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"Motion picture industry China Hong Kong History 20th century."
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Early film culture in Hong Kong, Taiwan, and Republican China : kaleidoscopic histories
\"Shanghai is central in the development of China's modernity before 1949, including not just cinema, but other cultural formations. To quote Wen-hsin Yeh in her pioneering article: \"Shanghai in the first half of the 20th century emerged to become China's largest metropolis for trade, finance, manufacturing, publishing, higher education, journalism and many other important functions, performed by a growing population increasingly diversified into multiple classes of different incomes and interests.\"2 Major publications by Leo Ou-fan Lee (1999), Zhang Yingjin (ed., 1999), Andrew Jones (2001), Barbara Mittler (2004), Zhang Zhen (2005), Nicole Huang (2005), Wen-hsin Yeh (2008),3 and many others fasten on Shanghai as the wellspring of modern China in consumer and media culture.4 Through the concerted efforts of two generations of scholars, Shanghai was decisively crowned as the jewel of Chinese modernity and cosmopolitanism; film and media culture associated with the city--celebrities, advertising, magazines, popular fiction, theaters, and the urban space--also emerged to typify Chinese cinema in general. Hence the currency of \"Shanghai cinema\"-- Provided by publisher.
Book
Japanese and Hong Kong Film Industries
Drawing on first-hand materials collected from the Chinese and Japanese literature as well as interviews with more than twenty filmmakers and scholars Kinnia Shuk-ting Yau provides a solid historical account of the complex interactions between Japanese and Hong Kong film industries from the 1930s to 1970s.
The author describes in detail how Japan’s efforts during the 1930s and 1940s to produce a \"Greater East Asian cinema\" led to many different kinds of collaborations between the filmmakers from China, Hong Kong and Japan, and how such development had laid the foundation for more exchanges between the cinemas in the post-war period. The period covered by the book is the least understood period of the East Asian film history. Filling the gaps surrounding one of the most important but least understood periods of Asian film history this books discusses facts and resources once obscured by controversial issues related to wartime affairs with new insights and perspectives.
This book is an invaluable source of information for understanding how the current East Asian film networks came into existence by looking beyond conventional single-case studies and adopting a transnational perspective in tracing the connections between different film industries.
Dr. YAU Shuk-ting, Kinnia is Associate Professor at the Department of Japanese Studies, The Chinese University of Hong Kong.
1. Hong Kong and Japanese Cinemas before and during Wartime 2. Connection between Chinese and Japanese Cinemas Initiated by Zhonghua Dianying 3. Immediate Causes of Hong Kong-Japan Collaboration 4. The Golden Age of Hong Kong-Japan Collaboration. Conclusion
eBook
Hong Kong Screenscapes
Global connections and screen innovations converge in Hong Kong cinema. Energized by transnational images and human flows from China and Asia, Hong Kong’s commercial filmmakers and independent pioneers have actively challenged established genres and narrative conventions to create a cultural space independent of Hollywood. The circulation of Hong Kong films through art house and film festival circuits, as well as independent DVDs and galleries and internet sites, reveals many differences within global cultural distributions, as well as distinctive tensions between experimental media artists and traditional screen architects. Covering the contributions of Hong Kong New Wave directors such as Wong Kar-wai, Stanley Kwan, Ann Hui, Patrick Tam, and Tsui Hark, the volume links their spirit of innovation to work by independent, experimental, and documentary filmmakers, including Fruit Chan, Tammy Cheung, Evans Chan, Yau Ching and digital artist Isaac Leung. Within an interdisciplinary frame that highlights issues of political marginalization, censorship, sexual orientation, gender hierarchies, “flexible citizenship” and local/global identities, this book speaks to scholars and students within as well as beyond the field of Hong Kong cinema.
eBook
Japanese Occupation, Shanghai Exiles, and Postwar Hong Kong Cinema
This 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.
Journal Article