By Esther Yau
Breathtaking swordplay and sentimental love, Peking opera and Chow Yun-fat's cult fans -- those are many of the components of the shiny and various city mind's eye that locate shape and expression within the thriving Hong Kong cinema. All obtain their due in At complete velocity, a quantity that captures the outstanding variety and effort of a cinema that borrows, invents, and reinvents around the limitations of time, tradition, and conventions.
At complete pace gathers movie students and critics from around the world to exhibit the transnational, multilayered personality that Hong Kong motion pictures gather and impart as they movement all over the world. those writers scrutinize the flicks they locate alluring: from the lesser recognized works of legislations 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 members determine an aesthetics of motion, gender-flexible melodramatic excesses, items of nostalgia, and globally projected neighborhood background and identities, in addition to an lively serious movie neighborhood. Their paintings, the main incisive account ever given of 1 of the world's greatest movie industries, brings the pleasures and idiosyncrasies of Hong Kong cinema into transparent close-up concentration at the same time it enlarges at the relationships among paintings and the marketplace, cultural idea and the films.
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Additional resources for At Full Speed: Hong Kong Cinema in a Borderless World
Shu Shuen's short film career began after she had completed her film education in California. With financial support from a Chinese merchant, Paul D. Lee, she made her seminal debut film, The Arch [Dong Furen] (1970), with preproduction assistance from Lung Kong. This extraordinary film was shot by Subrata Mitra, who was the Indian director Satyajit Ray's main cinematographer. The Arch was the first Hong Kong film to gain international recognition. It was presented at Cannes, Locarno, San Francisco, and several other film festivals and won plaudits from admirers as diverse as Henry Miller, Karel Reisz, and Josef von Sternberg.
Yim Ho's The Happenings follows a group of troublemaking teenagers in the course of one night. Independently produced, it adopted the rhythm and reality of a documentary as it accompanied the youths (using a cast of unknowns) plunging deeper and deeper into trouble, culminating in violence and a killing. Lau Shing-hon's low-budget House of the Lute was financed by the director himself and was similarly independent in spirit. This offbeat tragedy sets the eternal triangle, involving a young woman, her paralyzed husband, and a handsome young laborer (suggesting D.
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. New York: Autonomedia. Wilson, Rob, and Wimal Dissanayake, eds. 1996. Global /Local: Cultural Production and the Transnational Imaginary.