Hong Kong New Wave Cinema (1978–2000)

Pak Tong Cheuk

Description

The increasingly popular films of the Hong Kong New Wave grapple with such issues as East-West cultural conflicts, colonial politics, the divide between rich and poor, the plight of women in a modernizing Asian city, and the identity crises provoked by Hong Kong’s estranged motherland. Comprehensive and penetrating, Hong Kong New Wave Cinema analyzes the specific films that grew out of this dynamic era and investigates the historical and social conditions that allowed the New Wave to flourish.

Drawing on the auteur and genre theories, Pak Tong Cheuk here examines the cinematic style and aesthetics of New Wave directors, most of whom were educated at British and U.S. film schools. In addition to investigating the narrative content, structure, and mise-en-scène of individual films, this volume traces the overall development of the film and television industries in Hong Kong in the 1960s and 1970s. Cheuk’s intriguing study of the rise and fall of Hong Kong’s golden age of film establishes the New Wave as an era of great historical significance for scholars of cinema, popular culture, and the arts.

 

“An interesting and detailed look at one of the most vital movements in the film industry during the latter part of the twentieth century. Pak’s work not only gives an informative overview of the origins of the movement, but goes into detail about the works of some of the most notable New Wave directors, including Tsui Hark, Ann Hui, and Patrick Tam, and the effects their pictures had on film-makers from all over the world.”—Neil Koch, HKfilm.net

 

 

 

 

Sujets

• Película fotográfica
• Cinema of Asia
• Cinematography
• General officer
• General
• Cultural Studies
• Film
• Media

Informations

• Publié par: Intellect Books Ltd
• Date de parution: 01 janvier 2008
• Nombre de lectures: 0
• EAN13: 9781841502250
• Langue: English

Extrait

Hong Kong New Wave Cinema (1978-2000)
Pak Tong CHEUK
Hong Kong New Wave Cinema (1978-2000)
Pak Tong CHEUK
First Published in the UK in 2008 by Intellect Books, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2008 by Intellect Books, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA
Copyright 2008 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Cover Design: Gabriel Solomons Copy Editor: Holly Spradling Typesetting: Mac Style, Nafferton, E. Yorkshire
ISBN 978-1-84150-148-2/EISBN 978-1-84150-225-0
Printed and bound by Gutenberg Press, Malta.
C ONTENTS
Introduction
1 The Emergence of the New Wave
2 The Interactive Relationship Between Hong Kong s Film and Television Industries
3 Ann Hui
4 Tsui Hark
5 Patrick Tam
6 Yim Ho
7 Allen Fong
8 Alex Cheung
9 Studies on Non-Core New Wave Directors
Kirk Wong and Clifford Choi
10 Studies on Non-Core New Wave Directors
Lau Shing Hon, Tong Kee Ming, Peter Yung and Dennis Yu
11 Contributions and Influence of the New Wave
Filmography
References in Chinese
Acknowledgements
I NTRODUCTION
In the short span of eight years from the late 1970s to the early 1980s, the Hong Kong film industry spawned a group of young directors aged about thirty. This brand new force consisted of about thirty people, including Ann Hui, Yim Ho, Tsui Hark, Allen Fong, Patrick Tam, Clifford Choi, Dennis Yu and others. Most of them had received film training overseas, particularly in the United States and the United Kingdom; then, at various points in time, joined several local television broadcasting institutions: Hong Kong Television (Television Broadcasts Limited), Rediffusion Television (the progenitor of Asia Television) and Commercial Television, the television unit of Radio Television Hong Kong. After gaining practical experience in film-making for several years in the television industry, many of them left and entered the film industry.
The infusion of so much indigenous new blood in the field of film was unprecedented in the 80-year history of Hong Kong cinema. Passionate about film and art, these new directors gradually got a feel for current social developments. They were familiar with what the audience liked and could make films with unique ideas, interesting themes, forceful images and unusual styles. Their works were widely accepted by the mass audience and also gained recognition from the news media and critics. This group of young directors, with their irrepressible attitude, was like a huge wave passing through a Hong Kong film industry that was then at a low tide, opening up a new terrain. People thus dubbed them The New Wave of Hong Kong cinema.
Of all the Chinese communities around the globe, including mainland China, Taiwan and Singapore, Hong Kong was the first to produce its own New Wave films. Its emergence, to various degrees, stimulated the emergence of the Fifth Generation of mainland film-makers as well as Taiwan s New Cinema. It stimulated change in the film industries on both sides of the Strait. The aim of this study is to examine the causes of the emergence of the Hong Kong New Wave in the late 1970s, the New Wave s relationship with the television industry, the interaction between New Wave works and their far-reaching influence on the film industry. The content, style and aesthetic achievements of the New Wave films will be analysed, and larger questions, such as how pluralistic cultures encourage the making of films and how films respond to diverse voices in society, will also be addressed.
For the purposes of continuity and cohesion, the scope of this work is not limited to the period of the New Wave but also extends to the year 2000. Certain New Wave directors, namely, Tsui Hark, Ann Hui, Yim Ho and Kirk Wong, had been absorbed into Hong Kong mainstream cinema and still had an impact on the industry. Also, if their works are studied as a whole, from the period preceding the New Wave (that is, the works they produced while working in the television industry), the New Wave period and their subsequent works, a more comprehensive picture emerges.
The twelve New Wave directors discussed in this work are classified into two groups: core auteurs and non-core auteurs. The reason for this is that, among these New Wave talents, some, such as Lam Kuen and Ng Siu-wan, made only one or two films before leaving the film industry. Others, such as Rachel Zen, Wong Chi and Lee Pui-kuen, remained in the television industry, making no more films and exerting no influence on the general development of the New Wave. A few directors also emerged in an earlier period of the New Wave and had little in common with more significant New Wave directors. Leong Po-chih belongs in this category. There were also directors on the fringes of the New Wave, such as Johnny Mak. The discussion here will exclude the latter two groups of film-makers.
The twelve New Wave directors referred to here have been divided into core auteurs and non-core auteurs, according to the experimental spirit of their work and the extent of their impact. That is to say, the members of the first group made more experimental films than the second group. They also never stopped producing and, therefore, had relatively more influence than the second group. More importantly, throughout their works, they display a consistent vision of life. The film-makers of the latter group, in contrast, made films that were less experimental. Their influence was thus not as strong as that of the first group. Some of them even stopped making films after several productions or only made films intermittently. Also, the ideas and styles in their films are scattered and disorderly that do not amount to a coherent vision of life.
Chapter 1 of this study will explore the origins of the New Wave. Chapter 2 will consider the relationship which existed between the New Wave and the Hong Kong film and television industries. Chapters 3 to 8 will then focus on the core New Wave directors, whilst Chapters 9 to 10 will cover the non-core directors. Finally, Chapter 11 will conclude on the contribution and influence of the New Wave.
1
T HE E MERGENCE OF THE N EW W AVE
In 1978 a new force burst into the Hong Kong film industry like lightning on a clear day. These young directors were, on average, not over thirty years of age. A conservative estimate places their number at over thirty. 1 Born around 1950, most of them graduated from film schools in the United States or the United Kingdom and returned to Hong Kong in the mid-1970s. All at about the same time, they went to work for Hong Kong s television stations - which were dubbed Shaolin Temples 2 - and underwent two to three years of training. In this way, they accumulated practical experience in making dramas and became proficient at the language of film. Then, without prior arrangement, they left the television stations and joined the film industry. Passionately committed to film, they made movies rich in feeling, with unique ideas and structures. This group of young people, like an irresistible force, stirred up a colossal wave when the film industry was at low tide and opened up new vistas. The influx of so much new blood into Hong Kong cinema was unprecedented. The media and the critics dubbed these new directors The New Wave of Hong Kong cinema.
The Origin of The New Wave
The term The New Wave originated from the French New Wave Cinema. 3 In 1959, Truffaut and Godard, who were critics in Cahiers du Cin ma , made their first films, respectively: 400 Blows and Breathless . 4 These two films not only injected vitality into the ossified forms of cinema, they also explored film as a subject in itself. 400 Blows , a semi-autographical film, boldly included personal experiences and feelings. Breathless incorporated hand-held cinematography and the technique of jump-cutting to deliberately create disharmony and depart from common motifs and conventions. 5 These two films proclaimed the birth of the French New Wave.
The first to name this group of young directors, who at the time were still working in television, as the New Wave was a periodical of film and television criticism, Da Texie ( Close Up ), founded by Tang Shuxuan. In the first issue, dated 1976, one article asserted that The three television stations are enthusiastically nurturing new directors. A new wave is rising that will force veteran directors to advance. In the long run, the new generation will sooner or later replace the current so-called big directors who only occupy a seat but produce nothing. 6 That same year, Ming Pao Monthly also predicted that The young directors (in television) are unquestionably different from the veterans, namely King Hu, Li Hanxiang, and Song Cunshou, in terms of subject matter and style. They will make Cantonese films and there will be social overtones to their works. It is believed that in two years a New Wave in Hong Kong will arrive. 7 Not surprisingly, the guess proved to be true. In 1978, Yim Ho, Dennis Yu and Ronnie Yu formed a company to make the film The Extra . Tsui Hark was also feverishly planning his feature Dangerous Encounter - 1st Kind . Da Texie published an article entitled A New Wave in Hong Kong Cinema - Revolutionists Who Challenge Traditions , 8 dubbing this group of directors who had moved from television to film as the New Wave and expressing high expectations of them. These directors represented a new force and new orientation in Hong Kong cinema, and their appearance was a sign of its future vitality.
The Extra , produced in 1978, marked the beginning of the New Wave. Here, the sphere of cinema was taken as a