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Journal articles on the topic 'Film archives – China – Hong Kong'
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1
Fung, Chi Keung Charles, and Chi Shun Fong. "Going out under the shadow of Red China: the geopolitical origin of Hong Kong’s international status." Asian Education and Development Studies 8, no. 2 (April 8, 2019): 173–85. http://dx.doi.org/10.1108/aeds-02-2018-0033.
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Purpose Many scholars would agree that the international status of Hong Kong is one of the crucial factors that contribute to the continued success of Hong Kong. However, few of them explain the origin of Hong Kong’s international status. The purpose of this paper is to fill this literature gap through the case study of Hong Kong’s admission to an international organization – the Asian Development Bank (ADB) – in the late 1960s. Design/methodology/approach Based on declassified archives, a historical approach has been adopted to trace the origin of Hong Kong’s international status. Findings The findings suggest that Cold War geopolitics, both local and regional level, explain why Hong Kong, even though remained as a dependent territory of Britain, became a member of an international organization independent from the British influence. While geopolitics at local level incentivized the colonial government to “go out” for external support, geopolitics at the regional level provided an opportunity for Hong Kong to acquire membership of the ADB. Originality/value This paper is among the first academic study on the origin of Hong Kong’s international status.
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Curry, Ramona. "Benjamin Brodsky (1877-1960): The Trans-Pacific American Film Entrepreneur – Part One, Making A Trip Thru China." Journal of American-East Asian Relations 18, no. 1 (2011): 58–94. http://dx.doi.org/10.1163/187656111x582090.
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AbstractAuthoritative statements have long credited the elusive American immigrant entrepreneur Benjamin Brodsky (1877-1960) with founding film production companies in Shanghai and Hong Kong as early as 1909 and initiating filmmaking collaborations with local Chinese. Yet those histories prove on close examination to consist mostly of sketchy assertions offered without clear evidence. This essay draws on original archival research and recent work of scholars in Hong Kong, Europe, and Japan to reframe the historical narrative, dating most developments a few years later while revealing fresh aspects of Brodsky's trans-Pacific operations and high-level Chinese involvement. The new findings have intriguing implications for our understanding of early twentieth-century trans-Pacific cultural associations as well as Chinese cinema. Part One of this article reconstructs Brodsky's early career and reveals new evidence of his interactions with Chinese returned students and government officials, with a focus on the production in China of Brodsky's feature-length travel documentary A Trip Thru China (1916).
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Lok, Peter. "Lost in Hong Kong." Social Transformations in Chinese Societies 13, no. 2 (September 5, 2017): 149–58. http://dx.doi.org/10.1108/stics-04-2017-0011.
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Purpose The purpose of this paper is to explore how a neo-liberal nationalist discourse of China imagines the spatial identity of the post-1997 Hong Kong with reference to Lost in Hong Kong, a new Chinese middle-class film in 2015 with successful box office sales. Design/methodology/approach Textual analysis with the aid of psychoanalysis, postcolonial studies and semiotics is used to interpret the meaning of the film in this study. The study also utilizes the previous literature reviews about the formation of the Chinese national identity to help analyze the distinct identity of the Chinese middle class today. Findings The discussion pinpoints how the new Chinese middle class as neo-liberal nationalists take Hong Kong as a “bizarre national redemptive space”. While Hong Kong is cinematically constructed as such a national other, this paper argues that the Hong Kong in question stands not for itself but in a form of “reverse hallucination” for pacifying the new Chinese middle class’ trauma under the rapid neo-liberalization of China in the 1990s. Originality/value This paper shows the new of formation of the Chinese nationalist’s discourse, especially the new Chinese middle-class discourse on Hong Kong after 1997.
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Wu, Hang. "The Translocalized McDull Series: National Identity and the Politics of Powerlessness." Animation 12, no. 1 (March 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 relationship after Hong Kong’s return to Chinese sovereignty in 1997. The translocalized McDull series demonstrates an obsession with Chineseness which helps to evoke the national identity. By aestheticizing powerlessness as cuteness through anthropomorphic animals, the McDull series used to be highly political; they grappled with the wounds of society in Hong Kong. However, the articulation of a well-rounded McDull in the translocalized film Me & My Mum indicates that it is conforming to the Chinese Communist Party’s ideology of ideal children while the political power of aestheticizing powerlessness is repressed, revealing the dominant power of the Chinese film market.
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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 (January 13, 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 mid and late 1960s, blended musical and melodrama by dormant with the rise of martial art films. Novelty - This study attempts to elaborate some films featuring young people in Mainland China, Taiwan and Hong Kong, and to review the histories of youth cinema in these Chinese regions. The Chinese youth film outlines how, in Chinese communities, the category of youth historically functions as a significant site of ideological inscription that displays its struggles towards an idealized future. Type of Paper: Review Keywords : Chinese cinema; Film history; Hong Kong; Mainland China; Taiwan; Youth genre
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Li, Yi. "Melancholic Nostalgia, Identity Crisis, and Adaptation in 1950s Hong Kong: Ba Jin’s Family on Screen." Adaptation 13, no. 3 (May 4, 2020): 313–33. http://dx.doi.org/10.1093/adaptation/apz029.
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Abstract The communist takeover of mainland China in 1949 created physical, cultural, and political segregation between the mainland and Hong Kong, thus fostering a sense of dislocation and alienation among filmmakers who had migrated to Hong Kong from the mainland. The aim of this study is to explore the symbiosis between nostalgia and adaptation in Hong Kong cinema within the cultural landscape of 1950s Hong Kong, when Cold War politics was operating. With a detailed analysis of the 1953 Hong Kong film adaptation of mainland writer Ba Jin’s novel Family, and a comparative reading with the mainland film version produced in 1956, this study illustrates the cultural and historical significance of nostalgia in the development of Hong Kong cinema. This article further argues that nostalgic sentiment was expressed effectively through adaptations, while simultaneously improving these adaptations artistically and strengthening their political alignment with the mainland.
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May, Anthony, and XiaoLu Ma. "Hong Kong: Changing Geographies of a Media Capital." Media International Australia 124, no. 1 (August 2007): 156–65. http://dx.doi.org/10.1177/1329878x0712400115.
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Thanks to its stunning entry into the ranks of world cinema in the 1970s, the history of the Hong Kong film industry up to 1997 is relatively well known. However, the coincidence of the Asian economic recession and the city's reintegration into the People's Republic of China (PRC) has worked to obscure recent developments. This article analyses contemporary Hong Kong cinema and its relations with the government of the mainland. We argue that the economic, cultural and geopolitical location of the city is contributing to developments that will allow the art cinema of the People's Republic of China to engage in international, Hollywood-dominated markets. Matters to do with production investment, censorship and film exhibition business are analysed in terms of the development of and revisions to the Closer Economic Partnership arrangement that now governs trade between the PRC and the Hong Kong Special Administrative Region (HKSAR).
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Fu, Poshek. "Japanese Occupation, Shanghai Exiles, and Postwar Hong Kong Cinema." China Quarterly 194 (June 2008): 380–94. http://dx.doi.org/10.1017/s030574100800043x.
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AbstractThis article explores a little-explored subject in a critical period of the history of Hong Kong and China. Shortly after the surrender of Japan in 1945, China was in the throes of civil war between the Nationalists and Communists while British colonial rule was restored in Hong Kong, The communist victory in 1949 deepened the Cold War in Asia. In this chaotic and highly volatile context, the flows and linkages between Shanghai and Hong Kong intensified as many Chinese sought refuge in the British colony. This Shanghai–Hong Kong nexus played a significant role in the rebuilding of the post-war Hong Kong film industry and paved the way for its transformation into the capital of a global pan-Chinese cinema in the 1960s and 1970s. Focusing on a study of the cultural, political and business history of post-war Hong Kong cinema, this article aims to open up new avenues to understand 20th-century Chinese history and culture through the translocal and regional perspective of the Shanghai–Hong Kong nexus.
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Chen, Fangyu. "The rupture in Hong Kong cinema: Post-2000 Hong Kong cinema(s) as both a transnational cinema and a national cinema." Lumina 14, no. 1 (April 30, 2020): 68–83. http://dx.doi.org/10.34019/1981-4070.2020.v14.30238.
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This paper traces artistic and ideological discrepancies between the young generation of Hong Kong filmmakers and their predecessors – the established generation who contributed to the glory days of Hong Kong cinema during its economic boom. By tracing studies of national cinema and transnational cinema in the last three decades, the author argues that current Hong Kong cinema has split into two: a transnational cinema represented by the established generation of filmmakers; and a national cinema that is driven by the emerging generation who struggles for better preservation of Hong Kong local culture and their own cultural identities. To conduct the research, 47 people were interviewed including13 established filmmakers, 16 young filmmakers and18 film students from 3 universities in Hong Kong. The three groups of respondents generally represent three perspectives: that of the established film practitioners, who have a vested interest in the current co-production era; that of the emerging young film practitioners, who above all crave a flourishing local film market and whose productions exhibit stronger Hong Kong cultural identities; lastly, that of the, who were predominantly born in the 1990s and have the most extreme views against mainland China and whose filmmaking ideologies and practices foreshadow the future of the industry.
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O’Connor, Paul. "Hong Kong Skateboarding and Network Capital." Journal of Sport and Social Issues 42, no. 6 (August 24, 2018): 419–36. http://dx.doi.org/10.1177/0193723518797040.
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The importance of East Asia to the skateboard industry is multifaceted. It represents a dense commercial asset where the “cool” of skateboarding can be leveraged for consumption. It is also a global resource for touring professional skateboarders visiting countries such as China, Korea, and Japan to film and photograph their tricks in new locations. The success of such strategies are entwined with a regional network of skateboarders, a group whose subcultural capital is operationalized through network capital. Analysis of these connections highlights that Hong Kong’s prominence in East Asian skateboarding is largely dependent on its position as a global city and hybrid entrepôt. By addressing the conservative culture of skateboarding, and the importance of Hong Kong as a global city rather than a “skateable” city, this article further contributes to the theorizing of skateboarding beyond discussions of space and resistance.
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Tam, Kwok-kan. "Cinematography in Motherhood: a Hong Kong film adaptation of Ghosts." Nordlit, no. 34 (February 24, 2015): 393. http://dx.doi.org/10.7557/13.3384.
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<p>This is a study of a Hong Kong Chinese film adaptation of <em>Ghosts</em> made in 1960. It deals with processes of cross-cultural and cross-media adaptation, and probes issues of how stage techniques are turned into cinematographic devices. Ibsen’s plays, except <em>Ghosts</em>, have been adapted numerous times for the Chinese stage and screen in Hong Kong and China. Unlike in China, the reception of Ibsen in Hong Kong is not meant for political purposes. In most Hong Kong adaptations, Ibsen is valued for the purpose of theatrical experimentation. Among the stage adaptations, <em>A Doll’s House</em> and <em>The Master Builder</em> are the most popular. However, there was a film adaptation of <em>Ghosts</em> in 1960, which has never been discussed in Ibsen scholarship. In this adaptation, Director Tso Kea borrowed the plot from <em>Ghosts</em> and made a perfect Chinese melodrama film highlighting the Chinese emotions and relations in a wealthy family that undergoes a crisis. In traditional Chinese drama, there is the lack of psychological rendering in characterization and characters act according to moral considerations. In Tso Kea’s film, the portrayal of the mother provides a new sense of characterization by combining Mrs Alving with the traditional Chinese mother figure. The borrowing from Ibsen makes it possible for the Chinese film to create a character with emotional and psychological complexities. Images from the film are selected as illustration in the article.</p>
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Chan, Charlene Peishan. "“I Want to be More Hong Kong Than a Hongkonger”." Lifespans and Styles 6, no. 1 (May 24, 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 these findings indicates their prevalence amongst native Hongkongers, even in a post-handover context.
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White, Cameron L. "Pixels, Police, and Batons." Film Quarterly 74, no. 3 (2021): 9–22. http://dx.doi.org/10.1525/fq.2021.74.3.9.
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The 2019 Hong Kong protests witnessed not only sustained physical demonstrations by locals, but also a swell of online digital media that recorded and remixed conflicts between protestors and police. By documenting key moving images that circulated throughout social media and the film festival circuit, White’s essay reorients Hong Kong film studies’ relationship with the digital. Although cinema played a secondary role in the 2019 protests compared to digital media, numerous intertextual linkages demonstrate the productive potential of considering the two together. Special attention is given to the cops-and-robbers genre, a linchpin in local film history and a frequent form of choice for Hong Kong-mainland China coproductions. While the troubled representation of police in 2019 and beyond suggests that the future of the genre is unstable, the ingenuity of recent digital media demonstrates Hong Kong’s enduring potential for moving image innovation.
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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 (September 5, 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 documentary materials and cinematic texts to contextualize the latest development of political cinema in Hong Kong. It presents an in-depth analysis of the works of two local independent filmmakers Herman Yau and Vincent Chui. Findings This study reveals a glimpse of hope in the current films of Herman Yau and Vincent Chui, which suggests that a reconfiguration of local identity and communal relationship may turn around the collective despair caused by the oppressive measures of the Chinese authoritarian state and the end of the Umbrella Movement in late 2014. Research limitations/implications Despite the small sample size, this paper highlights the rise of cinematic localism through a closer look at the works of Hong Kong independent filmmakers. Practical implications This study reveals an ambivalent mentality in the Hong Kong film industry where critical filmmakers strive to assert their creativity and agency against the externally imposed Chinese hegemonic power. Originality/value This investigation is an original scholarly study of film and politics in postcolonial Hong Kong.
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Guangyao, Zhu, and Wang Yandong. "The Practice and Theory of China's National Image in Hong Kong Region* A Case Study of Film and Television." E3S Web of Conferences 236 (2021): 05058. http://dx.doi.org/10.1051/e3sconf/202123605058.
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Since Hong Kong was once considered to be the front line of the Cold War against China in the Anglo-American world, its film and television productions have been a significant ideological battlefield. Especially at that time, the western digital film and television production had a strong impact on the construction of national ideology in Hong Kong. It is evident that the artistic strategy of China's national image formation in the region, as viewed through film and television productions, has a targeted cultural and strategic orientation value. In this regard, this paper presents the viewpoints from the perspective of the development history of Hong Kong's film and television productions as well as the successful experience of image construction in Europe and America since the mid-twentieth century.
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Li, S., F. Zhang, Q. R. Yu, K. L. Chan, C. Hou, R. Guo, and M. Duan. "COMPARISON OF THREE TYPES OF AEROSOL PRODUCTS DURING 2015–2017 IN CHINA." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-3/W5 (October 29, 2018): 47–52. http://dx.doi.org/10.5194/isprs-archives-xlii-3-w5-47-2018.
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<p><strong>Abstract.</strong> In this study, we use sunphotometer (AERONET) data as reference to evaluate MODIS, Himawari-08, and MERRA-2 aerosol products over China. AERONET data from Beijing, Xianghe, Xuzhou, Taihu and Hong Kong are used. The results indicate that aerosol optical depths (AODs) obtained from MODIS, Himawari-08, and MERRA-2 from 2015-2017 over China are consistent with the AERONET observations. The accuracy of these AOD products shows a spatial and temporal variation. MODIS aerosol products tend to overestimate the AODs at Beijing, Xianghe and Xuzhou, with stronger overestimation in winter. For Taihu and Hong Kong, MODIS only overestimates the AODs in winter. Himawari-08 and MERRA-2 underestimate the AODs in autumn over almost all stations except Taihu.</p>
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Gleason, Timothy R., Qi Tang, and Jean Giovanetti. "Wong Kar-Wai." Journal of Asian Pacific Communication 12, no. 2 (December 31, 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. The authors analysis reveals Wong utilizes a French New Wave style to represent his view of a Hong Kong undergoing social and political transformations. Wongs style is similar to French directors such as Truffaut and Godard because of his spontaneity and use of movement within the movie image. Even though Wong is influenced by the French New Wave, his films are also influenced by their physical and social environments. This is especially true in Chungking Express, with its crime urban surroundings, and constant references to expiration dates, the latter referring to Hong Kongs hand-over to China.
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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 (July 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 the global distribution system creates competitive dynamics that neither Porter nor critics such as Rugman have fully explored. It is in this context that this paper discusses co-production as an alternative means for nations to develop⁄improve competitiveness through exploitation of overseas markets. Based on their analysis of the film industry of the US, Canada, China, and Hong Kong, the authors make the following observations: There is a need to increase the presence of Canada⁄Canadian film co-productions with other countries as there may be greater opportunities for large Canadian producers to leverage both their US connections and their home country's treaties to create a unique pool of film-making resources. The potential size of the Chinese film audience makes it attractive to other nations. However, the Chinese government's monopoly over film imports, pirated home versions, and denial of access to the official film distribution channels are major barriers to entry. Despite the massive historical price gap between domestic and foreign movies, box office figures would suggest that Chinese audiences prefer the latter. Another popular option is cheap, pirated home versions. Hong Kong's box office size, domestic box office share, and number of domestic productions have been decimated over the past decade and, hence, Hong Kong producers' main option is to find stronger opportunities in mainland China. Being the only external co-production partner nation of China and Hong Kong, Canada has in place the foundations for a powerful competitive position in these regions relative to other foreign entrants. According to the authors, further research in this field could include an analysis of coproductions within Europe or of emerging co-production blocs across other regions. For instance, Canada is currently in the process of concluding a co-production treaty with India which has the potential to clear barriers between the two powerful yet traditionally quite segregated film industries of the subcontinent and North America. This is indicative of the fact that the governments and the movie industries are gaining power to change the global competitive scenario in films.
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Cheung, Siu Keung, and Wing Sang Law. "The colony writes back: nationalism and collaborative coloniality in the Ip Man series." Social Transformations in Chinese Societies 13, no. 2 (September 5, 2017): 159–72. http://dx.doi.org/10.1108/stics-04-2017-0007.
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Purpose The majority of Hong Kong filmmakers have pursued co-production with China filmmakers for having the Mainland market at the expense of local styles and sensitivities. To many critics, the two-part series of Ip Man and Ip Man II provide a paradigmatic case of film co-production that sell the tricks of Chinese kung fu, regurgitating the overblown Chinese nationalism against Japanese and kwai-lo. The purpose of this study is to rectify such observation of the Ip Man series. Design/methodology/approach The authors read the series deconstructively as a postcolonial text in which Hong Kong identity is inscribed in the negotiated space in between different versions of Chinese nationalism. Findings The analysis points to the varying subversive features in the series from which Hong Kong’s colonial experiences are tacitly displayed, endorsed and rewritten into the Chinese nationalistic discourse whose dominance is questioned, if not debased. Originality/value This paper advances new research insights into the postcolonial reinvention of kung fu film and, by implication, the Hong Kong cinema in general.
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Laukkanen, Tatu-Ilari. "Shanghai gangster films and the politics of change." Novos Olhares 9, no. 1 (July 10, 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 Hai huang di zhi: Sui yue feng yun & Shang Hai huang di zhi: Xiong ba tia xia, Hong Kong, Poon Man-kit 1993). I show how these films reflect HK's and China's politico-economic changes focusing on the representation of social class and the subject, depiction of internal migration and immigration, and nationalism. The films will be discussed in their relation to changes in the Hong Kong film industry, Chinese and world cinema and the transnational gangster genre, showing how local and global cinemas have affected these films.
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Cheung, Siu Keung. "Ideological battles in and out 1911." Social Transformations in Chinese Societies 13, no. 2 (September 5, 2017): 137–48. http://dx.doi.org/10.1108/stics-04-2017-0006.
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Purpose During the centennial anniversary of Xinhai Revolution in 2011, the Chinese People’s Political Consultative Conference and the State Administration of Radio, Film, and Television supported the production of 1911 for celebrating such an important event that lead to the rise of the Republic of China in the contemporary Chinese history. This paper aims to reflect upon this film in relation to China’s propagation of “Greater China” for the Empire-building project. Design/methodology/approach By scrutinizing the film text and following the strait controversies over the film, this paper demonstrates how the Chinese Communist agents employed the coproduction model with Hong Kong for globalizing a cinematic discourse of Greater China in part of their Empire-building project. Findings The study challenges how contemporary Chinese history is ideologically and politically manipulated for advancing the Chinese Communist propaganda over Taiwan. The overall objective is to reflect upon the longstanding historical divergences that stand on the current geopolitical envision and strategy of China for reunification. Originality/value This paper provides an interdisciplinary reflection upon the intricate post-Cold War politics in part of the contemporary Chinese cinema under the China–Hong Kong coproduction model. The findings advance novel and timely insights into China’s current envision and strategy for reunification.
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Li, Z. W., C. Z. Tang, S. H. Tang, and Y. Zhang. "COMPARISON OF GNSS PWV AND ERA5-DERIVED PWV BASED ON GNSS PWV IN HONG KONG, CHINA." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-3/W10 (February 8, 2020): 987–93. http://dx.doi.org/10.5194/isprs-archives-xlii-3-w10-987-2020.
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Abstract. Water vapor is the most abundant atmospheric gas, and it plays a vital role in the evolution of the Earth's climate. Precipitable water vapor (PWV) is a key factor in monitoring the climate and hydrological cycle. The use of GNSS to estimate PWV is a very effective method. This paper uses 17 satellite positioning reference stations in SatRef, Hong Kong, China, in 2017 to calculate the PWV and introduce the latest reanalysis data set of the European Medium Range Weather Forecast Ingenued Center (ECMWF) ERA5 into this study. The accuracy of THE PWV derived from ERA5 was evaluated using the GNSS-derived PWV. In Hong Kong, the annual bias and RMSE values of GNSS-derived ZTD and ERA5-derived ZTDs are 1.16 cm and 1.78 cm respectively, while the annual RMSE values of GNSS-derived PWV and ERA5-derived PWV are 0.51 cm and 0.57 cm, respectively. The daily changes of GNSS PWV in 2017 are analyzed, and the results show that the ZTD effect of THE ERA5 reanalysis data derived in the small range area is not very ideal, but the accuracy of the PWV derived from ERA5 is better.
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Chan, Pui-Lun. "Act Like Jackie Chan: The Cinematic Legacy of Jingju Training Schools in Hong Kong." TDR/The Drama Review 62, no. 2 (June 2018): 115–29. http://dx.doi.org/10.1162/dram_a_00751.
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The jingju (Peking Opera) training schools that developed in Hong Kong between the 1950s and the 1970s had an unanticipated impact on the martial arts movie industry. Jackie Chan and his cohort at the China Drama Academy made the move from trainees to movie actors, bringing their jingju skills to their film roles.
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Chung, Ada Chi Wai, and Dickson K. W. Chiu. "OPAC Usability Problems of Archives." International Journal of Systems and Service-Oriented Engineering 6, no. 1 (January 2016): 54–70. http://dx.doi.org/10.4018/ijssoe.2016010104.
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This study aims to explore common pitfalls of design and functional issues of Open Public Access Catalogue (OPAC) systems for archives for the general public and suggest solutions to approach such problems. Other than general users, this study also suggests ways to enhance the OPAC system to make it more user-friendly to users with special needs, such as the elderly and children. This paper uses a case study approach to evaluate the usability of the OPAC system in the Hong Kong Film Archive (HKFA), which is a representative and important archive of its type. The paper provides practical insights on common pitfalls of design and functional issues of OPAC for archives under such context (such as searching user-friendliness) and suggests technical solutions (such as Web 2.0 and more user friendly input devices) to approach such problems. Although we carried out this usability study mainly based on observation without direct interaction with their target users, we already discover adequate and significant problems for the discussions and suggestions in this paper. The paper includes implications and suggestion for archives to improve the usability and functionality of their OPAC systems, which is a key to their public services. Recently, implementing public Web-based access to archives has become popular. However, there are just few usability studies on such OPAC systems, especially for archives facing the general public instead of just professionals.
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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, contemporary Chinese political culture, and globally circulated Western culture (including Hitchcock). It is also a challenge to the discipline of film studies itself.The three films Silbergeld selects for analysis are Lou Ye's 2000 film from mainland China, Suzhou River (Suzhou he); Yim Ho's 1994 Hong Kong film, The Day the Sun Turned Cold (Tianguo nizi); and the final part of Hou Hsiao Hsien's 1995 Taiwan trilogy, Good Men, Good Women (Hao nan, hao nü,). He acknowledges that the project began as a personal indulgence allowing him to explore further some of his favourite films. However, his engagement with the films leads him to argue that each one, in its own way, deconstructs the commonly circulated idea of a unified Chinese culture, engages powerfully with morality, is narratively complex and anti-commercial, mobilizes a cosmopolitan knowledge of world cinema, and displays an unusual degree of interest in individual psychology and oedipality. The latter elements help to ground the comparisons to Hitchcock (as well as to Hamlet, Dostoevsky, Faulkner and others).
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Martin, Sylvia J. "The Death Narratives of Revitalization: Colonial Governance, China, and the Reconfiguration of the Hong Kong Film Industry." Critical Studies in Media Communication 32, no. 5 (October 20, 2015): 318–32. http://dx.doi.org/10.1080/15295036.2015.1112020.
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Chan, Kylie. "The Archives on the History of Christianity in China at Hong Kong Baptist University Library: Its Development, Significance, and Future." International Bulletin of Missionary Research 29, no. 1 (January 2005): 32–34. http://dx.doi.org/10.1177/239693930502900111.
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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 (December 31, 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 imitating actions and hence be perceived. Based on Aristotle’s understanding, we can regard actions as ‘iterable’ media (like Derrida’s understanding of written texts) which engender performances according to the genealogy of quantitative mimesis.
Integrating theoretical discussions with a chronological approach, my full paper will go through following points in order to summarise the changes in Hong Kong crime films from the post-Bruce Lee era to the 2000s: (1) Hong Kong crime film inherited the martial side of masculinity from action films and became a popular genre since A Better Tomorrow was well received in the mid-1980s. (2) Many directors diversified the interpretation of crime in the late 1980s and the 1990s, but remained a focus on the strength, nimbleness and boldness of men. (3) After the decline of Hong Kong film industry for several years, Infernal Affairs’s success renewed the representation of manhood. (4) From the 2000s to now, male characters in crime films are preferably intelligent and wisely-romantic, like the fragile scholar in ancient China. (5) While globalisation seems to be eliminating the Chineseness of Chinese masculinity, I argue that geographical specificity and different speed of cultural development lead to the impossibility of synchronic masculine similarity. (6) Through a brief discussion concerning Hollywood’s adaptation of Hong Kong films, I argue that local masculinity is not transformable.
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Zeng, Jinyan. "Documentary Film, Gender, and Activism in China: A Conversation with Ai Xiaoming." Film Quarterly 74, no. 1 (2020): 45–50. http://dx.doi.org/10.1525/fq.2020.74.1.45.
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FQ board member and contributor Chris Berry translates a conversation between the independent female filmmakers Ai Xiaoming and Zeng Jinyan. Although of different generations, Xiaoming and Zeng are both outliers in China's male-dominated film industry. The most prominent women filmmaker among the first generation of independent documentarians, Ai Xiaoming has lived under virtual house arrest since Xi Jinping's rise to power in 2012. Zeng Jinyan came to public attention in 2006, when she documented the disappearance of her husband, civil rights activist Hu Jia, in a protest blog; she later completed a PhD on the work of Ai Xiaoming while in exile in Hong Kong. Both women have recently reentered public life, Ai Xiaoming writing about her experiences of the novel coronavirus lockdown in her hometown of Wuhan and Zeng releasing a new film, Hanjiao yu eryu (Outcry and Whisper), focusing on the special pressures placed on women who dare to speak out in public in China.
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Cai, Ellen Xiang-Yu. "The Itinerant Preaching of Three Hoklo Evangelists in Mid-Nineteenth Century Hong Kong." Itinerario 33, no. 3 (November 2009): 113–34. http://dx.doi.org/10.1017/s0165115300016284.
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Karl Gützlaff set up the Chinese Union in 1844, which was a missionary society based on the principle that China's millions could never be converted to Christianity by foreign missionaries: Chinese Christians themselves must carry out the evangelisation of the empire while Western missionaries would serve as instructors and supervisors. Ever since the founding of the Chinese Union, the effectiveness of this evangelistic methodology has given rise to heated debates among contemporary missionaries and subsequent generations of Christian mission historians. Both Jessie G. Lutz and Wu Yixiong discussed the employment of this evangelistic methodology from the perspective of foreign missionaries, such as Gützlaff's evangelistic thought, the founding and development of the Chinese Union, and its crisis. By making use of more substantial mission archives, Jessie G. Lutz's research is more detailed; she even included Gützlaff's European tour from 1849 to 1850. It was Gützlaff's absence from Hong Kong that gave the other missionaries, such as Theodor Hamberg (1819-54) of the Basel Mission, Gützlaff's co-worker, the opportunity to investigate the function of the Chinese Union, and which eventually caused the dissolution of the Chinese Union during 1852 to 1853. How Gützlaff came to the idea of utilising native agency to evangelise the Chinese and how he managed to maintain his enterprise are quite clear. Although it did not come to a respectable result in his time, this idea of “self-propagation” was inherited by the missionaries who were sent to China by the other missions. Yet how did the Chinese evangelists carry out the evangelistic work independent from the missionaries? This is a question Jessie G. Lutz focused on for years.
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Fravel, M. Taylor. "Online and on China: Research Sources in the Information Age." China Quarterly 163 (September 2000): 821–42. http://dx.doi.org/10.1017/s0305741000014685.
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The availability of sources has repeatedly shaped the academic study of contemporary China. In the 1950s and early 1960s scholars relied heavily on official Chinese government sources, which were often accessed through U.S. government translation series. By the mid-1960s, researchers began to draw upon a broader range of Chinese media, especially from the provincial and local levels, as well as interviews with refugees and legal immigrants conducted at the Union Research Institute and Universities Service Centre in Hong Kong. Access to Cultural Revolution materials in the 1970s, particularly revealing Red Guard newspapers and unauthorized collections of Communist Party documents and Politburo member speeches, added an additional level of understanding. The opening of China to fieldwork in 1979 prompted research programmes such as Zouping county, while the use of mainland libraries and archives provided access to an even wider range of materials. Since the late 1980s, as mainland researchers began to examine their society and its recent past, Chinese scholarly writings have offered a new level of detail and rigour that was previously unavailable.
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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 (September 1, 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 US-driven Cold War political, ideological, and economic sphere, developmental states in the region, particularly South Korea and Taiwan, vigorously adopted anti-communist doctrine to guard and uphold their militant dictatorships. Under this political atmosphere in the regional sphere, cultural sectors in each nation-state, including cinema, voluntarily or compulsorily served as an apparatus to strengthen the state’s ideological principles. While the Cold War politics that drive the narrative in the American and European films is conspicuously absent in Hong Kong espionage films, South Korea and Taiwan, on the other hand, explicitly promulgated the ideological principles of their apparent enemies, North Korea and the People’s Republic of China (PRC), in their representative espionage films. This article casts a critical eye over South Korea–initiated inter-Asian coproduction of espionage films produced during the time, with particular reference to South Korea–Hong Kong coproduction of SOS Hong Kong (SOS Hongk’ong) and Special Agent X-7 (Sun’gan ŭn yŏngwŏnhi), both produced and released in 1966.
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Karki, Dhruba. "Blending Myth and Modernity in the Global Chinese Cinema: The Hong Kong Action Hero in Zhang Yimou-Directed Hero." Tribhuvan University Journal 32, no. 2 (December 31, 2018): 37–56. http://dx.doi.org/10.3126/tuj.v32i2.24702.
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Zhang Yimou’s Hero presents an action hero, yet in a slightly different cinematic mode than that of Stephen Chow-directed Shaolin Soccer to blend myth and modernity. In Yimou’s martial arts cinema, Jet Li-starred Nameless hero uses martial arts to combat the king’s adversaries, including Donnie Yen-starred Long Sky, Maggie Cheung-starred Flying Snow and Tony Leung Chiu-Wai-starred Broken Sword in the service to the Qin Dynasty (221 BC – 207 BC). The warrior hero’s indigenous body art helps the Qin Dynasty transform the smaller warring kingdoms into a powerful Chinese Empire, a strong foundation of modern China with economic and military superpower. Like their western counterparts, including T1000 and Neo, the Hong Kong action heroes, such as the warrior hero and the Qin King have been refashioned in the Hollywood controlled twentieth-century popular culture. Different from their Hollywood counterparts in actions, the Hong Kong action heroes in Hero primarily use their trained bodies and martial skills to promote the Chinese civilization, an adaptation of the Hollywood tradition of technologized machine body. Reworking of myth and archetype in Nameless’s service to the Qin Dynasty and the emperor’s mission to incept the Chinese Empire, the Hong Kong action heroes appear on screen, a blend of tradition and modernity. The film industry’s projection of the Chinese history with the legendary action heroes, including Nameless soldier and the Qin King globalizes the indigenous Chinese culture by using modern electronic digital technology, a resonance of the western technological advancement.
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Hasan, S., W. Shi, X. Zhu, and S. Abbas. "LANDSCAPE URBANIZATION AND FARMLAND REDUCTION FROM 2010 TO 2017 IN SOUTH CHINA." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIII-B3-2020 (August 21, 2020): 699–704. http://dx.doi.org/10.5194/isprs-archives-xliii-b3-2020-699-2020.
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Abstract. Land use land cover (LULC) of Guangdong, Hong Kong, and Macao (GHKM), south china, has undergone significant changes in the last few decades. This study analyze the spatio-temporal LULC changes and urban expansion during 2010–2017 using Landsat TM, ETM+, and OLI. The Landsat images were classified using support vector machine (SVM) into seven classes as forest, grassland, water, fishponds, built-up, bareland, and farmland. Several socioeconomic factors were also obtained to determine their impact on LULC. The result shows that during the studied period, massive economic development and urbanization has increased the built-up area from 8.26% (16,209.61 km2) to 10.31% (20241.77 km2) and substantial reduction in both farmland from 37.64% (73,897.77 km2) to 33.05% (64932.19 km2) and fishponds from 1.25% (2451.12 km2) 0.85% (1674.71 km2). The most dominant conversion were from farmland to built-up and to forest. Furthermore, forest cover increased to 45.02 % (88384.97 km2) in 2017 from 42.38% (83215.59 km2) in 2010 as a result of different afforestation scheme and policies in order to make Greener study area. The analysis of socioeconomic factors shows that increase in gross domestic product (GDP), total investment in fixed assets, and industrialization has led to urbanization growth on a large scale and reduction of farmland. Therefore, there is pressing need for sustainable development and protection of farmlands.
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Legrandjacques, Sara. "Go East! 1905 as a Turning Point for the Transnational History of Vietnamese Education." TRaNS: Trans -Regional and -National Studies of Southeast Asia 8, no. 2 (October 14, 2020): 101–14. http://dx.doi.org/10.1017/trn.2020.13.
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AbstractThis paper discusses the year 1905 as an educational watershed in colonial Vietnam. It focuses on the development of student mobility that transcended colonial and imperial boundaries and gave new momentum to educational training on a transnational scale. In the mid-1900s, the anti-colonial mandarin Phan Bội Châu launched a new nationalist movement called Đông Du, meaning ‘Going East.’ It centred on sending young men to Japan via Hong Kong to train them as effective anti-French activists. These students came from Tonkin, Annam, and Cochinchina and enrolled in a variety of curricula. Although this initiative collapsed in the late 1900s, it remained a watershed. Regional mobility did not disappear afterwards but mostly redirected itself towards China. This paper brings a great diversity of material face-to-face, including governmental archives and biographies, and challenges the colonial-based vision of Vietnamese education by highlighting its regional dimension, from the early twentieth century to the outset of the Second World War.
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Sun, Yi. "Adaptation and Adaptability: Multiple Authors and Studio Authorship in SoulMate." Adaptation 13, no. 1 (October 11, 2019): 113–28. http://dx.doi.org/10.1093/adaptation/apz025.
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Abstract This article examines a China-Hong Kong co-produced film adaptation, SoulMate, within sociocultural, industrial, and organizational contexts. It argues that, first, the film adaptation’s authors are not limited to the agents who adapt the source material. The production company explores and exploits a variety of authors, including extrinsic names to the work, as symbolic resources to serve the discourse surrounding the film; and the adaptation status makes a special contribution to that process by multiplying authors and by generating cross-references. Second, film adaptation has a specific and significant bearing on the adaptability of production houses that encounter changing sociocultural and industrial environments. This article hopefully broadens the understanding of film adaptation in alternative historical periods and industrial contexts other than Hollywood with a simultaneous effort to propose new approaches to the study of Chinese-language film adaptation. It also attempts to expand the discourse of authorship in film adaptation studies and in film studies more generally by identifying filmmaking entities, in addition to directors, producers, and writers, as adaptive co-authors and non-conflicting stakeholders in the business of film adaptation.
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Rosen, Stanley. "Between Shanghai and Hong Kong: The Politics of Chinese Cinemas. Poshek FuFraming Piracy: Globalization and Film Distribution in Greater China. Shujen Wang." China Journal 53 (January 2005): 222–25. http://dx.doi.org/10.2307/20066036.
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Zhang, T., B. Zhou, S. Zhou, and W. Yan. "RESEARCH ON THE DIRECT CARBON EMISSION FORECAST OF CHINA'S PROVINCIAL RESIDENTS BASED ON NEURAL NETWORK." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-3 (April 30, 2018): 2291–96. http://dx.doi.org/10.5194/isprs-archives-xlii-3-2291-2018.
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<p><strong>Abstract.</strong> Global climate change, which mainly effected by human carbon emissions, would affect the regional economic, natural ecological environment, social development and food security in the near future. It’s particularly important to make accurate predictions of carbon emissions based on current carbon emissions. This paper accounted out the direct consumption of carbon emissions data from 1995 to 2014 about 30 provinces (the data of Tibet, Hong Kong, Macao and Taiwan is missing) and the whole of China. And it selected the optimal models from BP, RBF and Elman neural network for direct carbon emission prediction, what aim was to select the optimal prediction method and explore the possibility of reaching the peak of residents direct carbon emissions of China in 2030. Research shows that: 1) Residents’ direct carbon emissions per capita of all provinces showed an upward trend in 20 years. 2) The accuracy of the prediction results by Elman neural network model is higher than others and more suitable for carbon emission data projections. 3) With the situation of residents’ direct carbon emissions free development, the direct carbon emissions will show a fast to slow upward trend in the next few years and began to flatten after 2020, and the direct carbon emissions of per capita will reach the peak in 2032. This is also confirmed that China is expected to reach its peak in carbon emissions by 2030 in theory.</p>
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Kim, Jin-Young, and Jae-Woong Kim. "China Film Market Entry Strategy for Success of Movies: A-Hong Kong Co-production, Focusing on the Experiences and Lessons Learned(1956-1982)." Journal of the Korea Contents Association 10, no. 11 (November 28, 2010): 136–45. http://dx.doi.org/10.5392/jkca.2010.10.11.136.
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Gallagher, Mark. "Crazy Rich Asians and pan-Asian screen cosmopolitanism." East Asian Journal of Popular Culture 6, no. 2 (August 1, 2020): 195–215. http://dx.doi.org/10.1386/eapc_00025_1.
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Crazy Rich Asians (2018), a box-office hit in North America, provoked celebration particularly from Asian American commentators and actors. Shot in Singapore and Malaysia with an Asian and Asian American cast, it was a success too in Singapore itself and in territories such as Hong Kong, Taiwan and Australia but not in East Asia’s largest markets, those of China, Japan and South Korea. Focusing on the phenomenon of Crazy Rich Asians’ release, particularly its engagement with and circulation in East and Southeast Asia and its polarized reception among different Asian American and Asian communities, this article traces a series of discursive flashpoints to understand the film’s position in Asian and Asian American film culture. Arguing that the fortunes of US releases with Asian and Asian American casts reveal cosmopolitanism’s invisible borders, the article proposes a model of pan-Asian screen cosmopolitanism. This model recognizes that even globally hybrid screen texts such as Crazy Rich Asians bear cultural markers that may inhibit their appeal in territories with shared ethnic heritages but discrete social histories.
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Chang, Jing Jing. "Early Film Culture in Hong Kong, Taiwan, and Republican China: Kaleidoscopic Histories. Edited by Emilie Yueh-yu Yeh. Ann Arbor: Michigan University Press, 2018. 354 pp. ISBN: 9780472053728 (paper)." Journal of Asian Studies 78, no. 4 (November 2019): 923–25. http://dx.doi.org/10.1017/s0021911819001463.
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Helmholz, P., S. Zlatanova, J. Barton, and M. Aleksandrov. "GEOINFORMATION FOR DISASTER MANAGEMENT 2020 (Gi4DM2020): PREFACE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIV-3/W1-2020 (November 18, 2020): 1–3. http://dx.doi.org/10.5194/isprs-archives-xliv-3-w1-2020-1-2020.
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Abstract. Across the world, nature-triggered disasters fuelled by climate change are worsening. Some two billion people have been affected by the consequences of natural hazards over the last ten years, 95% of which were weather-related (such as floods and windstorms). Fires swept across large parts of California, and in Australia caused unprecedented destruction to lives, wildlife and bush. This picture is likely to become the new normal, and indeed may worsen if unchecked. The Intergovernmental Panel on Climate Change (IPCC) estimates that in some locations, disaster that once had a once-in-a-century frequency may become annual events by 2050.Disaster management needs to keep up. Good cooperation and coordination of crisis response operations are of critical importance to react rapidly and adequately to any crisis situation, while post-disaster recovery presents opportunities to build resilience towards reducing the scale of the next disaster. Technology to support crisis response has advanced greatly in the last few years. Systems for early warning, command and control and decision-making have been successfully implemented in many countries and regions all over the world. Efforts to improve humanitarian response, in particular in relation to combating disasters in rapidly urbanising cities, have also led to better approaches that grapple with complexity and uncertainty.The challenges however are daunting. Many aspects related to the efficient collection and integration of geo-information, applied semantics and situational awareness for disaster management are still open, while agencies, organisations and governmental authorities need to improve their practices for building better resilience.Gi4DM 2020 marked the 13th edition of the Geoinformation for Disaster Management series of conferences. The first conference was held in 2005 in the aftermath of the 2004 Indian Ocean earthquake and tsunami which claimed the lives of over 220,000 civilians. The 2019-20 Australian Bushfire Season saw some 18.6 million Ha of bushland burn, 5,900 buildings destroyed and nearly three billion vertebrates killed. Gi4DM 2020 then was held during Covid-19 pandemic, which took the lives of more than 1,150,000 people by the time of the conference. The pandemic affected the organisation of the conference, but the situation also provided the opportunity to address important global problems.The fundamental goal of the Gi4DM has always been to provide a forum where emergency responders, disaster managers, urban planners, stakeholders, researchers, data providers and system developers can discuss challenges, share experience, discuss new ideas and demonstrate technology. The 12 previous editions of Gi4DM conferences were held in Delft, the Netherlands (March 2005), Goa, India (September 2006), Toronto, Canada (May 2007), Harbin, China (August 2008), Prague, Czech Republic (January 2009), Torino, Italy (February 2010), Antalya, Turkey (May 2011), Enschede, the Netherlands (December, 2012), Hanoi, Vietnam (December 2013), Montpellier, France (2015), Istanbul, Turkey (2018) and Prague, Czech Republic (2019). Through the years Gi4DM has been organised in cooperation with different international bodies such as ISPRS, UNOOSA, ICA, ISCRAM, FIG, IAG, OGC and WFP and supported by national organisations.Gi4DM 2020 was held as part of Climate Change and Disaster Management: Technology and Resilience for a Troubled World. The event took place through the whole week of 30th of November to 4th of December, Sydney, Australia and included three events: Gi4DM 2020, NSW Surveying and Spatial Sciences Institute (NSW SSSI) annual meeting and Urban Resilience Asia Pacific 2 (URAP2).The event explored two interlinked aspects of disaster management in relation to climate change. The first was geo-information technologies and their application for work in crisis situations, as well as sensor and communication networks and their roles for improving situational awareness. The second aspect was resilience, and its role and purpose across the entire cycle of disaster management, from pre-disaster preparedness to post-disaster recovery including challenges and opportunities in relation to rapid urbanisation and the role of security in improved disaster management practices.This volume consists of 22 scientific papers. These were selected on the basis of double-blind review from among the 40 short papers submitted to the Gi4DM 2020 conference. Each paper was reviewed by two scientific reviewers. The authors of the papers were encouraged to revise, extend and adapt their papers to reflect the comments of the reviewers and fit the goals of this volume. The selected papers concentrate on monitoring and analysis of various aspects related to Covid-19 (4), emergency response (4), earthquakes (3), flood (2), forest fire, landslides, glaciers, drought, land cover change, crop management, surface temperature, address standardisation and education for disaster management. The presented methods range from remote sensing, LiDAR and photogrammetry on different platforms to GIS and Web-based technologies. Figure 1 illustrates the covered topics via wordcount of keywords and titles.The Gi4DM 2020 program consisted of scientific presentations, keynote speeches, panel discussions and tutorials. The four keynotes speakers Prof Suzan Cutter (Hazard and Vulnerability Research Institute, USC, US), Jeremy Fewtrell (NSW Fire and Rescue, Australia), Prof Orhan Altan (Ad-hoc Committee on RISK and Disaster Management, GeoUnions, Turkey) and Prof Philip Gibbins (Fenner School of Environment and Society, ANU, Australia) concentrated on different aspects of disaster and risk management in the context of climate change. Eight tutorials offered exciting workshops and hands-on on: Semantic web tools and technologies within Disaster Management, Structure-from-motion photogrammetry, Radar Remote Sensing, Dam safety: Monitoring subsidence with SAR Interferometry, Location-based Augmented Reality apps with Unity and Mapbox, Visualising bush fires datasets using open source, Making data smarter to manage disasters and emergency situational awareness and Response using HERE Location Services. The scientific sessions were blended with panel discussions to provide more opportunities to exchange ideas and experiences, connect people and researchers from all over the world.The editors of this volume acknowledge all members of the scientific committee for their time, careful review and valuable comments: Abdoulaye Diakité (Australia), Alexander Rudloff (Germany), Alias Abdul Rahman (Malaysia), Alper Yilmaz (USA), Amy Parker (Australia), Ashraf Dewan (Australia), Bapon Shm Fakhruddin (New Zealand), Batuhan Osmanoglu (USA), Ben Gorte (Australia), Bo Huang (Hong Kong), Brendon McAtee (Australia), Brian Lee (Australia), Bruce Forster (Australia), Charity Mundava (Australia), Charles Toth (USA), Chris Bellman (Australia), Chris Pettit (Australia), Clive Fraser (Australia), Craig Glennie (USA), David Belton (Australia), Dev Raj Paudyal (Australia), Dimitri Bulatov (Germany), Dipak Paudyal (Australia), Dorota Iwaszczuk (Germany), Edward Verbree (The Netherlands), Eliseo Clementini (Italy), Fabio Giulio Tonolo (Italy), Fazlay Faruque (USA), Filip Biljecki (Singapore), Petra Helmholz (Australia), Francesco Nex (The Netherlands), Franz Rottensteiner (Germany), George Sithole (South Africa), Graciela Metternicht (Australia), Haigang Sui (China), Hans-Gerd Maas (Germany), Hao Wu (China), Huayi Wu (China), Ivana Ivanova (Australia), Iyyanki Murali Krishna (India), Jack Barton (Australia), Jagannath Aryal (Australia), Jie Jiang (China), Joep Compvoets (Belgium), Jonathan Li (Canada), Kourosh Khoshelham (Australia), Krzysztof Bakuła (Poland), Lars Bodum (Denmark), Lena Halounova (Czech Republic), Madhu Chandra (Germany), Maria Antonia Brovelli (Italy), Martin Breunig (Germany), Martin Tomko (Australia), Mila Koeva (The Netherlands), Mingshu Wang (The Netherlands), Mitko Aleksandrov (Australia), Mulhim Al Doori (UAE), Nancy Glenn (Australia), Negin Nazarian (Australia), Norbert Pfeifer (Austria), Norman Kerle (The Netherlands), Orhan Altan (Turkey), Ori Gudes (Australia), Pawel Boguslawski (Poland), Peter van Oosterom (The Netherlands), Petr Kubíček (Czech Republic), Petros Patias (Greece), Piero Boccardo (Italy), Qiaoli Wu (China), Qing Zhu (China), Riza Yosia Sunindijo (Australia), Roland Billen (Belgium), Rudi Stouffs (Singapore), Scott Hawken (Australia), Serene Coetzee (South Africa), Shawn Laffan (Australia), Shisong Cao (China), Sisi Zlatanova (Australia), Songnian Li (Canada), Stephan Winter (Australia), Tarun Ghawana (Australia), Ümit Işıkdağ (Turkey), Wei Li (Australia), Wolfgang Reinhardt (Germany), Xianlian Liang (Finland) and Yanan Liu (China).The editors would like to express their gratitude to all contributors, who made this volume possible. Many thanks go to all supporting organisations: ISPRS, SSSI, URAP2, Blackash, Mercury and ISPRS Journal of Geoinformation. The editors are grateful to the continued support of the involved Universities: The University of New South Wales, Curtin University, Australian National University and The University of Melbourne.
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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 the most striking of the nearly 126 films from 44 countries exhibited in the Colony's bustling art cinemas were engaging movies that featured peculiar familial clans, haunted loners and bizarre relationships. The intensive 16-day affair (7th to 22nd April) opened with Jiang Wen's rites-of-passage film, In the Heat of the Sun. In his introductory speech, the acclaimed Mainland Chinese...
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Toh, Hai Leong. "Hong Kong 2002." Kinema: A Journal for Film and Audiovisual Media, November 20, 2003. http://dx.doi.org/10.15353/kinema.vi.1023.
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THE 26th HONG KONG INTERNATIONAL FILM FESTIVAL (27 March - 7 April 2002) marked the first time the event was solely organized by the Hong Kong Arts Development Council, a statutory body beyond the direct bureaucratic control of the HK government. After absence caused by the recent administrative turmoil, many of the festival's former programmers have returned to their posts, with the aim of giving the festival a new look and direction. The festival also managed to bring off a coup with the help of the Hong Kong Film Archives which organized a nostalgic retrospective of Mandarin film classics made by Cathay in the 1960s titled "Back to Dreamland: Cathay Showcase". The screenings were extended past the closing of the festival. With budget constraints, however, the usual 16-day event was trimmed to 12 days with over 200 films, instead of more than 300. Happily, the quality of films, particularly...
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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 cessation to China on 1st July 1997 draws nearer, the HKIFF looks increasingly set to transfer its authority and eclecticism to its Singapore counterpart. Thus in this year's HKIFF (25th March to 9th April) and SIFF (4th to 20th April), prints were shared for mutual benefit and to...
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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 diaries', as these videos were called, were commissioned by the Japanese producer Mio Hani and Stella Sze. Program I offered Howard Cheng's fragmented, two-part, experimental video, The Daily Mood of Final Certainty or The House of August, about 5 characters. Leung Ping-kwan's Moving House: Why Do I Always Forget to Turn On...
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Olive, Sarah. "Outside interference or Hong Kong embracing its unique identity? The Chinese Universities Shakespeare Festival." Palgrave Communications 5, no. 1 (October 8, 2019). http://dx.doi.org/10.1057/s41599-019-0327-5.
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Abstract Ongoing clashes between Hong Kong citizens and its government have foregrounded questions about outside interference in Hong Kong’s politics (largely from the government and media of the People’s Public of China), as well as debate about what institutions in Hong Kong are neo-colonial, heavily inflected with nostalgia for British colonialism, or in the process of being ‘colonised’ by the People’s Republic of China. This article looks at Shakespeare in Hong Kong (and, to some extent, greater Chinese) theatre and education as one of those contested institutions, using the particular case of the now-defunct Chinese Universities Shakespeare Festival. The author probes their initial, surface impression of the festival as a simple outpouring of colonial sentiment and impulse, using its sizeable archives to realise a reading of the institution that highlights the complexities of international and intra-regional politics, culture and identity in Hong Kong and greater China. It builds on the Hong Kong literary critic Michael Ingham’s call for attention to Hong Kong’s quest—sometimes overt (as in the demonstrations of 2019), sometimes implicit (in the body of literature Ingham explores in his cultural and literary history)—for a unique, post-colonial identity that is inspired—but, critically, not confined—by its Chinese and British histories. The article briefly outlines the origins and set-up of the festival before juxtaposing the dominance of English language and culture in it with the opportunities it presents (seized by several teams) for intra-regional cooperation, competition and sharing diverse, greater Chinese cultures. The article offers a model for critically appraising other institutions and cultural products in Hong Kong in ways that resist easy (but false) binaries of British or Chinese, colonial or indigenous.
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Beibei, Wu. "Early film culture in Hong Kong, Taiwan, and Republican China: kaleidoscopic histories." Early Popular Visual Culture, March 17, 2021, 1–3. http://dx.doi.org/10.1080/17460654.2021.1899567.
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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 filmmakers, Yeh Hung-wai who gained international prominence with a made in China film Five Girls And A Rope two years back. His latest work features the promising Taiwanese star Shu Qi (last seen in Derek Yee's satire Viva Erotica) who plays a tenacious huntress called Iron Sister Suen. The settings of both films present...
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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 (the inauguration of a juried feature film competition eponymously named after Jia Zhangke's 2000 film Platform). On a related note, Sinophone content dominated this year's skinny selection of about two dozen Asian films, about half of which came from China, Hong Kong and Taiwan. Elsewhere, the Philippines and...