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.184.23.Chan (2004).24.Christina Klein (2004), Crouching Tiger, Hidden Dragon: A DiasporicReading , Cinema Journal 43:4, pp.18 42.25.See Kenneth Chan (2004) for an analysis Ang Lee s dilemmas in telling astory with a global sense , p.5. 228 Notes26.Evans Chan (2004), Zhang Yimou s Hero: The Temptations of Fascism , FilmInternational 2 (Revised May 2005).27.Richard Alleva (2004), Mythmaking: Hero and Vanity Fair , Commonweal.September, p.22.28.Pauline Chen (2004), Review of Hero , Cineaste (Winter): pp.40 42.29.Ho (2005), pp.74 75.30.A popular expression from the 1980s, mo lay tau is the hallmark of Chow sverbal humour, distinguished by an irreverence expressed in mischievous,nonsensical comic remarks, often adopted by the defeated as a face-savingstance to claim moral victory (Ho 2005: 74).Ever since Chow s masterly useof mo lay tau in his films, the expression has become Chow s exclusive labelin the showbiz of Hong Kong.31. Kung Fu Hustle Shatters HK Box Office , 2005-02-09, XinhuaEnglish.From: http://english.sina.com/life/1/2005/0209/20998.html; Xinhua online:http://big5.xinhuanet.com/gate/big5/news.xinhuanet.com/english/2005-01/18/content_2475737.htm (Accessed January 22, 2006).32.See Morris (2004), pp.181 199.33.According to Bolter and Brusin, remediation is the process whereby amedium appropriates the techniques, forms, and social significance of othermedia and attempts to rival or refashion them in the name of the real (Bolterand Grusin, quoted in Hunt 2003: 86 87).34.Srinivas, S.V.(2005), Kung Fu Hustle: A Note on the Local , Inter-Asia CulturalStudies 6:2, p.294.35.The series has been running since its TV debut in Japan in 1983.It is a storyabout how young Japanese athletes struggle to become the world s leadingsoccer players.36.For a discussion on Jackie Chan s effort to break into the US market, seeSteve Fore (2001), Life Imitates Entertainment: Home and Dislocation inthe Films of Jackie Chan , Esther Yau, ed., At Full speed, pp.115 141.See alsoLeo Hunt s essay on Jet Li (2003) in Kung Fu Cult Masters, pp.140 156.37.Davis and Yeh (2008), p.136.38.The original version was set in Shanghai in 1945.The first Cantonese adap-tation was made in 1963, followed by the Shaw Brother s remake in 1973 bydirector Chor Yuen.For more details, see Gina Marchetti (2005), Going tothe Source: Kung Fu Hustle and Its Cinematic Roots at the 29th HKIFF , HongKong Cinemagic (Accessed April 20, 2008) and Gary Xu (2007), pp.91 92.39.For a critical review of Kung Fu Hustle s multiple references to earlier Chinesefilms, see Marchetti (2005).40.Gary Xu (2007), Sinascape: Contemporary Chinese Cinema, pp.89 93.41.Kung fu comics have been a popular pastime among young people in HongKong for decades.The reference to the comic book here also alludes to thefamiliar motif of the scared scroll , a mysterious training manual throughwhich one will attain superhuman power.6 Karmic Redemption: Memory and Schizophreniain Hong Kong Action Films1.As some critics have noted, loss of memory is a recurrent motif in post-1997Hong Kong films.See, for example, Chu (2003), pp.129 130. Notes 2292.Hong Kong action film has caught the interest of recent critical scholar-ship.Despite market setbacks and complaints of its decline, the best worksand their creators have received due recognition.See, for example, Mor-ris, Li, and Chan (2005); Gina Marchetti (2007), The Infernal Affairs Trilogy;and Teo (2007), Action directors such as Johnnie To, Wai Ka-fai, Alan, andAndrew Lau were given special highlights at the HKIFF in the last fewyears.3.The sensationalism of Hong Kong s popular cinema is not to be dismissedaltogether, however, as this is what first distinguishes Hong Kong films as purely cinematic in the eyes of some Western critics and film scholars.SeeBordwell (2000), pp.6 7.4.Leary (2003, 2004a) has published two articles on the trilogy in the onlinefilm journal, Senses of Cinema.For an allegorical reading of the films in thecontext of Hong Kong s post-colonial politics, see Law (2006).5.See Marchetti (2007); and Law (2006).6.Marchetti (2007), pp.24 25.7.Some critics observe that memory loss and its degeneration into physicaland mental illnesses has been used as a metaphor for the predicament ofHong Kong filmmakers and their perceived identity crisis in the post-1997era.See, for example, Long Tin (2007b), pp.25 26.8.For a discussion on the uses of nostalgia as resistance in American cinema,see Dika (2003).Chan (2000) has convincingly argued the case for the socialfunction of nostalgia films in 1990s Hong Kong.9.Marchetti (2007), pp.177 178.10.Ibid., p.44.11.A representative of the Mainland authorities, Shadow obliquely commentson the eclipse of Hong Kong s freedom and autonomy after 1997.See Law(2005) for a discussion on the film s character symbolism.12.Marchetti (2007), p.82.13 [ Pobierz całość w formacie PDF ]
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.184.23.Chan (2004).24.Christina Klein (2004), Crouching Tiger, Hidden Dragon: A DiasporicReading , Cinema Journal 43:4, pp.18 42.25.See Kenneth Chan (2004) for an analysis Ang Lee s dilemmas in telling astory with a global sense , p.5. 228 Notes26.Evans Chan (2004), Zhang Yimou s Hero: The Temptations of Fascism , FilmInternational 2 (Revised May 2005).27.Richard Alleva (2004), Mythmaking: Hero and Vanity Fair , Commonweal.September, p.22.28.Pauline Chen (2004), Review of Hero , Cineaste (Winter): pp.40 42.29.Ho (2005), pp.74 75.30.A popular expression from the 1980s, mo lay tau is the hallmark of Chow sverbal humour, distinguished by an irreverence expressed in mischievous,nonsensical comic remarks, often adopted by the defeated as a face-savingstance to claim moral victory (Ho 2005: 74).Ever since Chow s masterly useof mo lay tau in his films, the expression has become Chow s exclusive labelin the showbiz of Hong Kong.31. Kung Fu Hustle Shatters HK Box Office , 2005-02-09, XinhuaEnglish.From: http://english.sina.com/life/1/2005/0209/20998.html; Xinhua online:http://big5.xinhuanet.com/gate/big5/news.xinhuanet.com/english/2005-01/18/content_2475737.htm (Accessed January 22, 2006).32.See Morris (2004), pp.181 199.33.According to Bolter and Brusin, remediation is the process whereby amedium appropriates the techniques, forms, and social significance of othermedia and attempts to rival or refashion them in the name of the real (Bolterand Grusin, quoted in Hunt 2003: 86 87).34.Srinivas, S.V.(2005), Kung Fu Hustle: A Note on the Local , Inter-Asia CulturalStudies 6:2, p.294.35.The series has been running since its TV debut in Japan in 1983.It is a storyabout how young Japanese athletes struggle to become the world s leadingsoccer players.36.For a discussion on Jackie Chan s effort to break into the US market, seeSteve Fore (2001), Life Imitates Entertainment: Home and Dislocation inthe Films of Jackie Chan , Esther Yau, ed., At Full speed, pp.115 141.See alsoLeo Hunt s essay on Jet Li (2003) in Kung Fu Cult Masters, pp.140 156.37.Davis and Yeh (2008), p.136.38.The original version was set in Shanghai in 1945.The first Cantonese adap-tation was made in 1963, followed by the Shaw Brother s remake in 1973 bydirector Chor Yuen.For more details, see Gina Marchetti (2005), Going tothe Source: Kung Fu Hustle and Its Cinematic Roots at the 29th HKIFF , HongKong Cinemagic (Accessed April 20, 2008) and Gary Xu (2007), pp.91 92.39.For a critical review of Kung Fu Hustle s multiple references to earlier Chinesefilms, see Marchetti (2005).40.Gary Xu (2007), Sinascape: Contemporary Chinese Cinema, pp.89 93.41.Kung fu comics have been a popular pastime among young people in HongKong for decades.The reference to the comic book here also alludes to thefamiliar motif of the scared scroll , a mysterious training manual throughwhich one will attain superhuman power.6 Karmic Redemption: Memory and Schizophreniain Hong Kong Action Films1.As some critics have noted, loss of memory is a recurrent motif in post-1997Hong Kong films.See, for example, Chu (2003), pp.129 130. Notes 2292.Hong Kong action film has caught the interest of recent critical scholar-ship.Despite market setbacks and complaints of its decline, the best worksand their creators have received due recognition.See, for example, Mor-ris, Li, and Chan (2005); Gina Marchetti (2007), The Infernal Affairs Trilogy;and Teo (2007), Action directors such as Johnnie To, Wai Ka-fai, Alan, andAndrew Lau were given special highlights at the HKIFF in the last fewyears.3.The sensationalism of Hong Kong s popular cinema is not to be dismissedaltogether, however, as this is what first distinguishes Hong Kong films as purely cinematic in the eyes of some Western critics and film scholars.SeeBordwell (2000), pp.6 7.4.Leary (2003, 2004a) has published two articles on the trilogy in the onlinefilm journal, Senses of Cinema.For an allegorical reading of the films in thecontext of Hong Kong s post-colonial politics, see Law (2006).5.See Marchetti (2007); and Law (2006).6.Marchetti (2007), pp.24 25.7.Some critics observe that memory loss and its degeneration into physicaland mental illnesses has been used as a metaphor for the predicament ofHong Kong filmmakers and their perceived identity crisis in the post-1997era.See, for example, Long Tin (2007b), pp.25 26.8.For a discussion on the uses of nostalgia as resistance in American cinema,see Dika (2003).Chan (2000) has convincingly argued the case for the socialfunction of nostalgia films in 1990s Hong Kong.9.Marchetti (2007), pp.177 178.10.Ibid., p.44.11.A representative of the Mainland authorities, Shadow obliquely commentson the eclipse of Hong Kong s freedom and autonomy after 1997.See Law(2005) for a discussion on the film s character symbolism.12.Marchetti (2007), p.82.13 [ Pobierz całość w formacie PDF ]