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The film Bullet in the Head functions both as an apocalyptic melodrama and as an allegory of fears concerning the implications of the Tiananmen Square incident for Hong Kong residents. This book argues for its central importance as a major work of contemporary Hong Kong cinema.
Including reviews of 200 films, plus information about U.S. theaters, video stores, and mail-order sources that specialize in this white-hot, new genre, this is the first guide to an exploding popular culture phenomenon. Includes 75 photos.
The first edition of John Woo: The Films (McFarland, 1999) was the earliest English-language volume to address the motion picture output of the celebrated Hong Kong director. The book dealt with Woo's film career from his professional beginnings in 1968 through his first three Hollywood releases (Hard Target, Broken Arrow and Face/Off), situating his work within Asian and Western cinematic and cultural traditions. This second edition offers a wealth of additional information, including treatment of John Woo's Hollywood productions Mission: Impossible II, Windtalkers and Paycheck. Also featured is material on Woo's epic Red Cliff, filmed in China. A new foreword is provided by Tony Williams, author of John Woo's Bullet in the Head. Instructors considering this book for use in a course may request an examination copy here.
Action, African greats, alcohol, Robert Aldrich, aliens, Woody Allen, Pedro Almodovar, Robert Altman, animated, anime, apocalypses, Argentina, art, Asia minor, avant garde... And that's just A for you. A taste of this fabulously quirky and enjoyable book which is both a celebration of movies - and movie trivia - and a handy, entertaining guide to films that we know you will enjoy. It is fantastically functional. The lists are well conceived and easy to understand - mostly assembled by genre, actor, director, theme or country of origin - and the reviews are witty and informative. Oddly enough, most movie guides are not full of recommendations. But Movie Lists is, in spades, leaving readers in no doubt that the films reviewed are the business. Oh - and you don't have to watch them all before you die. There is no premise of death in this book. You just need to get down to the local Blockbusters or flick your remote to Movies on Demand. Only the popcorn is not supplied.
Originally a Hong Kong-based director, John Woo is now considered one of the ten most successful directors working in American films, receiving world-wide attention for his highly stylized violence in films such as The Killer (1989), Hard-Boiled (1992), Face/Off (1997), and Mission Impossible 2 (2000). While Woo is widely regarded as a master action director, scant attention has been paid to the manner in which Woo's films reflect the director's religious and ethical concerns. Through an examination of representative films from the director's Hong Kong and American periods, Michael Bliss demonstrates that Woo should be regarded as a predominantly religious director, in whose films action is the vehicle by virtue of which a concern with spirituality is dramatized. Contains a chapter on Chinese opera tradition as relates to Woo's films, an exclusive interview with John Woo, and a complete filmography.
Has the creative period of the New Hong Kong Cinema now come to an end? However we answer this question, there is a need to evaluate the achievements of Hong Kong cinema. This series distinguishes itself from the other books on the subject by focusing in-depth on individual Hong Kong films, which together make the New Hong Kong cinema.
A Better Tomorrow has always been hailed as a milestone in Hong Kong cinema. This book describes the different responses to the movie in Hong Kong and later in its reception worldwide, which paved the way for the promotion of John Woo and Chow Yun-fat to their current prominence in Hollywood. Fang examines the different notions of the genre of action cinema in Asian and Western film industries. She tracks the connections between ying shung pian, or "hero" movie, the term by which Woo's film became famous in Hong Kong, and the spectacle of violence emphasized in the term "heroic bloodshed," the category in which the film was known in the West. Finally, she concludes with a discussion of the status of the film and its huge success in the current globalized industry.
This book's 140 A-Z entries include synopses, film stills, and production photos.
This book is a scholarly investigation of the historical development and contemporary transformation of film noir in today’s Hong Kong. Focusing on the evolvement of cinematic narratives, aesthetics, and techniques, the author balances a deep reading of the multiple filmic plots with a discussion of the cinematic portrayals of gender, romance, identities and power relations. Nuancing the prototypical cinematic form and tragic sense of classical film noir, the recent Hong Kong cinema turns around the classical generic role of film noir at the turn of the century to convey very different messages—joy, hope or love. This book examines how the mainstream cinema, or pre-and-post-Hong Kong cinema in particular, applies a peculiar strategy that makes rooms for the audience to enjoy a pleasure-giving process of reflexivity and also critique the mainstream ideology. With new analytical approaches and angles, this book breaks new ground in offering transcultural and cross-genre analyses on the cinema and its impact in local and international markets. This book is the first major scholarly investigation of the historical development and contemporary transformation of film noir in today’s Hong Kong. Focusing on the evolvement of cinematic narratives, aesthetics, and techniques, the author balances a deep reading of the multiple filmic plots with a refreshing discussion of the cinematic portrayals of gender, romance, identities and power relations. This book also revisits conceptual categories developed by Foucault, Lacan, Derrida and Butler.
Thanks to the successes of directors and actors like John Woo, Jackie Chan, and Chow Yun-Fat, the cinema of Hong Kong is wildly popular worldwide, and there is much more to this diverse film culture than most Western audiences realize. Beyond martial arts and comedy, Hong Kong films are a celebration of the grand diversity and pageantry of moviemaking--covering action, comedy, horror, eroticism, mythology, historical drama, modern romances, and experimental films. Information on 1,100 films produced in British Hong Kong from 1977 to 1997 is included here.