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

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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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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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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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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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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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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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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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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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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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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Jacobson, Susan. "Paul Clark. Reinventing China: A Generation and Its Films. Hong Kong: Chinese University Press, 2005." Asian Cinema 17, no. 1 (2006): 259–63. http://dx.doi.org/10.1386/ac.17.1.259_5.

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Wong, Aida Yuen. "Three Films about Food by Fruit Chan: Allegories of Hong Kong-China Relations after 1997." Asian Cinema 16, no. 2 (2005): 229–41. http://dx.doi.org/10.1386/ac.16.2.229_1.

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Tsang, Gabriel F. Y. "Masculine Performance in Hong Kong Crime Films from Post-Bruce to the 2000s." Asian Journal of Humanity, Art and Literature 4, no. 2 (2017): 73–82. http://dx.doi.org/10.18034/ajhal.v4i2.319.

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Masculinity, in Lacan’s sense, is an imagination. To specifically theorise Chinese masculinity, Kam Louie examined the elements of wen (cultural attainment) and wu (martial valour) rendered through historical or artistic images, and Song Geng and Derek Hird guide the discussions about Chinese manhood represented in everyday life. With a Marxist perspective, Lo Kwai Cheung illustrated the dissolvability of Chinese masculinity under international capitalism. With reference to Aristotle, it is supposed that Chinese masculinity, similar to ‘tragicity’ in nature, can be represented through imitatin

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Gleason, Timothy R., Qi Tang, and Jean Giovanetti. "Wong Kar-Wai." Journal of Asian Pacific Communication 12, no. 2 (2002): 291–310. http://dx.doi.org/10.1075/japc.12.2.06gle.

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Wong Kar-Wai is the premier auteur of Hong Kong cinema. This article analyzes his 1994 film, Chungking Express, using the auteur as structure approach. This approach emphasizes the influence of the director on a film. It can only be applied to films that were mainly controlled by the director and not the studio or production company. Using this approach requires researchers to find the signature of the director within the film. This research introduces the work of an internationally-acclaimed film director to communication scholars, and it deciphers a film inherently complex to interpret. Th

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Berry, Chris. "Hitchcock with a Chinese Face: Cinematic Doubles, Oedipal Triangles, and China's Moral Voice (with DVD). By Jerome Silbergeld. [Seattle: University of Washington Press, 2004. 160 pp. £22.95. ISBN 0-295-98417-1.]." China Quarterly 182 (June 2005): 454–56. http://dx.doi.org/10.1017/s0305741005360267.

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Jerome Silbergeld introduced an art history approach into Chinese film studies with China into Film: Frames of Reference in Contemporary Chinese Cinema in 2000. Hitchcock with a Chinese Face goes further. Like an art historian selecting three seemingly disparate paintings and demonstrating their links, Silbergeld chooses a film each from Hong Kong, Taiwan and mainland China, but argues that they pursue similar aesthetic and political directions. The result is a virtuoso display of intense textual and inter-textual exegesis, informed by an in-depth knowledge of the pre-modern Chinese arts, cont

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Howse, Joseph, and Carolan McLarney. "The Big Pictures: Sources of National Competitiveness in the Global Movie Industry." Vikalpa: The Journal for Decision Makers 31, no. 3 (2006): 19–44. http://dx.doi.org/10.1177/0256090920060303.

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This paper examines the global film industry through a detailed discussion of four national players (US, Canada, China, and Hong Kong). According to Porter, the international competitiveness of any industry cluster is shaped by four characteristics of the domestic market: demand conditions, factor endowments, firm rivalry, and supporting industries. The authors assess the film industry in these countries in terms of the four factors of national competitiveness and conclude that only the US possesses all of them at this juncture. Moreover, they propose that the exclusivity of US interests in th

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Chew, Matthew Ming-tak. "Discovering the digital Stephen Chow: The transborder influence of Chow’s films on the Chinese Internet in the 2010s." Global Media and China 5, no. 2 (2020): 124–37. http://dx.doi.org/10.1177/2059436420928058.

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This study uncovers and analyzes the transborder influence of Stephen Chow’s films in China in the 2010s. This influence takes a form that is new and different from that of the first three fan cultures of Chow’s films. It operates through various online carnivalesque items co-created by Chinese netizens and cultural producers. I document this with an investigation of the online catchphrases, visual memes, and web novels inspired by Chow’s films. One can interpret this new wave of influence as the fourth fan culture of Chow’s films or as a merger between Hong Kong nonsensical culture with the C

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18

Cheng, Xin, Lap Ki Chan, Hongmei Cai, Mei-yao He, Yunqing Li, and Xuesong Yang. "Subtitle." Advances in Social Sciences Research Journal 8, no. 2 (2021): 511–22. http://dx.doi.org/10.14738/assrj.82.9773.

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In order to investigate the correlation between teachers’ age and anatomy education online in China during the Covid-19 pandemic, we conducted a nationwide survey among the anatomists in three age cohorts (i.e., 30-39, 40-49, 50-59 years old) at the medical schools in mainland China, Hong Kong and Macau. Of the 359 respondents, there were 31% (n=108) anatomists aged 30-39, 46% (n=160) anatomists aged 40-49, and 23% (n=80) anatomists aged 50-59 years old, who were teaching clinical medicine students online at medical schools in China during the pandemic. The survey questionnaire contains the fo

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19

Laberge, Yves. "Reviews: Culture: Monika Bellan, 100 ans de cinéma allemand, Series: `Les Essentiels de civilisation allemande'. Paris: Ellipses, 2001, 160 pp., ISBN 2729803343, 10.00. Paul Clark, Reinventing China: A Generation and its Films. Hong Kong: The Chinese University Press, 2005, 257 pp., ISBN 9629962071, US$20.00/¥280. Rajinder Kumar Dudrah, Bollywood: Sociology Goes to the Movies. New Delhi: Sage, 2006, 210 pp., ISBN 0761934618, US$34.95. André Z. Labarrère, ed., Atlas du cinéma, Collection La Pochothèque. Paris: Le Livre de Poche, 2002, 607 pp., ISBN 225313015X, 25.00." International Sociology 23, no. 5 (2008): 761–65. http://dx.doi.org/10.1177/0268580908094490.

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20

Toh, Hai Leong. "Two Asian Films." Kinema: A Journal for Film and Audiovisual Media, April 10, 1998. http://dx.doi.org/10.15353/kinema.vi.885.

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DESTINATION: 9th HEAVEN (Hong Kong-China, 1997). Dir: Wong Chun Man. Cast: Tony Leung Kar-fai, Pan Hong, Gigi Lai, Christine Ng, Sunny Chan, Lau Ying Hung.IRON SISTER (Taiwan-China, 1997). Dir: Yeh Hung-wai. Cast: Shu Qi. Destination: 9th Heaven stars Tony Leung Kar-fai (The Lover), Winston Chao (Eat Drink Man Woman) together with the Mainland Chinese veteran actress Pan Hong. Produced by the shrewd veteran actor-producer Raymond Wong, the film is a tale of love and business rivalry set in Hongkong and Tianjin (Tientsin). Iron Sister is adroitly directed by one of Taiwan's foremost New Wave fi

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Toh, Hai Leong. "Singapore Sidebar: Erotic Cinema." Kinema: A Journal for Film and Audiovisual Media, November 20, 2004. http://dx.doi.org/10.15353/kinema.vi.1066.

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SIFF SIDEBAR: EROTIC CINEMA OF LI HAN HSIANG AND CHU YUAN The legendary directors, Li Han Hsiang and Chu Yuan, made chamber period films in the 1970s for the Shaw Studios in Hong Kong, helmed by the famous Shanghainese brothers Run Run and Runme. Those of us who lived through this period would remember it as prolific time of Hong Kong-made erotica. Films such as the 1973 Illicit Desire (Li Han Hsiang), which featured nudity, were routinely advertised in cinema trailers but were never shown intact. Singapore International Film Festival assembled several landmark erotic works from this period an

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Loh, Shih Chiu, and Hai Leong Toh. "Hong Kong (short films)." Kinema: A Journal for Film and Audiovisual Media, January 11, 2000. http://dx.doi.org/10.15353/kinema.vi.920.

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COMING-OF-AGE OF HONG KONG'S INDEPENDENT SHORT FILMS An interesting phenomenon as a result of Hong Kong's handover to China in 1997 was a profusion of innovative short films by young directors who worked mostly in video. Their "shoot-on-the-run" films, made on shoestring budgets, documented the anxieties and opinions of the ordinary Hong Konger about the colony's return to the mainland. Ten of these shorts, ranging from 5 to 30 minutes, were shown at the 22nd Hong Kong International Film Festival (HKIFF) in 1998 under the title 'Digital Biography of Hong Kong, Progams I & II'. The 'digital

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Teh, Limin, and Hai Leong Toh. "Hong Kong 1995." Kinema: A Journal for Film and Audiovisual Media, November 20, 1995. http://dx.doi.org/10.15353/kinema.vi.772.

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SINCE 1985 THE HONG KONG INTERNATIONAL FILM FESTIVAL (HKIFF) has been the guardian of Asian cinema. Apart from screening an eclectic range of Asian and international films, it regularly runs comprehensive retrospectives which highlight both prominent and little-known Asian directors in events such as the thematic "Hong Kong Cinema Retrospective." In celebrating the Centenary of Cinema this year, the 19th HKIFF focused its attention on archival motion pictures collectively titled "Early Images of Hong Kong and China." An exhibition of the same theme was held concurrently at the City Hall. Among

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Toh, Hai Leong. "Hong Kong and Singapore." Kinema: A Journal for Film and Audiovisual Media, November 20, 1996. http://dx.doi.org/10.15353/kinema.vi.825.

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SINGAPORE AND HONG KONG FESTIVALS: DIVERSITY, CONTRAST AND SIMILARITY FROM the 1st Hong Kong International Film Festival (HKIFF) in 1977 with 27 films to this year's 20th HKIFF with some 200 films, the increase in the number of films shown has been more than seven-fold. Case 2: In 1987, the 1st Singapore International Film Festival (SIFF) exhibited 50 films. In comparison, 90 movies were presented in 1996, a near two-fold increase. However, what the festival lacked in sheer quantity it made up for in quality. The HKIFF is 11 years older than the latter. However, as the date of Hong Kong's cess

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Deng, Bingying. "Self and Other in post-2002 China-Hong Kong co-productions – Johnnie To’s Drug War." FORUM: University of Edinburgh Postgraduate Journal of Culture & the Arts, no. 30 (July 21, 2020). http://dx.doi.org/10.2218/forum.30.4482.

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The cinematic landscapes of both China and Hong Kong were significantly changed after CEPA, the Mainland and Hong Kong Closer Economic Partnerships Arrangement, was formed in 2002, which saw Chinese and Hong Kong co-production films become domestic rather than foreign films. This change calls for a new theoretical framework in reading ‘nationhood’ in co-productions. ‘Nationhood,’ or identity, is usually articulated in masculine terms which are constructed as an ideal Self through an evil Other in both China and Hong Kong. Using Hong Kong director Johnnie To’s co-production Drug War (2012) as a

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Pratley, Gerald. "The Irresistible Rise of Asian Cinema 1." Kinema: A Journal for Film and Audiovisual Media, April 10, 1994. http://dx.doi.org/10.15353/kinema.vi.754.

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PRODUCTION ACTIVITY It was not so many years ago it seems when speaking of motion pictures from Asia meant Japanese films as represented by Akira Kurosawa and films from India made by Satyajit Ray. But suddenly time passes and now we are impressed and immersed in the flow of films from Hong Kong, Taiwan, China, South Korea, the Philippines, with Japan a less significant player, and India and Pakistan more prolific than ever in making entertainment for the mass audience. No one has given it a name or described it as "New Wave," it is simply Asian Cinema -- the most exciting development in filmm

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Wee, Brandon. "Toronto International Film Festival 2015." Kinema: A Journal for Film and Audiovisual Media, November 15, 2015. http://dx.doi.org/10.15353/kinema.vi.1319.

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HIGHLIGHTS FROM THE TORONTO INTERNATIONAL FILM FESTIVAL 2015 The print ads and trailers for Toronto's 40th edition (10-20 September 2015) showed a striking motif of a powdered explosion at reduced speed varying only by colour scheme - a nice metaphor for the celebratory blast of diversity that any healthy entity turning forty ought to enjoy. But far from being complacent, Toronto humbly adapted to a competitive festival circuit by tweaking key strategies (all but retreating from 2014's decision permitting only world premieres to screen on its opening weekend), while also launching new ideas (t

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"Emperor's Assassin (Jing ke ci qin wang). Produced by Sanping Han, Satoru Iseki. and Shirley Kao; directed by Kaige Chen; written by Kaige Chen and Peigong Wang. 1999; 160 minutes; color. Chinese (Chinese, French, and Japanese coproduction); in Mandarin. Distributed by Sony Pictures Classics and Qin Song (also known as The Emperor's Shadow). Produced by Kunning Chen, Jimmy Tan, and Pimin Zhang; directed by Xiaoen Zhou; written by Wei Lu;. 1996; running time 134 minutes; color. China/Hong Kong; in Mandarin. Distributed by Ocean Films." American Historical Review, April 2001. http://dx.doi.org/10.1086/ahr/106.2.694.

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29

Brien, Donna Lee. "A Taste of Singapore: Singapore Food Writing and Culinary Tourism." M/C Journal 17, no. 1 (2014). http://dx.doi.org/10.5204/mcj.767.

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Introduction Many destinations promote culinary encounters. Foods and beverages, and especially how these will taste in situ, are being marketed as niche travel motivators and used in destination brand building across the globe. While initial usage of the term culinary tourism focused on experiencing exotic cultures of foreign destinations by sampling unfamiliar food and drinks, the term has expanded to embrace a range of leisure travel experiences where the aim is to locate and taste local specialities as part of a pleasurable, and hopefully notable, culinary encounter (Wolf). Long’s foundati

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Eubanks, Kevin P. "Becoming-Samurai." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2643.

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   Samurai and Chinese martial arts themes inspire and permeate the uniquely philosophical lyrics and beats of Wu-Tang Clan, a New York-based hip-hop collective made popular in the mid-nineties with their debut album Enter the Wu-Tang: Return of the 36 Chambers. Original founder RZA (“Rizza”) scored his first full-length motion-picture soundtrack and made his feature film debut with Ghost Dog: The Way of the Samurai (Jim Jarmusch, 2000). Through a critical exploration of the film’s musical filter, it will be argued that RZA’s aesthetic vision effectively deterritorialises the

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Ribas-Segura, Catalina. "Pigs and Desire in Lillian Ng´s "Swallowing Clouds"." M/C Journal 13, no. 5 (2010). http://dx.doi.org/10.5204/mcj.292.

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Introduction Lillian Ng was born in Singapore and lived in Hong Kong and the United Kingdom before migrating to Australia with her daughter and Ah Mah Yin Jie (“Ah Mahs are a special group of people who took a vow to remain unmarried … [so they] could stick together as a group and make a living together” (Yu 118)). Ng studied classical Chinese at home, then went to an English school and later on studied Medicine. Her first book, Silver Sister (1994), was short-listed for the inaugural Angus & Robertson/Bookworld Prize in 1993 and won the Human Rights Award in 1995. Ng defines herself as a

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"Language learning." Language Teaching 37, no. 4 (2004): 264–75. http://dx.doi.org/10.1017/s0261444805222632.

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04–473Adler, Renatte K. and Loughrin-Sacco, Steven J. (San Diego State U., USA). Internships for American undergraduates: acquiring language and cross-cultural skills for a global market. Journal of Language for International Business (Glendale, Arizona, USA), 15, 1 (2004), 30–40.04–474Allum, Paul (Rikkyo U., Tokyo, Japan; Email: allum@rikkyo.ac.jp). Evaluation of CALL: initial vocabulary learning. ReCALL (Cambridge, UK), 16, 2 (2004), 488–501.04–475Barcroft, Joe (Washington U., USA; Email: barcroft@artsci.wustl.edu). Effects of sentence writing in second language lexical acquisition. Second L

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