By Esther Yau

Breathtaking swordplay and sentimental love, Peking opera and Chow Yun-fat's cult fans -- those are a number of the parts of the brilliant and numerous city mind's eye that locate shape and expression within the thriving Hong Kong cinema. All obtain their due in At complete pace, a quantity that captures the notable diversity and effort of a cinema that borrows, invents, and reinvents around the obstacles of time, tradition, and conventions.

At complete pace gathers movie students and critics from around the world to show the transnational, multilayered personality that Hong Kong movies gather and impart as they circulation world wide. those writers scrutinize the flicks they locate pleasing: from the lesser recognized works of legislation guy and Yuen Woo Ping to such movie pageant notables as Stanley Kwan and Wong Kar-wai, and from the industrial motion, romance, and comedy genres of Jackie Chan, Peter Chan, Steven Chiau, Tsui Hark, John Woo, and Derek Yee to the tried departures of Evans Chan, Ann Hui, and Clara Law.

In this cinema the participants determine an aesthetics of motion, gender-flexible melodramatic excesses, gadgets of nostalgia, and globally projected neighborhood background and identities, in addition to an energetic serious movie group. Their paintings, the main incisive account ever given of 1 of the world's biggest movie industries, brings the pleasures and idiosyncrasies of Hong Kong cinema into transparent close-up concentration while it enlarges at the relationships among artwork and the marketplace, cultural thought and the films.

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1991. The Lost Dimension. Translated by Daniel Moshenberg. New York: Autonomedia. Wilson, Rob, and Wimal Dissanayake, eds. 1996. Global /Local: Cultural Production and the Transnational Imaginary. : Duke University Press. Yau, Esther. 1997. " In Fifty Years of Electric Shadows, ed. Law Kar, 107-13. Twenty-first Hong Kong International Film Festival. Hong Kong: Urban Council. Parti Hong Kong's _ New wave Cinema This page intentionally left blank CHAPTER ONE An Overview of Hong Kong's New Wave Cinema Law Kar In the early 19805, some young directors and screenwriters who came to film through television began to address the city's tensions in several Hong Kong films that conveyed a strong sense of the city's contemporary rhythms.

A year before, Chor had completed Winter Love [Dong Lien] (1968), starring Patrick Tse, Josephine Siao, and Lung Kong. It had a nonlinear narrative and used monologue and flashback to interweave reality and memory in a manner truly rare for contemporary Cantonese cinema. The technique in some scenes is reminiscent of Alain Resnais's Hiroshima, Mon Amour (1959). Lung Kong, a versatile director who sometimes acted in his own films, responded to film theory and practice in a more systematic way. Theoretically, he was fascinated by the Soviet montage school and the writings of Lev Kuleshov (especially the latter's Fundamentals of Film Directing).

1999. Flexible Citizenship: The Cultural Logics ofTransnationality. : Duke University Press. Pratt, Mary Louise. 1992. Imperial Eyes: Travel Writing and Transculturation. New York: Routledge. Stokes, Lisa Odham, and Michael Hoover. 1999. City on Fire: Hong Kong Cinema. London and New York: Verso. Sundaram, Ravi. 1999. " Third Text 47 (summer): 59-65. Teo, Stephen. 1997. Hong Kong Cinema: The Extra Dimensions. London: British Film Institute. Virilio, Paul. 1991. The Lost Dimension. Translated by Daniel Moshenberg.

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