scholarly journals Cinematography in Motherhood: a Hong Kong film adaptation of Ghosts

Nordlit ◽  
2015 ◽  
pp. 393
Author(s):  
Kwok-kan Tam
Keyword(s):  
Hong Kong ◽  
Film Adaptation ◽  
Chinese Film ◽  
Cross Media ◽  
Media Adaptation ◽  
Mother Figure ◽  
Master Builder ◽  
A Doll's House ◽  
Chinese Mother ◽  
Made In

<p>This is a study of a Hong Kong Chinese film adaptation of <em>Ghosts</em> made in 1960. It deals with processes of cross-cultural and cross-media adaptation, and probes issues of how stage techniques are turned into cinematographic devices. Ibsen’s plays, except <em>Ghosts</em>, have been adapted numerous times for the Chinese stage and screen in Hong Kong and China. Unlike in China, the reception of Ibsen in Hong Kong is not meant for political purposes. In most Hong Kong adaptations, Ibsen is valued for the purpose of theatrical experimentation. Among the stage adaptations, <em>A Doll’s House</em> and <em>The Master Builder</em> are the most popular. However, there was a film adaptation of <em>Ghosts</em> in 1960, which has never been discussed in Ibsen scholarship. In this adaptation, Director Tso Kea borrowed the plot from <em>Ghosts</em> and made a perfect Chinese melodrama film highlighting the Chinese emotions and relations in a wealthy family that undergoes a crisis. In traditional Chinese drama, there is the lack of psychological rendering in characterization and characters act according to moral considerations. In Tso Kea’s film, the portrayal of the mother provides a new sense of characterization by combining Mrs Alving with the traditional Chinese mother figure. The borrowing from Ibsen makes it possible for the Chinese film to create a character with emotional and psychological complexities. Images from the film are selected as illustration in the article.</p>

On Becoming Nora

2017 ◽  
Author(s):  
Yifen Beus
Keyword(s):  
Gender Equality ◽  
Role Model ◽  
Public Image ◽  
The West ◽  
Public Statement ◽  
Public Figure ◽  
Cross Media ◽  
A Doll's House ◽  
Made In

Henrik Ibsen’s work Nora in A Doll’s House was a timely and influential inspiration to Chinese writers particularly in advocating gender equality and it offered a role model for many a Chinese woman to ‘walk out’ (of household/family bounds) during an era when China looked to the West to reform its society traditionally governed by Confucian principles. ‘To choose the path of Nora’ was a public statement the female singer Zhou Xuan made in 1941 when she announced her ‘walking out’ of her marriage with the famed composer husband Yan Hua. As China’s pop diva with a ‘golden voice’ in the late 1930s and the 40s, Zhou has been credited by cultural historians and musicologists to have popularized a music trend that fused Western jazz and Chinese folk tunes. Her stardom legitimized her role as a cultured, virtuous and sympathized female singer, a profession and public image that was no longer scrutinized as it had been in the 1920s. Highlighting Zhou’s cross-media performance and her ‘walking out’ as a female public figure in this case study, this paper aims to fill the gap between the readings of music and film experts by examining Zhou’s life and career as a performer.

Director Guang Chunlan in Conversation

2019 ◽  
Vol 5 (1) ◽  
pp. 95-112
Author(s):  
Zhou Xia ◽  
Yiwen Liu
Keyword(s):  
Women Filmmakers ◽  
Chinese Cinema ◽  
Women Directors ◽  
Chinese Film ◽  
Fifth Generation ◽  
Race Ethnicity ◽  
Post Cultural Revolution ◽  
Chen Kaige ◽  
Xinjiang Autonomous Region ◽  
Made In

This interview features Guang Chuanlan, a Sibe director who has been active since 1976. Guang is known for establishing Chinese Muslim cinema made in the Xinjiang autonomous region in socialist China. Many of her films are released and awarded in Arabic countries and in India. Her enduring career exemplifies the key role women filmmakers have played in building Chinese cinema under state-driven film policies. While it is commonly believed that the Fifth Generation (represented by male directors such as Zhang Yimou, Chen Kaige, and Tian Zhuangzhuang) put post–Cultural Revolution Chinese cinema on the international map, Guang's career (along with those of other women directors) compels us to reexamine Chinese film historiography and excavate a more complex constellation, especially with regard to women's authorship in intersection with race/ethnicity and the state, and inter-Asian film interactions based on a shared religion—a dimension oftentimes obscured by the dominant paradigm of East-West internationality.

A Guide to the HKIAC Arbitration Rules

2017 ◽  
Author(s):  
Moser Michael J ◽  
Bao Chiann
Keyword(s):  
Hong Kong ◽  
Mainland China ◽  
International Arbitration ◽  
Privileged Access ◽  
Institutional Rules ◽  
Key Issues ◽  
Made In

This book provides a detailed commentary on the Hong Kong International Arbitration Centre (HKIAC) Administered Arbitration Rules providing practitioners with an insider’s perspective on how the HKIAC Secretariat administers arbitrations under these rules. HKIAC is one of the world’s most sophisticated arbitration institutions, which established a set of Administered Arbitration Rules in 2008. Since then, HKIAC has enjoyed a continued yearly growth in cases. In 2015, HKIAC saw a record number of arbitration cases in 2012. This guide makes reference to the Hong Kong Arbitration Ordinance as well as drawing comparisons with other institutional rules and the UNCITRAL Model Rules to emphasize key issues to consider when drafting an arbitral clause or strategizing over the conduct of an arbitration. As well as offering an insider’s perspective it provides examples of anonymous cases handled at the HKIAC, and a discussion on various issues arising from arbitrations involving mainland parties or enforcing arbitration awards in mainland China. The book not only draws from seven years’ experience administering arbitrations under the HKIAC Administered Arbitration Rules (2008) but highlights the various changes made in the revised Rules that came into effect in November 2013 benefiting from privileged access. The book begins with an introduction to the HKIAC, including a history with statistics and details of other services provided by the HKIAC itself. The commentary then goes on to examine each article in depth. Relevant supporting documents are appended including Recommended HKIAC Arbitration Clauses, HKIAC Administered Arbitration Rules (2013), UNCITRAL Arbitration Rules 2010, and the Hong Kong Arbitration Ordinance.

The circulation of Chinese film in New Zealand as a potential platform for soft power

2020 ◽  
Vol 176 (1) ◽  
pp. 78-92
Author(s):  
Ian Huffer
Keyword(s):  
Hong Kong ◽  
New Zealand ◽  
Soft Power ◽  
Overseas Chinese ◽  
Chinese Film ◽  
A Site ◽  
Hearts And Minds ◽  
Chinese Films

New Zealand is one of only a handful of countries worldwide in which Chinese blockbusters are regularly released in cinemas and has also been a site of increasing debate regarding China’s soft power. This article consequently examines the circulation of Chinese films in New Zealand, not only through theatrical exhibition but also non-theatrical channels, and considers how this might build a platform for soft power. It considers the balance between ‘official’ and ‘unofficial’ mainland filmmaking, and between mainland filmmaking and Hong Kong, Taiwanese and diasporic filmmaking, along with the target audiences for these different channels. The article shows that, taken as a whole, the distribution and exhibition landscape for Chinese film in New Zealand builds a successful platform for the People’s Republic of China’s aspirations of winning the ‘hearts and minds’ of overseas Chinese, while also being characterised by clear limitations in reaching non-Chinese audiences in New Zealand.

State Succession to Human Rights Treaties: Hong Kong and the International Covenant on Civil and Political Rights

1996 ◽  
Vol 45 (4) ◽  
pp. 928-946 ◽  
Author(s):  
Johannes Chan
Keyword(s):  
Human Rights ◽  
Hong Kong ◽  
United Kingdom ◽  
Political Rights ◽  
The United Kingdom ◽  
Human Rights Treaties ◽  
State Succession ◽  
Civil And Political Rights ◽  
Made In

In 1976 the United Kingdom ratified the International Covenant on Civil and Political Rights (ICCPR) and extended it to Hong Kong. Under the Covenant the United Kingdom assumed an obligation to submit periodic reports to the Human Rights Committee on the measures it has adopted to give effect to the rights recognised by the Covenant and on the progress made in the enjoyment of these rights.1 The United Kingdom has submitted four periodic reports on Hong Kong, in 1978,2 1988,3 19914 and 1995.5

scholarly journals Vaccination against Hong Kong influenza in Britain, 1968–9: A report to the Medical Research Council Committee on Influenza and other Respiratory Virus Vaccines

1970 ◽  
Vol 68 (3) ◽  
pp. 359-368 ◽  
Author(s):  
D. A. J. Tyrrell ◽  
Rosemary Buckland ◽  
D. Rubenstein ◽  
D. M. Sharpe
Keyword(s):  
Hong Kong ◽  
Great Britain ◽  
Respiratory Virus ◽  
Medical Research Council ◽  
Serum Antibody ◽  
Polyvalent Vaccine ◽  
Antibody Titres ◽  
Adults And Children ◽  
Made In ◽  
Intranasal Spray

SUMMARYStudies of the effect of Hong Kong (HK) influenza vaccine were made in adults and children in Great Britain during 1968 and 1969. The vaccines were administered intramuscularly and also by intranasal spray. The serum antibody response was studied in 284 subjects. Most developed rising titres to vaccine given intramuscularly and few to vaccine given intranasally. Deoxycholate-split vaccine was as potent as conventional whole virus vaccine. Antibody titres were maintained for months. Over 4000 subjects in factories, offices and schools were observed during the epidemic. The incidence of disease was not significantly reduced by either form of vaccination. A survey was made of epidemics in boarding schools in which some of the pupils had been vaccinated, in six with commercial polyvalent vaccine and in five with HK; there was a lower incidence of influenza in two schools vaccinated 2 or 4 weeks earlier with HK vaccine.

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