Warning! Category III: The Other Hong Kong Cinema

Davis, Darrell William; Yeh, Yueh Yu

doi:10.1525/fq.2001.54.4.12

Cited by 29 publications

(3 citation statements)

References 4 publications

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“…A public march of 1600 people led by Jackie Chan and other big stars objected to the government's lack of action to support the industry. This was the peak of VCDs' type-casting in the role of infringement scapegoat [11].…”

Section: Micro and Macromentioning

confidence: 94%

Compact Generation: Vcd markets in Asia

Davis

2003

Historical Journal of Film, Radio and Television

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Section: Micro and Macromentioning

confidence: 94%

Compact Generation: Vcd markets in Asia

Davis

2003

Historical Journal of Film, Radio and Television

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“…Chinese was one of a growing collection of on-screen representations that depicted fears among many Hong Kong people (and film industry workers in particular) of China as an entity that is inducing the demise of the Hong Kong population and depleting Hong Kong of its resources (Davis & Yeh, 2001 (Chow, 1998). Rey Chow likens the specter of China in Anglo-American political, legal, and media discourse to the spectacular beast "King Kong" -an image which resonated with how many Hong Kong film workers and some members of Hong Kong society spoke to me of mainland Chinese.…”

Section: This Film's Imagery Of Vulnerable Hong Kong Bodies Snatched mentioning

confidence: 99%

The Death Narratives of Revitalization: Colonial Governance, China, and the Reconfiguration of the Hong Kong Film Industry

Martin¹

2015

Critical Studies in Media Communication

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This essay examines the repercussions of colonial and postcolonial governance for the Hong Kong film industry. Drawing from ethnographic fieldwork, I analyze Hong Kong film personnel's "death narratives" about their industry and argue that while many informants criticized China for the demise of the Hong Kong film industry, the source of the film industry's instability also lies in the territory's British colonial film policies and Hong Kong's postcolonial turn to the "global city". I trace how the laissez-faire capitalism and "positive noninterventionism" policy of Hong Kong and its film industry that has been so deeply valorized has in fact contributed to its vulnerability. Demonstrating that film personnel of the former "Hollywood of the East" must increasingly cross borders to find work, the film industry's demise can also be understood as begetting revitalization through a free trade agreement with China that facilitates co-productions.

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“…My selections may not be completely representative of Hong Kong cinematic violence, as I leave out certain genres that exploit violence more directly and vividly, such as the Category III horror films. 1 But 1 For an overview of Hong Kong's Category III films, see Davis and Yeh 2001. my films are chosen to show how mainstream Hong Kong cinema's portrayal of violence can also function as a critique of violence. These films are, I argue, serious critiques of violence even as they display spectacles of violence as an integral part of their entertainment.…”

Section: Introduction: the Fundamental Attraction Of Cinematic Violenmentioning

confidence: 99%

The aesthetics of mythical violence in Hong Kong action films

Teo

2011

New Cinemas: Journal of Contemporary Film

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Hong Kong cinema is known throughout the world for its action cinema, including martial arts films and gangster pictures that portray violence as an integral part of their appeal. This article examines the nature of violence in contemporary Hong Kong cinema, borrowing concepts from Walter Benjamin's essay Critique of violence to define the violence in Hong Kong action films as mythical and aestheticized. The article analyses a body of films such as King Hu's classic A Touch of Zen (197071), John Woo's A Better Tomorrow (1987) and Johnnie To's Election (2004) to support its thesis. The mythical violence portrayed in these films, it is argued, constructs a critique of violence. Furthermore, the films set up a wider framework of discourse about violence itself as a method of questioning social institutions and norms affecting gender.

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Warning! Category III: The Other Hong Kong Cinema

Cited by 29 publications

References 4 publications

Compact Generation: Vcd markets in Asia

Compact Generation: Vcd markets in Asia

The Death Narratives of Revitalization: Colonial Governance, China, and the Reconfiguration of the Hong Kong Film Industry

The aesthetics of mythical violence in Hong Kong action films

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