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Hollywood, Hong Kong Emma, Stella, Amanda. Outline Hong Kong in 2002 – political and economic condition. (urbanization)Hong Kong in 2002 Fruit Chan Hollywood,

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Presentation on theme: "Hollywood, Hong Kong Emma, Stella, Amanda. Outline Hong Kong in 2002 – political and economic condition. (urbanization)Hong Kong in 2002 Fruit Chan Hollywood,"— Presentation transcript:

1 Hollywood, Hong Kong Emma, Stella, Amanda

2 Outline Hong Kong in 2002 – political and economic condition. (urbanization)Hong Kong in 2002 Fruit Chan Hollywood, Hong Kong a. StorylineStoryline b. Characterization and Personal relationshipCharacterizationPersonal relationship c. SettingSetting d. National allegoryNational allegory e. Problems existing between Hong Kong and ChinaProblems

3 Hong Kong in 2002 Economic Crisis import and export between China and U.S. Preparing details of CEPA ( 更緊密 經貿關係安 排 ) :alliance between Gongdong,Hong Kong and Macau

4 Hong Kong in 2002 NEW IMMIGRANTS 1999.1.12 :Court of final appeal Estimated 167millions young immigrants Most of them around 10-25 socio-economic pressure –public housing, social welfare, education Politics 1999 China government re-interpret Basic Law( 人 大釋法 ) Regarded as a political intervention Divided into left (Democratic Alliance for Betterment of Hong Kong) and right (Democratic Party)

5 Fruit Chan ( 陳果 ) Born in China in 1959, move to Hong Kong when he was 10. actor, director, script writer Started working at a large studio as an assistant director, collaborating with Jacky Chan. In 1994, Fruit CHAN became independent realistic films about Hong Kong's social and political situation Speaking for marginal people

6 Selected Filmography Finale In Blood (1991) [director] Bugis Street (1995) [writer] A Queer Story (1997) [asst. director Love Amoeba Style (1997) [asst. director] Made in Hong Kong (1997) [writer/director] The Longest Summer (1998) [writer/director] Little Cheung (2000) [writer/director] Durian, Durian (2000) [writer/director] Hollywood Hong Kong (2002) [director] Public Toilet (2003) [writer/director/producer] Three...Extremes: Dumplings (2004) [director] Hand-over Trilogy The Prostitution Trilogy 1.First of his own films 2.A psycho- drama, in which the director gives us a dark picture of Hong Kong in the 1920s.

7 Hand-over Trilogy Make in Hong Kong (1997) ‘inspired by Hong Kong's being handed over to China in 1997. Like many people of my generation, this event signifies a kind of deadline, the end of a historical period……It's a gloomy view, but nonetheless something deeply and genuinely felt by me and my peers. ’ The Longest Summer (1998) -- direct consequences of the Hand-over on a group of Chinese soldiers serving in the British Army --difficult to adjust to post-colonial life --tries to deal with residents of Hong Kong whose lives are completely thrown into disarray by circumstances beyond their control Little Cheung (2000) --a "kids" film: the friendship between two illegal immigrant mainlander children --depicts the hypocrisy of the how Hong Kong handles the Hand-over -- 'motherland' inhabitants are living in the shadows of Hong Kong

8 The Prostitution Trilogy Durian Durian (2000) Hollywood, Hong Kong (2002) --Relationship between Hong Kong and China in post-colonial era --begins to deal with China Immigrants --what emerges is a sense of disconnection, abandonment, and irreconcilability that invariably reflects the incongruence and uncertainty of life -- 以「妓女」為題材寫中港兩地關係,「妓女」 代表了中國大陸的席位;而香港同時亦以「嫖客」 身份,與她展開了「肉體」的關係,純粹以金錢 作交易。可見陳果是有意想像中港兩地互相對望 的身份:兩者都是欲望(物欲與性欲)的化身, 只容「肉」欲的交易。

9 Hollywood, Hong Kong (2002) Interview with Fruit Chen The different between Durian Durian and Hollywood, Hong Kong: “ 香港有很多家庭問題,都是由於丈夫北上 包二奶但老婆不知道 ” “ 我想集中在一個中國女人來到大磡村之後 所引起的騷動。講男人的迷失。你知道, 香港換了一個老闆 ……”

10 Hollywood, Hong Kong (2002) 這次我不想以寫實風格去處理 SEX AND FANTASY: 可能有人以為我將大磡村與 荷裏活廣場扯在一起,是想講貧與富,其實不是, 我反而將『性』放在首位 是關於 fantasy :男對女的 fantasy ,女方又對外 面世界心存幻想。 WITHOUT/LOSING A MOTHER FIGURE IN HIS FILMS: 我的主題是沒有母親,全片唯一名正言順 的母親是那頭豬。片中的男子都渴求母親,於是 他們都將目光投到周迅身上去,我覺得這正是香 港男性面對的處境,你在影評上也指出過香港電 影中盡是長不大的男孩子,原因正在於 : 就算你是 成年人,其實也在四處尋找母愛。

11 Theme As the movie draws out, before hand-over, Hong Kong sees China as its motherland, which is affection oriented. After hand-over, the relationship somehow alters with the involvement of money.

12 Storyline Hung Hung, a young pretty girl from China, comes to the village of Tai Hom, and perturbs the peaceful lives of the Chu’s and a young pimp, Keung. As the villagers of the lower social status, the local roasted pork vendor, Mr. Chu, and his tow sons, Tiny and Ming, live on selling the meat in exchange of money, and Keung sells women’s bodies through the Internet. Hung Hung accosts Ming and Keung, and seduces them into sexual intercourse with her. With the emergence of Peter, Hung’ boss, the Chu’s and Keung suffer from Hung’s charges, which results in Keung’s broken right hand, the death of Chu’s Chinese mistress, and the intended murder of Hung by Ming and Keung. Under a gloomy atmosphere, the Chu’s and Keung remain in the village, while Hung flees away for Hollywood.

13 Characterization-Hung Hung( 紅紅 ) a young prostitute from China with ambiguous identities. ( Fong Fong 芳芳, Tung Tung 東東 ) Possessing naïve dream and demeanor, but impure behaviors

14 Characterization Chu (朱爸爸 ) a) a roasted pork vendor b) lecherous, in want of women, but picky c) with an image of good father

15 Characterization Ming ( 朱阿明 ) a)Chu’s elderly son b)in adolescence, having fancy about women’s bodies c)acting in a rude, and impulsive way (having sex with Hung, murdering Hung with Keung), but seldom talk

16 Characterization Tiny ( 朱阿細 ) a) Chu’s younger son b) In lack of motherly love ( through Hung) c) A little bit sophisticated but also innocent (does not have desire)

17 Characterization Keung ( 黃志強 ) a) a young pimp b) easily tempted by beauty c) he sees his girlfriend as a tool.

18 Characterization Pig “mamma” ( 娘娘 ) a) pet pig of Chu b) used for bearing little pigs c) long-lost, returning with calligraphy all over her body calligraphy

19 Emperor of Kowloon ( 九龍皇帝 ) His Work His Palace

20 Personal relationship general relationship among the personas Desiring for motherly love, and innocent friendship, which based on mutual trust. (clip) Tiny 朱阿細 Hung 紅紅 Pig “mamma” 娘娘 the Chu’s 朱家 Mother image fertility

21 Personal relationship general relationship among the personas desire – HK (male) vs. China (female) relationship constructed by interest Chu 朱爸爸 Ming 朱阿明 Keung 阿強 Hung Hung 紅紅 Quack 大陸密醫 Ah-niuh 阿女 Mistress 朱爸情婦

22 Relationship between Hong Kong and China After Hand-over, Hong Kong people’s nostalgia for motherland (China) existed. Concept of family: Hong Kong: male China: female

23 Setting Contrast of classes between Plaza Hollywood and Tai Hom Village upper class Commercial area Residence for the rich (upper-class inhabitants and foreigners) lower class Impoverished area Residence for the poor (people of lower social status, gangsters, and prostitutes) Plaza Hollywood Tai Hom Village

24 Setting A) Looking forward to a better life →Looking up towards Plaza Hollywood e.g.. playing seesaw, drench scene…etc. B) Tearing down of Tai Hom Village →retreat of former sovereignty →setting up new power

25 National Allegory * Displacement of Arms First Keung ( protagonist) - two left hands - the communists Second Keung(foil) - two right hands - the conservatists * Quests for National Identities The Chu’s search for pig “mamma” Keung’s search for lost arm * Pursuit of freedom through Hung Hung → Shanghai - under China’s control → Hong Kong - influenced by British democracy → America - liberal society

26 Mimicry & Hybridity Parody of Journey to the West ( 西遊記 ) Waving the flag  supposing meaning in company of 京戲  imitating meaning in company of pop music (clip) 豬 as 朱  紅 ( 血 )  性 / 中國

27 Problems raised in this film a. the rich and the poor (in power vs. powerless) b. Identity Hong Kong is different from other colonized countries. Lee Ou Fan( 李歐梵 )– marginality Rey Chow ( 周蕾 ) – HK survives as a third place (crack) consciously between Britain and China

28 如果 你問我 屬於哪一國家哪一民族 我以我的良知 我只能坦然的告訴你 我是人 天地是我的父母 世界是我的鄉土 亞洲 非洲 還是歐洲 全都在心裡的懷抱 我要走遍這蒼茫大地 蕩遍那汪洋河川 我是大地的子民 那方不可以是我的歸途 …… 黑鳥, 良知

29 Reference /btchannel/sep03/btc_eye.html /btchannel/sep03/btc_eye.html 劉佳玲, “ 香港 / 人 ” 的顯影拼貼 — 析論 “ 家 ” 與 “ 身分認同 ” 的香 港電影論述 2000, June

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