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	Cinema of Hong Kong - Wikipedia, the free encyclopedia
		The cinema of Hong Kong is one of the three major threads in the history of Chinese language cinema, alongside the cinema of China and the cinema of Taiwan.
		Hong Kong was a major center for Cantonese, one of the most widely spoken, and political factors on the Mainland provided other opportunities.
		During this period, the Hong Kong industry was one of the few in the world that thrived in the face of the increasing global dominance of Hollywood.
	en.wikipedia.org /wiki/Cinema_of_Hong_Kong (4738 words)

	Hong Kong action cinema - Wikipedia, the free encyclopedia
		The first Hong Kong action films favoured the wuxia style, emphasizing mysticism and swordplay, but this trend was politically suppressed in the 1930s and replaced by styles in which films depicted more down-to-earth unarmed kung fu, often featuring folk hero Wong Fei Hung.
		The signature contribution to action cinema from the Chinese-speaking world is the martial arts film, the most famous of which were developed in Hong Kong amongst other popular areas in China such as Shang Hai and Gui Zhou.
		Due to the new-found international awareness of Hong Kong films during the 1980s and early 1990s and a downturn in the industry as the 1990s progressed, many of the leading lights of Hong Kong cinema left for Hollywood, which offered budgets and pay which could not be equalled by Hong Kong production companies.
	en.wikipedia.org /wiki/Hong_Kong_action_cinema (3962 words)

	HONG KONG CINEMA - An appraisal
		Hong Kong films embrace the humanity of the individual to a much greater extent than is the case in Western cinema.
		Hong Kong filmmakers never shy away from showing their characters in a light that is less than flattering: when the beautiful heroine cries, her nose is likely to run profusely; if she eats, morsels of food are likely to be spilling out of her mouth.
		Hong Kong films are hardly ever reviewed in the non-Asian media (Wong Kar-Wai's recent releases are an exception as they have attracted the attention of the art film market).
	www.alphalink.com.au /~jacques/HKong/Apprsl/Appraisal.html (2735 words)

	Local and Global Identity: Whither Hong Kong
		The Hong Kong film industry is one of the few film industries in the world to make dialect films on a commercial basis and sustain such an industry by exporting dialect features successfully to a transnational market.
		Hong Kong cinema is a transnational cinema because of its success in exporting films to the region, This success has been maintained since the end of the Second World War.
		Hong Kong's global identity is hence more or less a question of trying to resolve where it belongs one way or the other.
	www.sensesofcinema.com /contents/00/7/hongkong.html (4150 words)

	Hong Kong Cinema
		In “Women on the Edges of Hong Kong Modernity: The Films of Ann Hui,”; Elaine Ho explores the multiple and shifting deployments of the figure of woman and also Hong Kong’s crisis of modernity through a critical study of the trajectory of women characters in Ann Hui’s work.
		Positioned at the crossroads of an altered global terrain, this anthology analyzes the evolving issues of the social and cultural context of 90s Hong Kong cinema, reconsiders the concept of “local” identity in a new global framework, and examines the dynamics between the intercultural movement of images.
		Cinema marks a phase in the development of capitalism and gives evidence of capital’s utter modification of social, material and perceptual conditions.
	www.ejumpcut.org /archive/jc45.2002/szeto/hongkong2.html (1694 words)

	Bright Lights Film Journal \| Hong Kong Cinema in the '80s (1)
		Hong Kong, together with South Korea, Taiwan, and Singapore, make up the region's four "economic dragons." The rapid economic and social development of these countries, with record achievements in the 1980s, has conferred a measure of pride and confidence on the region.
		The Hong Kong cinema is a double-headed dragon.
		Hong Kong movies are the most representative examples of Chinese cinema as inheritors and carriers of the special characteristics of Chinese culture and popular folklore, as well as of Chinese people absorbing Western influence on the road to modernization.
	www.brightlightsfilm.com /31/hk_achievement1.html (2953 words)

	David Bordwell - Extracts from Planet Hong Kong
		Hong Kong film is a subject that's exploding right now, even as the industry languishes, and there are lots of books devoted to it.
		I was lucky that my Hong Kong friends encouraged me to write the book and even solicited spinoffs for publishing projects of their own.
		Hong Kong cinema is one of the success stories of film history.
	www.geocities.com /david_bordwell/forthcoming.htm (2981 words)

	The Gangster as Hero in Hong Kong Cinema
		Interestingly, in Hong Kong during the 1980s similar factors of urban life can also be connected with the rise of the gangster film, as the city’s crowded neighbourhoods and neon-lit streets became a criminal underworld for Triad gang stories.
		In Hong Kong cinema, however, the gangster is often presented as a hero figure with hope for redemption - an image that is most evident in the work of John Woo.
		In conclusion, considering the mammoth number of gangster films produced in Hong Kong over the past 15 to 20 years, it is understandable that an essay of such brevity cannot attempt to provide an exhaustive study of the genre as it evolved throughout that period.
	www.horschamp.qc.ca /new_offscreen/hkgangster.html (4672 words)

	Hong Kong Cinema
		It is perhaps ironic that the academic celebration of Hong Kong arrives as we read daily of the crisis in the HK film industry.
		While 1997 was undeniably an event of crucial importance for Hong Kong, the insistence on reading all kinds of films from a national or regional cinema as allegories of a single social event is not new, nor does it escape the charges of historical reductionism.
		For example, the Hong Kong Panorama book from last year's HKIFF relentlessly prioritises the Asian financial crisis and the drop in property values, while having very little to say on issues of nation or nationalism.
	www.latrobe.edu.au /screeningthepast/reviews/rev0703/mwbr15.html (1260 words)

	Hong Kong Cinema in a Border/less world
		However, the very term “national identity” is contested since Hong Kong is being legally and culturally absorbed into the PRC while many of its people have strong lingering feelings that Hong Kong is and should continue to be a very separate society, distinct linguistically, culturally and—for many—politically from the mainland.
		Thus Hong Kong cinema becomes an interesting way to examine the disjunctures that Hong Kong represents culturally and politically, especially in light of the end of British colonial rule.
		Part One offers a comprehensive historical account of and research on Hong Kong’s New Wave as a “golden age.” The directors of that movement are united their understanding of film form, their being influenced by world cinema, and their commitment to articulating specific concerns related to Hong Kong’s local identity.
	www.ejumpcut.org /archive/jc45.2002/szeto/hongkongtext.html (3159 words)

	Hong Kong Cinema: EJECT EJECT EJECT
		Hong Kong's film industry in 2006 will drop to a mere 40 films, down from 62 in 2004 and 50 this year.
		While the article suggests the cause of Hong Kong's decline is a surge in South Korea's film industry, given that the reportage came out of a conference in South Korea, I'm inclined to read a bit of self-congratulation in that analysis.
		Hong Kong, meanwhile, has only been too happy to continue to crank out productions with strong local appeal but an almost conscious disregard of international tastes.
	homepage.mac.com /dwbmbeijing/iblog/C2259700/E20051107014003 (303 words)

	Hong Kong cinema (Site not responding. Last check: 2007-10-19)
		Hong Kong productions are exempt from the 20-film import quota set on foreign productions.Hong Kong investor stakes in cinemas in China increase from 50% to as high as 90%.Hong Kong investor stakes in audiovisual companies in China increase from 50%-70%.Producers have responded to this with cautious optimism.
		The Hong Kong film industry has long been calling for its films to be exempt from import quotas.
		Hong Kong Film Directors Guild chairman Derek Yee praises the new concessions as a "step in the right direction," adding that the industry and the government have been working toward this goal for a long time.
	www.hollywoodreporter.com /thr/international/feature_display.jsp?vnu_content_id=1000512465 (1113 words)

	Action-filled Hong Kong cinema has long history
		This spring Cook is teaching the course, "Hong Kong Cinema," to 40 graduate and undergraduate students.
		Cook believes that the story of Hong Kong cinema is one of the richest and most fascinating in film history.
		Hong Kong was among the first film industries to produce videos in this state-of-the-art format.
	www.emory.edu /EMORY_REPORT/erarchive/1999/February/erfebruary.8/2_8_99hongkong.html (706 words)

	Amazon.com: Planet Hong Kong : Popular Cinema and the Art of Entertainment: Books: David Bordwell (Site not responding. Last check: 2007-10-19)
		Hong Kong arguably offered the most dynamic popular cinema in the world between 1970 and the end of the century, and Bordwell (On the History of Film Style) was perhaps the most widely read figure in cinema studies during the same period.
		He outlines the history, economics, and production techniques of the Hong Kong studios, particularly focussing on the genres that are most closely associated with their success (the kung-fu film, the swordplay epic, the gangster film, and the urban comedy).
		Of all the books on Hong Kong film in English that I've read, this is the one that I keep returning to--it's chock full of original criticism (his shot by shot breakdowns of classic HK flicks are superb), that is well written and accessible (even if you don't have a PhD in cultural studies).
	www.amazon.com /exec/obidos/tg/detail/-/0674002148?v=glance (1653 words)

	University of Leeds - Book Overview
		Examining Hong Kong cinema from its inception in 1913 to the end of the colonial era, this work explains the key areas of production, market, film products and critical traditions.
		Hong Kong Cinema considers the different political formations of Hong Kong's culture as seen through the cinema, and deals with the historical, political, economic and cultural relations between Hong Kong cinema and other Chinese film industries on the mainland, as well as in Taiwan and South-East Asia.
		Discussion covers the concept of 'national cinema' in the context of Hong Kong's status as a quasi-nation with strong links to both the 'motherland' (China) and the 'coloniser' (Britain), and also argues that Hong Kong cinema is a national cinema only in an incomplete and ambiguous sense.
	leeds.etailer.dpsl.net /Home/html/moreinfo.asp?isbn=0203222075 (404 words)

	Images - Hong Kong Action Cinema
		For these authors, Hong Kong cinema didn't really begin until John Woo broke the mold with his hyper-kinetic violent action movies, and for others it didn't begin until Jackie Chan emerged as a big star in the '80s.
		Thanks to his approach, Hong Kong cinema emerges for American readers as not just a recent development, but a cinema with a history that stretches back into the '50s--a relatively young cinema, yes, but one with a history that is three or four times deeper than many other writers would have us believe.
		Hong Kong Action Cinema is a handsomely designed book (never mind the somewhat cheesy cover) that is filled with fascinating information.
	www.imagesjournal.com /issue02/reviews/hongkong.htm (528 words)

	Interview with Hong Kong Cinema Expert Bey Logan
		Hong Kong Legends have kind of stolen their thunder but people should remember that it was MIHK that really paved the way for Hong Kong cinema to make its mark in the UK.
		Among Hong Kong directors, Gordon is the commentary king.
		Hong Kong 1941 was the most demanding so I'm delighted the commentary was well-received.
	www.sogoodreviews.com /specialfeatures/interviews/interview_beylogan.htm (3167 words)

	Hong Kong Cinema's Flu Taboo - New York Times
		While the dream factory often doubles as a pop-cultural inventory for diseases, Hong Kong's busy film industry has been wary of the current flu strain, which emerged in the territory in 1997 and led to 18 cases and 6 deaths.
		Granted, there was a 2002 comedy, "Golden Chicken," in which Sandra Ng starred as a veteran hooker ("chicken" being slang in Cantonese for a prostitute) whose yoyoing fortunes neatly paralleled Hong Kong's bumpy recent past.
		Lam Kam-po, director of the Hong Kong Film Critics Society, pointed out that the flu has not been as relentless as what he called the SARS disaster, which caused 298 deaths in the territory.
	www.nytimes.com /2005/12/11/movies/11ng.html?ex=1291957200&en=d0dbcf832a7fbb61&ei=5088&partner=rssnyt&emc=rss (469 words)

	Hong Kong Action Cinema Movie Reviews
		The director, year, and cast information was taken from the Hong Kong Cinema Homepage, which was also very helpful when it came to looking up character's names or plot points that had slipped my mind.
		Finally, there are occasionally inconsistencies in the names and years of Hong Kong films, especially when those films are re-released in the U.S. In each listing I've used the name the film is best known by and listed additional titles where possible.
		Hong Kong cinema was also the inspiration for Shadowfist, a collectible card game with the same background as Feng Shui.
	www.fortressofshadow.org /hk/reviews.php (672 words)

	GreenCine \| Hong Kong Action
		The truth is, from graceful bullet ballets to gravity defying wire-fu fight scenes, Hong Kong films have been the biggest influence on Hollywood filmmaking in recent memory.
		As early as the silent era, Hong Kong cinema was already full of magical beings ripped from ancient legends and ferocious martial arts beatdowns, which typically came in the form of the fictionalized adventures of a real-life Robin Hood-like hero named Wong Fei-Hung.
		Meanwhile, a new generation of Hong Kong filmmakers had arrived on the scene armed with radical politics and visions of grand fantasy films inspired by both childhood memories of cinema-going and the post-Star Wars possibilities of special effects.
	www.greencine.com /static/primers/hk.jsp (2309 words)

	Hong Kong Cinema
		This is the first full-length, English-language study of one of the world's most exciting and innovative cinemas.
		Covering a period from 1909 to the "end of Hong Kong Cinema" in the present day, this unique book is packed with information about the films, the studios, the personalities, and the contexts that have shaped a cinema famous for its energy and style.
		Hong Kong Cinema enhances our understanding and enjoyment of the films of such legendary figures as King Hu, Bruce Lee, and Jackie Chan, moving up to date with the work of John Woo and the directors of the various "New Waves."
	www.ucpress.edu /books/bfi/pages/PROD0009.html (131 words)

	Hong Kong Cinema Books reviewed
		However, there has been a boom in books devoted to the region's cinema over the past few years, possibly because its heyday a decade ago can now be seen as part of a bygone historical period.
		Striving to examine the reception of Hong Kong cinema in its largest possible context, Bordwell offers a history of this reception at home, in East Asia and in the U.S., in between chapters on individual filmmakers (Tsui, Woo, Wong Jing and others) and performers (Bruce Lee, Jackie Chan).
		While that audience is certain to enjoy both Planet Hong Kong and The Hong Kong Filmography, the former would also make a fine introductory text, while the latter is likely to appeal mostly to people who have seen almost as many of the films as Charles has.
	www.sensesofcinema.com /contents/books/00/9/hkbooks.html (987 words)

	Bright Lights Film Journal \| Hong Kong Films
		Achievement and Crisis: Hong Kong Cinema in the '80s
		Hong Kong's martial arts madness in legend, history, and, oh yeah, the movies
		Hong Kong's master of balletic blood 'n bulletplay speaks!
	www.brightlightsfilm.com /hongkongindex.html (399 words)

	Hong Kong Cinema - City on Fire - Chow Yun Fat, Ringo Lam
		The undercover cop story has always been a popular feature in Hong Kong actions movies, with the likes of Hard Boiled, Infernal Affairs and Cop on a Mission all fine examples.
		This film was completed two years before Lee and Chow were to stand toe to toe in the finest action movie ever to come out of Hong Kong, The Killer.
		If you are able to overlook this fact, the neon Hong Kong nights provide a superb backdrop for the climactic jewellery heist in City on Fire.
	www.hkcinema.co.uk /Reviews/cityonfire.htm (917 words)

	Hong Kong Cinema \| Anime.com Anime Shrines
		One of the most influential films ever made, this popular and beloved film, produced by Tsui Hark and directed by Ching Siu Tung, is a standout in the Hong Kong supernatural-action genre and spawned many sequels and copycats.
		One of the most expensive movies ever made in Hong Kong, Operation Condor is a globe trotting spectacle of a secret agent on the trail of hidden Nazi gold.
		Hard Boiled stars Chow Yun-fat (The Replacement Killers) plays a take-no-prisoners cop on the trail of the triad, the Hong Kong Mafia, when his partner is killed during a gun battle.
	www.anime.com /Hong_Kong_Cinema (691 words)

	Hong Kong Heartbreaker - The Early Career of Chow Yun-Fat (Site not responding. Last check: 2007-10-19)
		Before he became the Emperor of Hong Kong cinema, Chow Yun-Fat had long been a star.
		Signing on with the Hong Kong production house and broadcast giant TVB, his first starring role was in the 1976 serial
		While continuing to work in serial television at TVB, Chow Yun-Fat also made a number of very early films as a contract player with Goldig Films H.K. which exploited his status as one of Asia's leading TV stars and his youthful sex appeal.
	nbi.com /hk/cyf/hkh (238 words)

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