Hong Kong New Wave

The Hong Kong New Wave was a movement in Chinese-language cinema that emerged in the late 1980s and early 1990s.

Director Ann Hui @ Broadway Cinematheque
Ann Hui was among the Hong Kong New Wave

Origins of the movement

The Hong Kong New Wave started in 1979. During the 1980s, the film industry began to flourish; many Chinese households did not have a TV at the time. Film served as the primary source of entertainment.[1] Many of the New Wave directors had a Western-style education and thus, were influenced by western filmmaking and culture.[2] The films of the New Wave, stylistically, lacked coherence; rather the term was used to make the distinction between new filmmakers and studio filmmaking.[3] These films utilized new technology, like synchronous sound, new editing techniques, and filming movies on location.[4]

Second Wave

In 1984, the New Wave began to gain attention from international audiences, thus prompting what became known as the Second Wave." These directors include Stanley Kwan, Wong Kar-wai, Mabel Cheung, Alex Law, Fruit Chan, Peter Chan, and Tammy Cheung.[4]

Major figures

References

  1. ^ Zhang, Yingjin (2004). Chinese national cinema. New York: Routledge. pp. 156–178. ISBN 9780415172899.
  2. ^ Desser, David; Fu, Poshek (2000). The Cinema of Hong Kong : history, arts, identity. Cambridge, UK ; New York, NY: Cambridge University Press. p. 104. ISBN 9780521772358.
  3. ^ Curtin, Michael (2007). Playing to the world's biggest audience : the globalization of Chinese film and TV. Berkeley: University of California Press. p. 60. ISBN 9780520940734.
  4. ^ a b Zhang, Yingjin. A companion to Chinese cinema. Malden, Mass: Wiley-Blackwell, 2012. p. 97. ISBN 9781444355994. Retrieved 23 December 2015.
Acid Western

Acid Western is a subgenre of the Western film that emerged in the 1960s and 1970s that combines the metaphorical ambitions of critically acclaimed Westerns, such as Shane and The Searchers, with the excesses of the Spaghetti Westerns and the outlook of the counterculture of the 1960s. Acid Westerns subvert many of the conventions of earlier Westerns to "conjure up a crazed version of autodestructive white America at its most solipsistic, hankering after its own lost origins".

Allen Fong

Allen Fong Yuk-ping (方育平) (born July 10, 1947) is a film director and one of the leaders of the Hong Kong New Wave of the late 1970s and early 1980s. His cinematic style is highly influenced by Italian neorealism. He also usually uses personal or real-life stories as the basis for his films.

Despite his limited number of productions, he is one of the directors to have won "Best Director" three times at the Hong Kong Film Awards. Others who share this achievement are Ann Hui and Johnnie To. He won in 1982 for Father and Son. His 1983 film Ah Ying was entered into the 34th Berlin International Film Festival.Currently he is the guest lecturer at Hong Kong Baptist University.

Ann Hui

Ann Hui On-wah, MBE, BBS, (traditional Chinese: 許鞍華; simplified Chinese: 许鞍华; pinyin: Xǔ Ānhuá; Hepburn: Kyo Anka; born 23 May 1947) is a Hong Kong film director, producer, screenwriter and actress. She is one of the most critically acclaimed Hong Kong New Wave filmmakers especially in 1970s and 80s. She is known for her films about social issues in Hong Kong. Her film works cover different categories, including: literary adaptation, martial arts masterpieces, semi-autobiographical works, female issues, social phenomena, political changes, and also thrillers. She served as the president of the Hong Kong Film Director's Guild from 2004 to 2006.Hui has won numerous awards for her films. She won Golden Horse Awards (GHA) for Best Director three times(1999, 2011, 2014); Best Film at the Asia Pacific Film Festival; Hong Kong Film Awards for Best Director six times (1983, 1996, 2009, 2012, 2015, 2018). There are only two films won Grand Slam for Hong Kong Film Awards (means a film won best picture, best director, best screenplay and best actor and actress at the same time), they are Summer Snow and A Simple Life, both are directed by Ann Hui. She was honored for her lifetime accomplishments at the 2012 Asian Film Awards. In 2017, Academy of Motion Picture Arts and Sciences (AMPAS) invited Hui to become their member.

Bluebird Film Company

Film company founded by Hong Kong prominent actress Xia Meng in late 1970s, produced notable film such as Ann Hui's Boat People (1982), A landmark of the nascent Hong Kong New Wave of the early '80s.

Dennis Yu

Dennis Yu Yun-kong (余允抗_ is a Hong Kong film director active in the 1980s, and a crucial member of Hong Kong New Wave. He is most famous for directing horror movies.

East Asian cinema

East Asian cinema is cinema produced in East Asia or by people from this region. It is part of Asian cinema, which in turn is part of world cinema. "World cinema" is used in the English-speaking world to refer to all foreign language films.

The most significant film industries that are categorized as East Asian cinema are the industries of Mainland China, Hong Kong, Japan, South Korea and Taiwan. The term is sometimes used to conflate Southeast Asian cinema which include the likes of Singapore, Malaysia, Indonesia, Vietnam, Thailand and the Philippines; the two of which are collectively known as "Far East Asian Cinema". The largest markets in East Asia are Mainland China, Japan and South Korea.

French New Wave

New Wave (French: La Nouvelle Vague) is a French film movement which emerged in the 1950s and 1960s. It is a form of European art cinema, and is often referred to as one of the most influential movements in the history of cinema. New Wave filmmakers were linked by their self-conscious rejection of the traditional film conventions then dominating France, and by a spirit of iconoclasm. Common features of the New Wave included radical experimentation with editing, visual style, and narrative, as well as engagement with the social and political upheavals of the era.The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cinéma in the late 1950s and 1960s, who rejected the Tradition de qualité ("Tradition of Quality") of mainstream French cinema, which "emphasized craft over innovation, privileged established directors over new directors, and preferred the great works of the past to experimentation." This was apparent in a manifesto-like essay written by François Truffaut in 1954, Une certaine tendance du cinéma français, where he denounced the adaptation of safe literary works into unimaginative films.Using portable equipment and requiring little or no set up time, the New Wave way of filmmaking presented a documentary style. The films exhibited direct sounds on film stock that required less light. Filming techniques included fragmented, discontinuous editing, and long takes. The combination of objective realism, subjective realism, and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not answered in the end.

Hotel (Hong Kong TV series)

Hotel (狂潮) is a Hong Kong television series, which premiered on 1 November 1976 on TVB. The theme song "Hotel" (狂潮) was composed and arranged by Joseph Koo with lyrics by Wong Jim and was sung by Susanna Kwan. Hotel was the first drama on TVB with a modern setting. The show's popularity was integral to the emergence of Chow Yun-fat's career. It is considered one of the most popular series in Hong Kong television history, and had about 1.9 million viewers.

Josephine Koo

Josephine Koo Mei-Wah or Gu Meihua (Chinese: 顧美華) is a Chinese film actress. She had a bright start to her film career, starring in Yim Ho's Hong Kong New Wave classic Homecoming (1984). The film won her the Best New Performer Award at the Hong Kong Film Awards in 1985, and also a nomination for Best Actress, but she was beaten by Siqin Gaowa from the same film.After Homecoming, Koo appeared in Yim Ho's Red Dust (1990), Stanley Kwan's Full Moon in New York (1990) and Evans Chan's To Live(e) (1992).

She disappeared from the screen in the late 1990s but suddenly returned in Peng Xiaolian's Shanghai Story (2004). For her role in this film, Koo was awarded the Best Actress Award at the Shanghai International Film Festival, beating out Zhang Ziyi and Joey Wong.

List of apocalyptic films

This is a list of apocalyptic feature-length films. All films within this list feature either the end of the world, a prelude to such an end (such as a world taken over by a viral infection), and/or a post-apocalyptic setting.

Nomad (1982 film)

Nomad (Chinese: 烈火青春) is a 1982 Hong Kong film directed by Patrick Tam. It is about the experiences of a group of youngsters who feel lost and try to find the true meaning of life. Nomad is considered as one of the representatives of the Hong Kong New Wave films.

Opera film

An opera film is a recording of an opera on film.

Po-Chih Leong

Leong Po-Chih (梁普智; b. 31 December 1939) is a British-Chinese film director.

Sammo Hung

Sammo Hung (born 7 January 1952), also known as Hung Kam-bo (洪金寶), is a Hong Kong actor, martial artist, film producer and director, known for his work in many martial arts films and Hong Kong action cinema. He has been a fight choreographer for other actors such as Jackie Chan.

Hung is one of the pivotal figures who spearheaded the Hong Kong New Wave movement of the 1980s, helped reinvent the martial arts genre and started the vampire-like jiangshi genre. He is widely credited with assisting many of his compatriots, giving them their starts in the Hong Kong film industry, by casting them in the films he produced, or giving them roles in the production crew.

Jackie Chan is often addressed as "Da Goh" (Chinese: 大哥; pinyin: dà gē), meaning Big Brother. Hung was also known as "Da Goh", until the filming of Project A, which featured both actors. As Hung was the eldest of the kung fu "brothers", and the first to make a mark on the industry, he was given the nickname "Da Goh Da" (Chinese: 大哥大; pinyin: dà gē dà; Jyutping: daai6 go1 daai6), meaning, Big, Big Brother, or Biggest Big Brother.

Tang Shu Shuen

Tang Shu Shuen (Chinese: 唐書璇; pinyin: Táng Shūxuán; born 1941), also known as Cecile Tang Shu Shuen, is a former Hong Kong film director. Though her film career was brief, she was a trailblazer for socially critical art cinema in Hong Kong's populist film industry, as well as its first noted woman director.

Tang was born in Yunnan province, China. She graduated from the University of Southern California.

Tang's best-known films are her first two, The Arch (1970) and China Behind (1974). The first film looks at the subjugation of women and their sexuality in a traditional village through the story of a widow's unconsummated passion for a male houseguest. The second follows the harrowing journey of a group of college students trying to cross illegally into Hong Kong from a China torn by the Cultural Revolution.

The bleak portrait in China Behind of both communist China and capitalist Hong Kong brought upon it a thirteen-year ban by the British colonial authorities. In addition to their provocative themes, both films used stylistic devices, such as freeze-frames and expressionistic color, possibly inspired by the European art cinema of the 1960s.

Tang made two more, less noted, films, Sup Sap Bup Dup (1975) and The Hong Kong Tycoon (1979). She also launched the territory's first serious film journal, Close-Up, in 1976. It stopped publishing in 1979 (Bordwell, 2000).

She ceased filmmaking and emigrated to the United States in 1979, becoming a respected restaurateur in Los Angeles. Many critics, however, see her influence in the so-called Hong Kong New Wave of edgy, groundbreaking young filmmakers in the late '70s and early '80s.

The Contract (1978 film)

The Contract is a 1978 Hong Kong comedy film written, directed by and starring Michael Hui. The film also co-stars Hui's brothers, Samuel Hui and Ricky Hui.

The Sword (1980 film)

The Sword is a 1980 Hong Kong wuxia film co-written and directed by Patrick Tam and starring Adam Cheng.

Yim Ho

Yim Ho (Chinese:嚴浩) is a Hong Kong director most active the 1980s, and a leader of the Hong Kong New Wave.

He began his career in television production making television programs for RTHK, then became a film director in 1980.

One of his most critically acclaimed work was Homecoming (1984). This film was different from other films of that period in that it presents certain emotions and sympathies towards the relationship between Mainland China and Hong Kong (the Sino-British Joint Declaration was signed the same year Homecoming was released).

The film brings together two very well known actresses, Josephine Koo and Siqin Gaowa. Anita Mui's theme song with the same title as the film has also been a popular cantopop song.

Ho's son Linq Yim (Chinese:严艺之, otherwise known as 嚴羚) is an actor, musician, and director who acted in Ho's 2005 film "A West Lake Moment", in addition to composing its original soundtrack.

New Wave in cinema
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