How Chinese Youth Cinema Develops? Reviewing Chinese Youth Genre in Mainland China, Taiwan and Hong Kong, 1950s-2000s

2014 ◽  
Vol 2 (1) ◽  
pp. 54-67
Author(s):  
Nam Wang Changsong ◽  
Rohani Hashim
Keyword(s):  
Hong Kong ◽  
Young People ◽  
Mainland China ◽  
Film History ◽  
Social Practices ◽  
Chinese Cinema ◽  
Chinese Youth ◽  
Martial Art ◽  
Film Content ◽  
Youth Films

Objective - This study considers Chinese youth cinema as a historical object that represents the gamut of social practices and styles of production. Methodology/Technique - The authors examine the historical development of young people for tracing how different social and historical contexts interpret the Chinese young people's world. Findings - The youth films produced in the major Chinese regions—Mainland China, Taiwan and Hong Kong—illustrate how much social practices dominated the film content and style. For instance, youth genre in Hong Kong, once prevalent in the Cantonese cinema of the mid and late 1960s, blended musical and melodrama by dormant with the rise of martial art films. Novelty - This study attempts to elaborate some films featuring young people in Mainland China, Taiwan and Hong Kong, and to review the histories of youth cinema in these Chinese regions. The Chinese youth film outlines how, in Chinese communities, the category of youth historically functions as a significant site of ideological inscription that displays its struggles towards an idealized future. Type of Paper: Review Keywords : Chinese cinema; Film history; Hong Kong; Mainland China; Taiwan; Youth genre

Chinese Cinema

2011 ◽  
Author(s):  
Yingjin Zhang
Keyword(s):  
Hong Kong ◽  
Film Studies ◽  
Mainland China ◽  
Film History ◽  
Chinese Cinema ◽  
New Wave ◽  
Chinese Film ◽  
World Cinema ◽  
Important Player ◽  
The Face

Chinese cinema in this bibliography covers Chinese-language cinema, including films in Mandarin, Cantonese, and Taiwanese (or Minnan dialect) as well as Sinophone productions by the Chinese diasporas. To save space, hereafter “China” refers to mainland China, also known as the People’s Republic of China (PRC) since 1949. Chinese cinema has become an important player in world cinema since the 1980s for several reasons. First, three new-wave film movements emerged in three geopolitical territories during the 1980s: the Hong Kong New Wave, Taiwan New Cinema, and China’s Fifth Generation. Second, leading international film festivals have regularly awarded top prizes to Chinese cinema since the 1980s, and some Chinese films have entered art-house theaters in the West. Third, academic interests in Chinese studies and film studies have increased in recent decades as new theories and methodologies have gradually transformed disciplinary scholarship. Nonetheless, the development of Chinese cinema does not follow a straight line of progress; rather, it has seen ups and downs and unexpected turns. From the early 1990s to the late 1990s, a previously vibrant Taiwan film industry quickly disappeared in the face of Hollywood advancement. Also during the 1990s, Hong Kong cinema lost much of its market share in Taiwan, and its annual feature productions dropped from 242 in 1993 to 143 in 1994; the average number has stayed around fifty in 2006–2009. By contrast, feature productions in China increased from 88 per year in 2001 to 526 in 2010. What is most impressive is the growth of China’s exhibition market. Its annual total box office revenues skyrocketed from RMB 840 million in 2001 to RMB 10,200 million in 2010. Much of this growth has come from Chinese blockbuster films, almost always involving coproductions with Hong Kong. The spectacular growth of Chinese cinema explains recent attention to research in Industry and Market, but other exciting areas of Chinese film studies include film history (especially China before 1949), Gender and Sexuality, and Genre and Types. Martial arts films are considered a significant Chinese contribution to world cinema, and recent independent productions of Documentary films in China have received multidisciplinary attention. As scholars and filmmakers extend their vision beyond national borders, a new area has emerged in Diaspora, Sinophone, Transregional, which further complicates the question of Nation and Nationalism in Chinese cinema.

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.

Intersecting social capital and Chinese culture

2009 ◽  
Vol 52 (2) ◽  
pp. 195-207 ◽  
Author(s):  
Miu Chung Yan ◽  
Ching Man Lam
Keyword(s):  
Social Capital ◽  
Human Capital ◽  
Hong Kong ◽  
Young People ◽  
Chinese Culture ◽  
Mainland China ◽  
Capital Social ◽  
Capital Humain ◽  
Capital Humano

English For youths to seek employment, social capital is as important as human capital. This article conceptually examines how guanxi, a form of social capital in Chinese culture, may be instrumental in helping young people access jobs. Suggestions of alternative services for helping unemployed youths in Mainland China, Taiwan and Hong Kong are offered. French Pour les jeunes à la recherche d’un emploi, le capital social est aussi important que le capital humain. Cet article examine comment la notion de guanxi, une forme de capital social dans la culture chinoise, peut aider concrètement les jeunes gens à avoir accès à un emploi. Il propose aussi des suggestions de services alternatifs pour aider les jeunes chômeurs en Chine, à Taïwan et à Hong-Kong. Spanish Para la juventud que busca empleo, el capital social es tan importante como el capital humano. Este artículo examina conceptualmente cómo guanxi, forma de capital social en la cultura China, puede ayudar instrumentalmente a la gente joven para acceder al trabajo. Se ofrecen recomendaciones de servicios alternativos para ayudar a la juventud desempleada en Mainland China, Taiwán y Hong Kong.

Revitalising the Liang-Zhu legend: Edward Lam Dance Theatre’s postdramatic Art School Musical (2014)1

2020 ◽  
Vol 13 (2) ◽  
pp. 135-148 ◽  
Author(s):  
Lia Wen-Ching Liang
Keyword(s):  
Hong Kong ◽  
Young People ◽  
Close Association ◽  
Mainland China ◽  
Meaning Of Life ◽  
Madame Bovary ◽  
Love Story ◽  
Butterfly Lovers ◽  
Art School

Hong Kong Theatre director Edward Lam has established close association with an ensemble of Taiwanese actors, collaborating on almost every production since Madame Bovary is Me (Baofali furen men, 2006) and touring to Taiwan, Hong Kong and Mainland China. This article examines Lam’s unique working pattern through the analysis of Art School Musical (Successors to Liang and Zhu, Liang Zhu de jichengzhe men, 2014), the 54th production by the Edward Lam Dance Theatre (ELDT). Inspired by the famous Chinese legend The Butterfly Lovers (Liang Shanbo yu Zhu Yingtai), Lam created a postdramatic musical as a Bildungsroman in a format of classroom drama. The love story underwent a poetic transformation through the lyrics and music. The ELDT version of the Liang-Zhu legend carries Lam’s criticism of the stereotypes assigned to young people in patriarchal societies and allows him to elevate the love story into an allegory of one’s quest for the meaning of life.

Introduction

2019 ◽  
pp. 1-20
Author(s):  
Jing Jing Chang
Keyword(s):  
Hong Kong ◽  
Cold War ◽  
Documentary Films ◽  
Chinese Cinema ◽  
Hong Kong Cinema ◽  
Politics And Culture ◽  
Film Reception ◽  
Youth Films ◽  
The Cold War ◽  
Colonial Government

This introduction chapter outlines the theoretical framework of the book, and the methodological potential of the act of “screening,” when exploring the interplay between image and idea, politics and culture, film talent and audience in postwar Hong Kong film culture. While concepts of reflecting and viewing imply a unidirectional relationship between film and subject, the author argues that “screening” focuses more on the processes through which cinema contributed to the building of Hong Kong’s postwar community and identity. By using the double meaning of “screening” as both revealing and concealing, the author argues that postwar Hong Kong cinema—which in this book include 1950s and 1960s official documentary films, leftist family melodrama, and youth films— both conceals the anxieties of the British colonial government during the Cold War, and exposes the different narratives constructed by local filmmakers about what it means to be Chinese citizens during the postwar period. This introduction also takes into consideration the importance of postwar Hong Kong audiences, both real and implied, whose spectatorship was negotiated at the intersection colonialist and nationalist “address” and a familial and localized “reception.” This study has implication for the fields of Hong Kong, Chinese cinema, Cold War, and film reception studies.

scholarly journals Korean–Chinese Film Remakes in a New Age of Cultural Globalisation: Miss Granny (2014) and 20 Once Again (2015) along the Digital Road

2017 ◽  
Vol 2 (1) ◽  
pp. 74-89 ◽  
Author(s):  
Kai Soh ◽  
Brian Yecies
Keyword(s):  
Mainland China ◽  
Social Networking Site ◽  
Chinese Cinema ◽  
New Era ◽  
Chinese Film ◽  
Korean Wave ◽  
Film Content ◽  
Korean Chinese ◽  
The Government ◽  
Korean Film

Since the early 2000s, the Korean Wave (aka Hallyu) has influenced Greater China in enterprising and complex ways that diverge from the ways in which Hallyu has impacted other markets. At the same time, since China joined the Word Trade Organization in 2001, art, culture and media production have been largely transformed from vehicles for state propaganda into new gateways for producing and showcasing popular commercial entertainment. Korean producers have played a significant role in this evolving transformation, albeit in a cultural space that the Government of Mainland China still uses and shapes as an important mouthpiece of the Party-state. While media headlines accentuate these progressive pathways, there is a dearth of scholarly commentary on the ways in which Korean film practitioners are contributing to this new era of cultural globalisation in China. To shed light on this emerging topic, the authors examine Chinese audiences’ reception of the Korean film Miss Granny (2014) and the most successful Korean–Chinese co-production to date, its Chinese remake 20 Once Again (2015). The article utilises data drawn from Douban, a major Chinese entertainment and popular culture social networking site, to assess the ‘inconspicuous’ impact of the cinematic component of the Korean Wave on Chinese cinema. In taking this approach, the authors seek to assess the importance of localized film content for Chinese audiences, as well as canvassing a range of hitherto unknown opinions about ‘Korean’ and ‘Chinese’ styles of storytelling.

Trade Ties between Hong Kong and Mainland China

Asian Survey ◽  
1970 ◽  
Vol 10 (9) ◽  
pp. 820-839
Author(s):  
Patrick Yeung
Keyword(s):  
Hong Kong ◽  
Mainland China
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