The goal of this article is to examine the current trends of political cinema in postcolonial Hong Kong. Many leaders of the Hong Kong mainstream cinema have accepted the Chinese authoritarian rule as a precondition for expanding into the ever-expanding Mainland film market, but a handful of conscientious filmmakers choose to make political cinema under the shadow of a wealthy and descendant industry, expressing their desire for democracy and justice and critiquing the unequal power relations between Hong Kong and China. Design/methodology/approach This paper consults relevant document

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