By Esther Yau
Breathtaking swordplay and mawkish love, Peking opera and Chow Yun-fat's cult fans -- those are a number of the parts of the shiny and numerous 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 extraordinary diversity and effort of a cinema that borrows, invents, and reinvents around the barriers of time, tradition, and conventions.
At complete velocity gathers movie students and critics from world wide to exhibit the transnational, multilayered personality that Hong Kong movies gather and impart as they stream all over the world. those writers scrutinize the movies they locate eye-catching: from the lesser identified works of legislations guy and Yuen Woo Ping to such movie competition notables as Stanley Kwan and Wong Kar-wai, and from the economic 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, gadgets of nostalgia, and globally projected neighborhood historical past and identities, in addition to an lively severe movie neighborhood. 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 at the same time it enlarges at the relationships among artwork and the industry, cultural concept and the flicks.
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Additional resources for At Full Speed: Hong Kong Cinema in a Borderless World
A recent discussion of Bruce Lee and kungfu movies in socialist Tanzania in the 19705, for example, offers rare information and illuminating insights (Joseph 1999). Transnational studies of cinema remain a challenge when a high percentage of scholars and critics live and work in the major cities in Asia-Pacific, North America, and Western Europe. The future of Hong Kong cinema is an unfinished story filled with paradoxes and elusive moments. The global popularity of Hong Kong cinema, according to some, is a grassroots phenomenon rather than the result of expensive publicity efforts.
The film, shot in color for wide screen, responded to increasing youthful restlessness in Hong Kong by playing on young peoples feelings of repression and their hatred of the bourgeoisie. It took pointers from such Hollywood films as Rebel without a Cause (1955) (as in the scene of the game of "chicken") and West Side Story (1961) (in scenes of knife fights between rival youth gangs). One can identify in this film the genre mixing, accelerated rhythms, and ideological inconsistencies that would later become Hong Kong films' most notable characteristics.
Clifford Choi made his directorial debut with Encore (1980), followed by Teenage Dreamers [Lingmeng Kele] (1982); both were youth films depicting the lives and dreams of teenage students. Dennis Yu brought his administrative and producing skills to commercial films including See-Bar (1980), The Beasts (1980), and The Imp [Xiong Bang] (1981). Selina Chow, who left CTV, codirected her only feature film, No Big Deal (1979), a teen comedy, with Leong Po-chih. It would be fair to say that the film directors were innovators of the system who were very conscious of their audience.