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	Stanley Kwan - Wikipedia, the free encyclopedia
		Stanley Kwan (Traditional Chinese: 關錦鵬; Simplified Chinese: 关锦鹏; Hanyu Pinyin: Guān Jǐnpéng; born October 9, 1957) is a Hong Kong film director and producer.
		Kwan was born in Hong Kong, and he landed a job at the TVB after receiving a mass communications degree at Hong Kong Baptist College.
		Kwan's films frequently deal sympathetically with the plight of women and their struggles with affairs of the heart.
	en.wikipedia.org /wiki/Stanley_Kwan (246 words)

	Untitled Document (Site not responding. Last check: 2007-10-09)
		We are proud to honor Stanley Kwan with this year's Frameline Award for outstanding achievement in lesbian and gay media arts.
		Kwan made his reputation directing films with strong female characters known as "women's weepies," which may explain why few of his colleagues within the Hong Kong film community seemed shocked when he decided to publicly come out.
		Kwan's revelation led the way to a more open discussion of homosexuality within and without the entertainment industry in Hong Kong, and helped to create a much safer environment for other directors - both straight and gay - to make films dealing directly with gay issues.
	www.frameline.org /festival/23rd/events/kwan.html (291 words)

	Lan Yu - DVD Review
		As with other Stanley Kwan movies, he always puts forth a challenge of building characters along the way rather than right away do full on exposition of them from conception to adulthood but this time the development is a little bit more clever.
		Obviously Kwan will always get detractors for his late 90s films such as this based on the prejudice that is in our world but I applaud that he, Jimmy Ngai and the cast simply let it play out and leave the acceptance up to each viewer.
		Kwan and Jimmy Ngai clearly knows the genre of romantic drama and expectedly stands out in a crowd, not just because of the gay theme in question, but due to a sensitive, understated handling that creates the outermost affecting experience.
	www.sogoodreviews.com /reviews/lanyu.htm (1237 words)

	village voice > film > by Dennis Lim
		Kwan concedes that Lan Yu is his most straightforward work yet—and he considers it progress, of a sort.
		Kwan's Yang + Yin offered a sly analysis of homoeroticism and gender fluidity in Chinese movies and a personal coming-out, culminating with an on-camera conversation with his mother.
		Death, he says, will always cast a shadow, because he's gripped by "a terrifying fear of sudden loss." Though Kwan now claims to value a comparatively monastic directness, he's too much of an aesthete to ever forswear visual beauty—which is, in any case, inseparable from his notion of tragedy.
	www.villagevoice.com /issues/0230/lim2.php (691 words)

	YOLK Generasian Next \| 2.0 Archive (Site not responding. Last check: 2007-10-09)
		In the early 80’s, Kwan was part of the wave of young Hong Kong directors responsible for revolutionizing Hong Kong cinema.
		Curiously, Kwan doesn’t seem the least bit affected by political implications of Lan Yu or the parallels between the story and his private life (the director came out in 1996).
		As I sat with Kwan for drinks at LA’s nicely passable W Hotel, Kwan lit his first of what would be a series of many cigarettes (I think he breathed in more smoked air than not), and seemed ready to talk about his latest film and not the cultural or social ramifications that orbit it.
	www.yolk.com /v091/kwan1.html (617 words)

	Kwan's "Regret" brings Shanghai glamour to Venice - Boston.com (Site not responding. Last check: 2007-10-09)
		Hong Kong director Stanley Kwan's "Everlasting Regret" brought Old Shanghai glamour to Venice on Thursday with a tale of bitterness and unrequited love, as the film festival wound down ahead of its weekend awards.
		VENICE (Reuters) - Hong Kong director Stanley Kwan's "Everlasting Regret" brought Old Shanghai glamour to Venice on Thursday with a tale of bitterness and unrequited love, as the film festival wound down ahead of its weekend awards.
		The visually lush film, based on a popular novel by Wang Anyi, is shot in the evocative interiors of Qiyao's homes and in the restaurants she frequents, while the wave of social change that sweeps China is evoked only with sounds of gunfire and songs about Mao Zedong.
	www.boston.com /ae/movies/articles/2005/09/08/kwans_regret_brings_shanghai_glamour_to_venice (622 words)

	Steve Friess - Home Page
		Kwan insisted he didn't use what is known in China as "the June 4th incident" to make a political point but as an emotional turning point in the movie, an event dramatic enough for Handong to recognize his love for Lan Yu.
		But as casual as Kwan is about his use of the crushing of pro-democracy demonstrations, it remains such a sensitive matter 13 years later in China that many Internet sites devoted to it are blocked.
		Kwan, who has moved on to work on a Chinese TV movie since "Lan Yu," is wary of being typecast as a gay director making gay movies.
	www.stevefriess.com /archive/latimes/china.htm (1528 words)

	Lan Yu (2001)
		Stanley Kwan's use of history as a backdrop proves effective without being obvious or cloying.
		Stanley Kwan's work has typically been generous in its intent, though sometimes a little remote in execution.
		Stanley Kwan keeps a nice balance between offering a personal view on the matter while never getting too close, even during the most dramatic scenes.
	www.lovehkfilm.com /reviews/lan_yu.htm (1641 words)

	Filmfestivals . com - Cannes 2001
		Stanley Kwan's new film is based on the most widely read text ever to emerge from the underground subculture in the People's Republic.
		Although Kwan is openly gay, the idea of adapting the e-novel came from the producers and financiers all of them new to the film industry and it was they who cleared the rights with the pseudonymous author.
		Kwan agreed to make the film only when he realised that some aspects of the central relationship echoed his own experience.
	www.filmfestivals.com /cgi-bin/cannes/film.pl?id=3016&site=ifc (413 words)

	Advocate, The: Capturing China's gay heart: Hong Kong director Stanley Kwan talks about Lan Yu, his lyrical gay love ... (Site not responding. Last check: 2007-10-09)
		When Kwan shocked Hong Kong by coming out, he was already established as one of the city's best filmmakers, esteemed for his finely tuned aesthetics and perfectly realized tragic heroines.
		And lest there be any doubt how personal this all was, Kwan's mother even appears on-screen, proudly chatting with her son about the films she saw while he was still in the womb.
		Kwan's new film, Lan Yu, his first gay narrative, is a love story between a closeted middle-aged businessman and the poor student he hires for sex.
	www.findarticles.com /p/articles/mi_m1589/is_2002_Sept_3/ai_90990477 (822 words)

	Hold You Tight - DVD Review
		Stanley Kwan has always employed a naturalistic vision to the movies I've had the privilege to see even though efforts like Rouge certainly comes with an incredibly enchanting atmosphere.
		Kwan is again not one to bury his messages into maximum arthouse sensibilities (outside the odd silly freeze frame and step-printing) but rather go a slight documentary route by just observing and following.
		Those familiar with Stanley Kwan knows to expect a measured pace, attention to detail, natural performances and to come armed with wee bit of patience as the ultimate meaning grows in its own pace.
	www.sogoodreviews.com /reviews/holdyoutight.htm (1085 words)

	village voice > film > Lan Yu; Happy Times; The Kid Stays in the Picture by Michael Atkinson
		Kwan was the HK breakout's Orpheus, assembling gorgeous elegies of doomed amour, and his most renowned films (1987's Rouge, 1992's Actress, and 1994's Red Rose, White Rose) were that inflamed quarter's equivalent to grown-up art films.
		Kwan's approach isn't commercial, but neither is it culturally hermetic.
		Kwan doles out details of the men's subsequent union with confident jump cuts and elisions—enormous things happen off-camera, and a single suture can leap over months of incident.
	www.villagevoice.com /issues/0230/atkinson.php (1007 words)

	Zee News - Stanley Kwan brings Shanghai glamour to big screen (Site not responding. Last check: 2007-10-09)
		Singapore, Oct 08: Hong Kong director Stanley Kwan is set to charm audiences with Old Shanghai glamour in his latest film "Everlasting Regret" - a tale of bitterness and unrequited love which stretches across three decades in one of China's most well-known cities.
		Kwan who was promoting the movie in Singapore last week, defended his big-screen interpretation of "Everlasting Regret".
		Kwan is one of Hong Kong's biggest names along with Wong Kar-wai, director of the acclaimed "In the Mood for Love" and "2046".
	www.zeenews.com /znnew/articles.asp?aid=247292&sid=ENT&ssid=1 (625 words)

	INTERVIEW: Love in the Time of Tiananmen; Stanley Kwan's "Lan Yu"
		Stanley Kwan: Zhang Yongning was very moved by the story.
		Stanley, on the other hand, had a lot of worries about whether or not we would be able to film there.
		Kwan: Of course, certain parts of the film were shot in Beijing, but we also shot other parts of the film to intentionally reference Beijing.
	www.indiewire.com /people/int_Zhang_Yongning_020725.html (2206 words)

	Eye - No man's Lan - 08.15.02
		Despite the full-frontal nudity and frank eroticism in the film's early scenes, the answer was no. Kwan connected not with the sex in the book but with the story of the nine-year relationship between the characters, which made him think of the 12-year relationship he had with his own boyfriend.
		Kwan and four of his collaborators in Hong Kong travelled to the city to shoot the film on the sly with Chinese actors and crew members.
		Kwan says that the actors had some worries, though not because they were straight men in gay parts (Jun Hu also starred in Zhang Yuan's East Palace West Palace, another gay film made on the sly in China).
	www.eye.net /eye/issue/issue_08.15.02/film/lanyu.html (761 words)

	Kwan Interview
		During a two-hour-interview about Stanley Kwan’s career, his films, and his characters we also got a flood of information about the political, and commercial backgrounds that Hong Kong film makers live and deal with.
		And Stanley was so sincerely devastated, it was not a lie, he was very sad that he had got the prize that he thought was for Hou Hsiao-hsien.
		Stanley Kwan refers to the difference between commercial film and independent or art film.
	www.paristransatlantic.com /magazine/interviews/kwan.html (5575 words)

	Yang Yin: Gender In Chinese Cinema
		STANLEY KWAN's Yang ± Yin: Gender In Chinese Cinema, 1996 (transcription of the English subtitles; words within brackets are notes by Leslietango)
		NARRATOR / STANLEY KWAN: Disfigurement, of course, is the flip-side of narcissism.
		She is a very good friend of mine, but I have to say she's not convincing as a man. But she's pretty.
	users.libero.it /dan_cav/interview01.htm (752 words)

	Globe and Mail: Appointments
		The Scarborough Hospital (TSH) Foundation Board is pleased to announce the appointments of Stanley Kwan as Chair and Todd McCarthy as Vice Chair.
		Kwan, a partner at Stanley Kwan & Company, Chartered Accountants, one of the largest Chinese accounting firms in Toronto, brings a wealth of professional and community expertise to his new role.
		Kwan is currently serving as a Director of the Buddha’s Light International Association, a non-government organization of the United Nations.
	www.theglobeandmail.com /servlet/AppNoticeArticleHTMLTemplate?tf=AppNotices/DisplayNotice.html&cf=AppNotices/config-neutral.cfg&slug=Kwan&date=20040122 (348 words)

	Specular Failure and Spectral Returns: Maggie Cheung
		In Stanley Kwan's film, Cheung is charged with reenacting the life and films of the movie star Ruan Lingyu, one of the most influential actresses from Shanghai during the 1920's and 1930's.
		Stanley Kwan's Center Stage opens with a series of early twentieth century still images relating to the life and works of the Shanghai film star Ruan Lingyu, accompanied by a voice-over providing a capsule summary of her life and career.
		Given that Kwan's film itself is concerned with attempting to come to terms with the unique "auratic quality" of the historical Ruan Lingyu, its success would thought to be predicated on its ability to sublate Cheung's own charismatic presence in favor of Ruan's own.
	www.sensesofcinema.com /contents/01/12/cheung.html (2260 words)

	Production Slate - page 3
		Kwan Pun-Leung elaborates, "In preproduction, Stanley brought me to gay bars, like Why Not and Club Funky [which was used as a location in the film], and we would talk about the feelings of these places.
		Kwan Pun-Leung had hoped to utilize bleach-bypass processing on the film, but the plan was abandoned due to budgetary reasons.
		According to Stanley Kwan, "This is a means developed by myself and Kwan to inform the audience of people's uncertainty, which is prevalent in regard to all of the sexuality issues within the film."
	www.theasc.com /magazine/nov98/SLATE/pg3.htm (1368 words)

	[No title]
		Stanley Kwan's 1991 masterpiece (also known as Ruan Ling-yu and Center Stage) is still the greatest Hong Kong film I've seen, though shortening the original running time of 146 minutes by around half an hour has been harmful.
		Maggie Cheung won a well-deserved best actress prize at Berlin for her classy performance in the title role, and much of Kwan's work as a director goes into creating a kind of nimbus around her poise and grace.
		(George Cukor comes to mind as a Hollywood equivalent.) Kwan also creates a labyrinth of questions around who Ruan was and why she committed suicide--a labyrinth both physical (with beautifully ambiguous uses of fl-and-white movie sets) and metaphysical.
	onfilm.chicagoreader.com /movies/capsules/46_ACTRESS_KWAN (178 words)

	DVD Times - Everlasting Regret (Site not responding. Last check: 2007-10-09)
		Everlasting Regret is Stanley Kwan’s story of the city of Shanghai from its glamorous heyday in the 1930’s up to the 1980’s.
		There is a very familiar feel to the material presented here by Stanley Kwan in Everlasting Regret, which in its focus on the tragic history of one character to speak for a much wider subject superficially appears to mirror his treatment of Ruan Ling-yu in Center Stage.
		Reportedly Kwan was forced to cut out most references to politics of the time, hence the film being hard to place in a timeline at times and why much takes place indoors.
	www.dvdtimes.co.uk /content.php?contentid=59958 (1294 words)

	BIFF - Film Review (Site not responding. Last check: 2007-10-09)
		Stanley Kwan has followed his magnificent Actress with an adaptation of Eileen Chang's short story, doubtless the most famous Chinese anatomy of the war between men and women.
		Kwan and his actors deliver work of the highest standard; Joan Chen's 'Red Rose' is a career-best performance.
		Born in 1957 in Hong Kong, Stanley Kwan entered the Department of Communications at Baptist College and enrolled at TVB's artist's training class in 1976.
	www.pftc.com.au /biff_2001/programme/film_review.asp?flmID=120 (506 words)

	Full Moon in New York
		Well before his coming-out phase (which began in the early '90s), Stanley Kwan was making rather more personal pictures than he might have realized: astute melodramas like Women, his debut feature from 1984 (now little seen if at all), Love Unto Waste (1986), Rouge (1988), and yes, Full Moon in New York (1989).
		These were pictures from his 'repressed' period (as Kwan himself might put it), borrowing the conceit of 'women's pictures' to express his own personality and sexuality.
		And again, Kwan has gone on the record as saying that "the film turned out to be an embarrassment." (3) If Kwan isn't careful - and judging by his last two efforts, he's precariously on the edge - he may well turn out to be the director who has made the most embarrassments.
	www.sensesofcinema.com /contents/cteq/01/12/newyork.html (1088 words)

	Stanley Kwan to be honored at GLBT film festival \| Print this article \| Advocate.com
		Stanley Kwan to be honored at GLBT film festival
		Variety reports that director Stanley Kwan will receive the first Prism Award for his contributions to gay and lesbian culture at the 12th Hong Kong Lesbian and Gay Film Festival.
		Kwan, whose film Lan Yu was nominated for 11 Hong Kong Film Awards, will be honored on Thursday at the 18-day festival's opening-night celebration.
	www.advocate.com /print_article_ektid13421.asp (73 words)

	Outfest: Los Angeles Gay & Lesbian Film Festival
		Award-winning director Stanley Kwan, a pioneer in the cinematic representation of gay lives in the Far East, turns in a passionate and unforgettable love story in this superb feature.
		Kwan tells this story in powerfully understated terms, coaxing breathtaking performances from Hu Jun (EAST PALACE, WEST PALACE, featured in OUTFEST ‘98) as Handong and newcomer Liu Ye as Lan Yu.
		Kwan’s incisive portrait of China’s lurching, ambivalent embrace of capitalism and its simultaneous, violent contempt for democracy adds profound dramatic impact to the drama between the central characters, their symbiotic relationship becoming emblematic of the clashes on the teeming streets of Beijing.
	www.outfest.org /fest2002/fest2002.closing.html (344 words)

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