Creative Cinematic Geographies Through the Hong Kong International Film Festival

2015 ◽  
pp. 185-206
Author(s):  
Cindy Hing-yuk Wong
Keyword(s):  
Hong Kong ◽  
Film Festival

scholarly journals Hong Kong and Singapore 1997

1997 ◽  
Author(s):  
Hai Leong Toh
Keyword(s):  
Hong Kong ◽  
East Asia ◽  
Film Festival ◽  
Global Cinema ◽  
The World ◽  
The Republic ◽  
Asian Cinema ◽  
Selection Of

THE PRESTIGIOUS 21st HONG KONG International Film Festival, which concluded on 9 April 1997, presented its largest and perhaps the greatest collection of global cinema with some 280 films and video works. This year, this non-competitive festival attracted more than three hundred festival guests and major critics from all over the world with more than half of them coming from Japan and East Asia.  Its humbler counterpart, the Singapore International Film Festival (SIFF) is now in its 10th year. Some 220 films were shown there (including a number of fringe films and videos presented at the Goethe Institute, and a retrospective of François Truffaut's films screened at the Alliance Française). Film critics and festival directors flew over to the Republic to view the sensitive selection of Asian cinema by the festival programmer Philip Cheah. In its competitive section for Asian films, the SIFF honours the winners with its Silver...

scholarly journals Hong Kong and Singapore

1996 ◽  
Author(s):  
Hai Leong Toh
Keyword(s):  
Hong Kong ◽  
Fold Increase ◽  
Film Festival ◽  
Mutual Benefit

SINGAPORE AND HONG KONG FESTIVALS: DIVERSITY, CONTRAST AND SIMILARITY FROM the 1st Hong Kong International Film Festival (HKIFF) in 1977 with 27 films to this year's 20th HKIFF with some 200 films, the increase in the number of films shown has been more than seven-fold. Case 2: In 1987, the 1st Singapore International Film Festival (SIFF) exhibited 50 films. In comparison, 90 movies were presented in 1996, a near two-fold increase. However, what the festival lacked in sheer quantity it made up for in quality. The HKIFF is 11 years older than the latter. However, as the date of Hong Kong's cessation to China on 1st July 1997 draws nearer, the HKIFF looks increasingly set to transfer its authority and eclecticism to its Singapore counterpart. Thus in this year's HKIFF (25th March to 9th April) and SIFF (4th to 20th April), prints were shared for mutual benefit and to...

scholarly journals Toronto 2009

2009 ◽  
Author(s):  
Brandon Wee
Keyword(s):  
Hong Kong ◽  
Malignant Tumour ◽  
Film Festival ◽  
Tel Aviv ◽  
Cardinal Symptoms

TORONTO INTERNATIONAL FILM FESTIVAL 2009 HIGHLIGHTS There was no missing the withered appearance of Toronto's biggest film event this year, an inevitability that had been consuming it like a malignant tumour due to sustained economic famine. The cardinal symptoms were there for all to see: screening cutbacks, less-than-full houses, and sluggish industry business. Nevertheless, TIFF's choice of Tel Aviv for its inaugural 'City to City' program precipitated a spectacular publicity coup for itself when both detractors and supporters battled defensively - to the point of making international headlines. No particular theme or region stood out in this year's relatively tame line-up, although several thrillers provided welcome escapism: Accident (Soi Cheang, Hong Kong 2009) On paper, Soi Cheang's Accident sounds intriguing: the unity between four assassins specializing in disguising murders as accidents takes a hit when their latest job misfires and their ringleader (Louis Koo, dressed to kill) suspects he...

scholarly journals Pixels, Police, and Batons

2021 ◽  
Vol 74 (3) ◽  
pp. 9-22
Author(s):  
Cameron L. White
Keyword(s):  
Hong Kong ◽  
Digital Media ◽  
Film Studies ◽  
Mainland China ◽  
Film History ◽  
Film Festival ◽  
Moving Image ◽  
Moving Images ◽  
Frequent Form ◽  
Productive Potential

The 2019 Hong Kong protests witnessed not only sustained physical demonstrations by locals, but also a swell of online digital media that recorded and remixed conflicts between protestors and police. By documenting key moving images that circulated throughout social media and the film festival circuit, White’s essay reorients Hong Kong film studies’ relationship with the digital. Although cinema played a secondary role in the 2019 protests compared to digital media, numerous intertextual linkages demonstrate the productive potential of considering the two together. Special attention is given to the cops-and-robbers genre, a linchpin in local film history and a frequent form of choice for Hong Kong-mainland China coproductions. While the troubled representation of police in 2019 and beyond suggests that the future of the genre is unstable, the ingenuity of recent digital media demonstrates Hong Kong’s enduring potential for moving image innovation.

Singapore 2001

2002 ◽  
Author(s):  
Brandon Wee
Keyword(s):  
Hong Kong ◽  
Golden Age ◽  
Status Quo ◽  
Film Festival ◽  
Film Culture ◽  
Problematic Use ◽  
The Past ◽  
Island State ◽  
Film Productions

SINGAPORE INTERNATIONAL FILM FESTIVAL 2001: CROUCHING TYRANTS, HIDDEN TALENTS For a young island-state that once saw a "golden age of cinema" in the 50s and 60s, it was bittersweet to witness, after a score of idle years, a rise in the number of local film productions in the 1990s. But where local movies of the past triumphed in forging an indigenous film culture, recent Singaporean films have all but ignored the significance of maintaining such an objective. History, in this instance, has indeed repeated itself. Just as the thriving industry that had once characterised the "golden age" succumbed to the escalating popularity of Hong Kong and Taiwanese films in the 60s and 70s, the haphazard accomplishments of Singaporean films this past decade look set to remain in subordination to a longer-standing nemesis: that of Hollywood's domination. The consequence of this status quo has only served to highlight the problematic use...

scholarly journals Hong Kong 2002

2003 ◽  
Author(s):  
Hai Leong Toh
Keyword(s):  
Hong Kong ◽  
Budget Constraints ◽  
Film Festival ◽  
Bureaucratic Control ◽  
Statutory Body ◽  
Film Archives ◽  
The 1960S ◽  
First Time ◽  
New Look

THE 26th HONG KONG INTERNATIONAL FILM FESTIVAL (27 March - 7 April 2002) marked the first time the event was solely organized by the Hong Kong Arts Development Council, a statutory body beyond the direct bureaucratic control of the HK government. After absence caused by the recent administrative turmoil, many of the festival's former programmers have returned to their posts, with the aim of giving the festival a new look and direction. The festival also managed to bring off a coup with the help of the Hong Kong Film Archives which organized a nostalgic retrospective of Mandarin film classics made by Cathay in the 1960s titled "Back to Dreamland: Cathay Showcase". The screenings were extended past the closing of the festival. With budget constraints, however, the usual 16-day event was trimmed to 12 days with over 200 films, instead of more than 300. Happily, the quality of films, particularly...

scholarly journals Hong Kong and Singapore 1999

1999 ◽  
Author(s):  
Hai Leong Toh
Keyword(s):  
Hong Kong ◽  
Ethnic Cleansing ◽  
Film Festival ◽  
Film Festivals ◽  
Film Maker ◽  
The Sublime

HONG KONG AND SINGAPORE INTERNATIONAL FILM FESTIVALS The 23rd Hongkong International Film Festival, (31st March to 15th April), focussed on a few interesting and topical issues, the most pervasive being the feeling of alienation and loneliness. The recent Balkan conflicts found their reflection in the festival as well, especially in the nonconformist Greek film-maker Theo Angelopoulos' Balkan Trilogy, a sweeping fresco including the 1991 Suspended Step of the Stork, the 1995 Ulysses' Gaze, and culminating in the sublime Eternity and a Day (Mia eoniotita ke mia mera, 1998). The reverberation of the painful Kosovo conflict is most noticeable in the Eternity, where the artist brings home the reality of the Serbs' ethnic cleansing of the Muslim Albanians through the portrait of a runaway Albanian street urchin who crosses path with the film's hero, a celebrated dying writer (played by the unsurpassable Bruno Ganz). Theo Angelopoulos' protagonist is often a...

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