Explore This Month's E-Resources - School of Film and Television: December 2023

Author: Pak Tong Cheuk
Source: Hong Kong New Wave Cinema: 1978-2000. 2008, p29-51. 23p.
Document Type: Book chapter
ISBN: 9781841501482

Chapter 2 of the book "Hong Kong New Wave Cinema 1978-2000," by Pak Tong Cheuk is presented. It explores the interactive relationship existing between the New Wave trend and Hong Kong, China's film and television industries in the 1960s and 1970s. It also looks into the reasons behind the emergence and development of Hong Kong's New Wave cinema and its influence on the Chinese educational environment and the society. Moreover, it examines the convergence of Cantonese and Mandarin films.

Author: Dönmez-Colin, Gönül
Source: Cinemas of the Other: A Personal Journey with Film-Makers from the Middle East & Central Asia. 2006, p111-121. 11p.
Document Type: Interview
ISBN: 9781841501437

An interview with Turkish filmmaker Ali Özgentürk is presented. Özgentürk mentions the relationship between spectators and cinemas in Turkey and other countries. He asserts that "The Horse" which is about father and son relationship is one of his most favorite film. He reveals that in his country, there is very low film production.

Author: Jackson, Pat
Source: Retake Please: Filming Western Approaches. 1999, p237-245. 9p.
Document Type: Book chapter
ISBN: 9780853239536

Chapter 21 of the book "A Retake Please! Night Mail to Western Approaches," by Pat Jackson is presented. It explores the Norwegian ship, Samuel Bakke, which is part of the film "Western Approaches." It highlights the production of the documentary film on board the ship and reveals one of the last scenes of the documentary film.

Author: Sun Yi
Source: Canadian Journal of Film Studies. automne2017, Vol. 26 Issue 2, p46-67. 22p.
Document type: Article
ISSN: 0847-5911
DOI: 10.3138/CJFS.26.2.2017-0007

This article traces the changing image of a contemporary Hong Kong--based film production company, Milkyway Image, in terms of its overseas critical reception. I delineate how an unknown company later came to denote a period in the personal career of its founder and principal director Johnnie To, and eventually became a brand and a synonym for a house style. The company challenged auteur-focused readings of Hong Kong film, but overseas critics were reluctant to acknowledge Milkyway as the author responsible for its productions. Behind this reluctance was a conventional, persistent auteurist approach to film reception. As Hong Kong cinema was losing its place to other industries in East Asia, production entities within the Hong Kong film industry worked to restore its reputation by promoting collective brands at a time when cultural competitiveness was becoming an imperative in the age of globalization. [ABSTRACT FROM AUTHOR]

Author: Chen, Fangyu
Source: Jump Cut: A Review of Contemporary Media. Spring2021, Issue 60, p1-1. 1p.
Document Type: Article
ISSN: 0146-5546