Download Hong Kong Connections: Transnational Imagination in Action by Meaghan Morris, Siu Leung Li, Stephen Chan Ching-Kiu PDF
By Meaghan Morris, Siu Leung Li, Stephen Chan Ching-Kiu
Hong Kong Connections brings prime movie students jointly to discover the move of Hong Kong cinema in Japan, Korea, India, Australia, France, and the USA, in addition to its hyperlinks with Taiwan, Singapore, and the chinese language mainland. within the method, this assortment examines varied cultural contexts for motion cinema’s reputation and the issues enthusiastic about the transnational research of worldwide well known kinds, suggesting that during order to understand the historical past of Hong Kong motion cinema’s impression we have to convey out the diversities in addition to the hyperlinks that represent popularity.
Contributors. Nicole Brenez, Stephen Chan Ching-kiu, Dai Jinhua, David Desser, Laleen Jayamanne, Kim Soyoung, Siu Leung Li, Adrian Martin, S. V. Srinivas, Stephen Teo, Valentina Vitali, Paul Willemen, Rob Wilson, Wong Kin-yuen, Kinnia Yau Shuk-ting, Yung Sai-shing
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Additional info for Hong Kong Connections: Transnational Imagination in Action Cinema
Responding to the new challenges, Cantonese opera moved from "abstract" to "real", from "displaying body action" to "showing stage spectacle". In fact, such changes on the traditional opera stage were not confined to the Cantonese opera. In the same decade, the Teochew opera troupes in Singapore and Thailand also introduced new visual effects onto their stages. Probably influenced by the swordsman films produced in Shanghai, MOVING BODY particularly the Burning of the Red Lotus Temple (Huoshao Honglianst), the Teochew troupes developed the visual effect of "flying swords".
Another simple prop used by opera actors to perform acrobatics is the ladder. One example is the Haunted Storeroom (Chaifanghui), a classic of Teochew opera. The story concerns a kind-hearted merchant (played by the male comic role) who is forced to stay overnight in the storeroom of an inn. At night, a female ghost appears and asks him to do her a favor. Terrified by the ghost, the actor climbs up to the top of the ladder, performing a series of funny but stunning actions: leaning the body backward 90 degrees, slipping down, climbing up again, standing on one leg, and rolling down.
In this process of articulation, the links that materialised between participants and papers were often more striking than the differences, as various "ways of understanding" Hong Kong action cinema emerged. The touchstone texts to which many scholars referred, for example, turned out to be not the canonised films of John Woo or Tsui Hark, but the action comedies or "rubbish films" of Stephen Chiau and the critically "abjected" recent work of Jackie Chan (in particular, Tuxedo) as well as the problematic instance of Ang Lee's Crouching Tiger, Hidden Dragon.