...Crouching Tiger, Hidden Dragon is not only a result of Hong Kong mainstream culture, but rather an attentive investigation and basic assessment of different parts of Hong Kong traditional culture. They created a marvelous union of different types of Hong Kong mythology and Taoist reasoning that conveys a more extensive viewpoint to its topic. Furthermore, the movie grasps a delicately sentimental humanism that is more invigorating than the obscure method for separation and foreswearing normal for Eastern thought. The disagreement between the film's humanist sensibilities and those of Eastern rationality is most plainly showed in essential trades between two of the fundamental characters, warrior-saints Li Mu Bai and Yu Shu Lien. These trades,...
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...Film 262 4/6/14 Hong Kong: An Industry Born on a Budget Hong Kong has often been referred to as the “Hollywood of the East”. Although there are qualities of the Hong Kong film industry, which do indeed resemble those of Hollywood, implying that Hong Kong’s film industry is simply a second-tier version of Hollywood’s is an injustice to the unique industry model that Hong Kong has developed since the mid 20th century. Multiple factors, namely economic, have driven Hong Kong filmmakers to adapt different methods of production and exhibition than Hollywood filmmakers, resulting a in a distinct style of cinema that maximizes profits and controls costs, and has proven itself successful. Many of the unique practices of Hong Kong cinema stem from the industry’s tendency to push films through the production process much more quickly than the typical Hollywood film, and on a much smaller budget. The pace at which Hong Kong films are made is unmatched, proven by director Tsui Hark who went from script to release in less than two moths with his film Chinese Feast. The speed at which these films are released is driven by exhibition. With most production companies throughout Hong Kong film history being vertically integrating, including Shaw Brothers and Cinema City, the goal has been to push as many films through their own theaters as quickly as possible, with rapid turnover rates. Unlike Hollywood films, which can often stay in theaters for a month or longer, Hong Kong films usually only...
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...(a process of identification, which shows the discontinuity in our identity formation). The first one is necessary, but the second one is truer to our postcolonial conditions. (Hall) Hong Kong identity is not fixed; it changes from time to time and is determined by the social-political changes. (Jonathan) Mass media (films) can somehow construct some kinds of ideologies or identities and indicate the attitude and value behind identity in a society. (Ping-Kwan) In this paper, we will investigate how 1970s’ films, New Wave Movie in 1980s and 1990s’ films reflect the social changes and construct HK identity. After the 1967’s Riots, Hong Kong people had to face keen competition and social conflict and instability. Most of them had to face great pressure and discontent was widespread in the society. (李以莊) Watching movies such as “One-Armed Swordsman” (獨臂刀) [1967] and “The Big Boss” (唐山大兄) [1971] become one of the tools or ways for them to vent their pressure and emotions. Moreover, in the early 70s, the society was rife with corruption. The corruption of the Hong Kong police and the government officers became a climate of Hong Kong. This phenomenon was corrosive to both the foundations of society and relationship between the police/government officers and the public. (Pak Tong) The Hong Kong government was therefore urged to found ICAC to deal with problem of corruption in 1974. At that time, “The House of 72 Tenants” (七十二家房客) [1973] revolved around 72 people who live in...
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...Under “Western Eyes”: The Personal Odyssey of Huang Fei-Hong in Once upon a Time in China by Tony Williams Rather than being read in exclusively postmodernist terms, Tsui Hark’s series Once upon a Time in China may be understood as a new version of a Hong Kong cinematic discourse involving historical “interflow.” It deals with dispersion, China’s relationship to the outside world, and strategic forms of reintegration designed to strengthen national identity. In Sammo Hung’s Wong Fei Hung Ji Saam (West Territory Mighty Lion/Once upon a Time in China and America, 1997), Master Huang Fei-hong (Jet Li Linjie) travels to the Wild West to visit an American branch of the Po Chi Lam Clinic set up by his student Sol. During the journey, he bangs his head against a rock in a turbulent stream and loses his memory. He is rescued by a friendly tribe of Indians. Moments before we see Huang again, an Indian emerges from a tepee proudly announcing the birth of a child. When Huang recovers, he stumbles around in the Indian camp wearing an Indian costume, and his loose unbraided hair is flowing like an Indian’s. After using his martial arts prowess to defeat a hostile Indian, who ironically mouths racist American platitudes against the outsider—”His clothing is different, his skin color is different, his speech is different”—Huang is adopted into the tribe and given the name “Yellow.” Before this, he attempts to remember events of the recent past. But his vague recollections...
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...No pre-pay Silver member entitlements 銀會籍所享服務: 無月費 1) Free 3 days trial (Except for AV movies) 無預繳 3 天免費試用 (成人電影除外) 2) Pay per view 按用戶觀賞電影價目及數量收費 I hereby agree that Anyplex Hong Kong Limited has the right to charge my credit card account for the purchased services in regular manner as agreed upon by me and Anyplex Hong Kong Limited. The recurring transaction will not be terminated until Anyplex Hong Kong Limited has been informed by my written notification of service termination. I agree the validity of this agreement will continue before or after the expiry date of the credit card account. 本人同意並授權 Anyplex Hong Kong Limited 由本人下列信用卡 賬戶定期收取本人與 Anyplex Hong Kong Limited 協議使用的服 務之費用。 是項授權除非得到本人的書面通知或服務受到終 止,否則於信用卡有效期屆滿後仍然有效。 Card Type 信用卡種類: VISA MasterCard 萬事達卡 M月 Y年 Upgrade Service Plan 升級服務計劃 Gold member 金會籍 HK$ 20/mth 每月港幣 20 元 Expiry Date 有效期至 Gold member entitlements 金會籍所享服務: 1) Free 3 days trial (Except for AV movies) 3 天免費試用 (成人電影除外) 2) Unlimited watch ‘Gold Member Selection’ videos 無限量觀賞 ‘金會籍精選’ 影片 3) 20% off discount for other pay per view videos 8 折點播其他影片 Cardholder’s Name (If different from subscriber’s name) 信用卡持有人姓名 (如與上述訂戶姓名不同) Card No. 信用卡號碼 Credit Card Issuing Bank 信用咭發卡銀行 _________________ Personal Data 個人資料 Applicant must be a Hong Kong residence aged 18 or above. 申請人必須為年滿 18 歲之香港居民。 Mr. 先生 Mrs. 太太 Ms. 女士 Miss 小姐 Name in English (In BLOCK LETTERS) 英文姓名 Please imprint credit card here Name in Chinese 中文姓名 Mobile...
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...Crouching Tiger, Hidden Dragon CHIN 1088 12/15/2015 Fang 1 Crouching Tiger, Hidden Dragon Let’s look back to the title of this essay. Yes, it is the very film’s name that I would like to talk about. Crouching Tiger, Hidden Dragon was released in China in 2000, and directed by Ang Lee. I believe that lots of people are not unfamiliar to this person. Ang Lee was born on October 23, 1954 in Taipei, Taiwan. His titles are not only a film director, but also producer and screenwriter. Early year, he attended the National Taiwan College of Arts, where he graduated in 1975, and then relocated to the United States, where he studied at the University of Illinois at Urbana-Champaign and New York University. Ang Lee made his directorial debut in 1992 with Pushing Hands and earned Academy Award nominations for his next two films, The Wedding Banquet (1993) and Eat Drink Man Woman (1994). His later films include Sense and Sensibility (1995), starring Emma Thompson, Kate Winslet and Hugh Grant, and for which Lee earned an Academy Award nomination for best picture; The Ice Storm (1997); Crouching Tiger, Hidden Dragon (2000), for which he received four Oscars, four BAFTA Awards, a Golden Globe Award for best director; and Hulk (2003). He also went on to direct Se, Jie (2007) and Taking Woodstock (2009). In 2006, he became the first Asian to win an Academy Award for best director, for his film Brokeback Mountain, a small-budget, low-profile independent film based...
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...creation of Hong Kong Cinema. The main difference between Kung Fu and Woxia is that the former has less sword play, instead, used more armed combat. It however found its way to the West, where it was embraced in Hollywood as one of them most loved action film genres. The genre was first played on screen in the 1930s in a film known as The Adventures of Fong Sai-Yuk (Kato, 2012). The first directors choreographed the fights to become more realistic on screen. The genre reached its heights in the 1970s and overtook some of the most famous genres of the time. Today, Kung Fu has reached international audiences across the world. The genre is mainly produced Hong Kong, main land china japan and India. This paper looks at the genre as produced in these countries, contrasts and compares them. Characteristics of kung Fu movies in Hong Kong, main land china japan and India The Hong Kong Kung Fu films combine action, mainly as codified by Hollywood, and Chinese storytelling. This is interwoven with aesthetic traditions, which combine to create a distinctive form that has a wide transcultural appeal. However, over the last few years, the Hong Kong Kung Fu movies have been greatly influenced by American and European action styles. In the early years, the Hong Kong Kung Fu movies drew heavily upon the wuxia fighting style (Fu & Desser, 2000). This style emphasized mysticism and swordplay. With political intervention, the style was suppressed in the 1930s. The modern Hong Kong Kung Fu films...
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...Action Lights, camera, action! Action is the genre I have chosen. There are many stand-alone action films such as Commando, 48hrs and Con Air. There are even more action film series such as Die Hard, Rambo, James Bond and Underworld. The movie I have chosen to suit this genre is the action RED: Retired and Extremely Dangerous In 1920’s and 1930’s, action films were often about swashbuckling heroes, involving a damsel in distress and featured a romantic element such as the 1920 silent film The Mark of Zorro. The 1940’s incorporated war and western action films including the 1955 war story The Colditz Story. In 1959, Alfred Hitchcock re-invented the spy-action genre with his film North by Northwest and introduced action-orientated set pieces with the crop duster scene and the finale on Mount Rushmore. This film, North by Northwest, helped inspire producers Albert R. Broccoli and Harry Saltzman film their own spy-adventure film. James Bond, inspired by Ian Fleming’s novels, took the world by storm and is still used today. James Bond introduced some of the common elements and features of an action film that are still used today. In the 1970’s, gritty detective stories and urban crime drama’s led to a number of police officer films. Asian martial-arts themed movies also appeared including Bruce Lee’s Enter the Dragon. Also popularized by the cross of martial arts and cops and robbers, Chuck Norris entered with films like the 1977 Good Guys Wear Black. Steven Spielberg and George...
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...DEAR WIKIPEDIA READERS: You’re probably busy, so we’ll get right to it. This week we ask our readers to help us. To protect our independence, we'll never run ads. We survive on donations averaging about $15. Now is the time we ask. If everyone reading this right now gave $3, our fundraiser would be done within an hour. Yep, that’s about the price of buying a programmer a coffee. We’re a small non-profit with costs of a top website: servers, staff and programs. Wikipedia is something special. It is like a library or a public park, a temple for the mind where we can all go to think and learn. When we founded Wikipedia, we could have made it a for-profit company with advertising banners, but we decided to do something different. Commerce is fine. Advertising is not evil. But it doesn’t belong here. If Wikipedia is useful to you, take one minute to keep it online and ad-free another year. Thank you. If we all gave $3, the fundraiser would be over within an hour. One-time Monthly* $3 $5 $10 $20 $30 $50 $100 Other $ Credit Card PayPal Amazon Problems donating? | Other ways to give | Frequently asked questions | By donating, you are agreeing to our donor privacy policy. The Wikimedia Foundation is a nonprofit, tax-exempt organization. *Recurring payments will be debited by the Wikimedia Foundation until you notify us to stop. We'll send you an email receipt for each payment, which will include...
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...HongKong(Film) Un Cheuk Lam 4C35 The Cinema of Hong Kong has consider as the pioneer of Chinese language movie. Hong Kong was the third largest motion picture industry in the world (after Hollywood and India cinema) and the second largest exporter. Hong Kong film has retained much of its distinctive identity and continues to play a prominent part on the world cinema stage. In the West, Hong Kong's vigorous pop cinema (especially Hong Kong action cinema) has long had a strong cult following, which is now arguably a part of the cultural mainstream, widely available and imitated. Especially between the 1970's - 1990's, most of movie fans will be familiar with names like Bruce Lee, Jackie Chan from Hong Kong cinema. The reason why these movie star become so popular because they produce a lot of martial art film during that time. And then these martial art film brought to the western audiences. In fact, A lot of english speaking country or european start to aware of Asian movie in that time. Back to Hong Kong cinema, The cinema of Hong Kong is one of the major movie industry in the Chinese language speaking cinema. Before 1997, Hong Kong was a colony of Britain and therefore Hong Kong had a greater freedom on economic and political than mainland China. Even in film industry, The censorship system in Mainland China have a very strict rule. " Hong Kong filmmakers either steered away from criticzing China or did so in oblique ways ". Therefore, the Hong Kong film maker can barely sell their...
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...With its exemplary cinematography, distinctly bold colour palette and unique sound design, Wong Kar Wai’s ‘Chungking express’ (1994) possesses some of the most evocative and powerful imagery in modern cinema. One of the most dynamic shots, lasting just thirteen-seconds, 29 minutes into the story is of a mysterious woman in a blonde wig (Blondie), played by Brigitte Lin. The character is shown via a mirrors reflection as she looks up at the ceiling, speculating on human behaviour. It’s interesting to note that the subject has been shot from above. Not only does this reiterate her position of vulnerability, make us focus on the dialogue but also gives us the impression that in her state of depression she will be swallowed up by the frenetic pace and lifestyle of Hong Kong. While Blondie is narrating, the camera slowly eases into the subject, but comes to a halt before we get a clear close-up shot of her face. It’s almost as if the director has nearly allowed us to finally connect with this recluse but then terminates the intimacy. It reveals a lot about her character. She is cold, aloof and taciturn. This is the point where she exhibits some of her opinions and feelings which is why we get the zoom up. She is in her most vulnerable state of the film. The fact that she is so prominent within the frame demonstrates that this is the closest we have been to Blondie. However, the cameras movement ceases before a more detailed shot is included which is frustrating for the audience...
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...Title A study of marketing strategy of shopping centre for customer retention in Hong Kong Author(s) Chu, Ka-wai; Citation Issue Date 2009 URL http://hdl.handle.net/10722/128605 Rights The author retains all proprietary rights, (such as patent rights) and the right to use in future works. A STUDY OF MARKETING STRATEGY OF SHOPPING CENTRE FOR CUSTOMER RETENTION IN HONG KONG by CHU KA WAI DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Master of Housing Management The University of Hong Kong December 2009 DECLARATION I declare that this dissertation, entitled A study of marketing strategy of shopping centre for customer retention in Hong Kong, represents my own work, except where due acknowledgement is made, and that is has not been previously included in a thesis, dissertation or report submitted to this University or other institution for a degree, diploma or other qualification. CHU KA WAI ii ACKNOWLEDGEMENT I wish to express my sincere gratitude to my supervisor, Dr. Eddie Hui, for his professional guidance and support. He has provided many valuable advices and opinions during my preparation of this research paper. Moreover, I would like to thank my interviewees for their valuable time to fill in the questionnaire. They made a lot of contributions in my data collection. I also want to take this opportunity to thank my friends, family and colleagues for their unfaltering...
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...Aitolkyn East Asian Cinema, Fall 2015 December 18, 2015 Introduction The effect of 1998's Japanese film Ring can be compared to a big tsunami wave that not only became highest grossing horror film in the country, but also shuddered Taiwanese, Korean, Hong Kong film markets. Following years many publications included it to the numerous symbolic "top 10 most scary films" lists. And when Steven Spielberg bought the rights to make the Hollywood remake it was seen as official evidence that Japanese horror cinema became new trendsetter in this genre and gained cult status in the West. Nowadays with numerous follow-ups within the Ring franchise and triggered a trend of Western remakes "Ring" is viewed as exemplary illustrative Asian horror movie. I will argue that the wide success of the movie is caused not by its deep cultural ties with Japanese cinema and Japanese horror movies in particular, but because on the contrary "Ring" has little to do with its traditional background. Hideo Nakata deliberately cut off all the cultural traces in order to make cinematic language of the movie universal and cosmopolitan thus giving a way for its intercultural translation and to be easily replicated. In order to do it first I will analyze different Japanese merchandizing strategies and study the film as a media product. Second, I will briefly overlook history and main stylistic traits of Japanese horror movie genre. In my general overlook on Japanese horror cinema, I will focus on two main...
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...JÖNKÖPING INTERNATIONAL BUSINESS SCHOOL JÖ NKÖ PING UNIVERSITY Market ing Str ategic C hange in Expansion of D isneyland : Cases Study of Disneyland’s Overseas Expansion in Shanghai Master Thesis in Business Administration Author: Li Zhu & Dan Xu Tutor: Tomas Mü llern Jö ping nkö August 2010 Master Thesis Acknowledgements First of all, we would like to take the opportunity to thank our tutor Mr. Tomas Mü llern. Thanks to his guidance and valuable suggestions, we correct our mistake on time and finish our thesis in the end. From the first meeting to the last one, you are always concern us and the process of our writing. Every time, we handed in chapters, you always provided useful opinion to let us revise the thesis better and better. We thank you for patient guiding and providing us a good opportunity in our study to learn more and more. Secondly, we would like to thank Mr. Zhang and Edward. Thank you for taking time to find interviewees of our interview. You are busy with your own job, but you still use your private time to help us. You also share your experience about contacting skills with us. Last but not the lease, we are thankful to our families and friends who were helping and supporting us during this writing period. Li Zhu & Dan Xu Jö ping University nkö 2010 i|Page Master Thesis Master’s Thesis in Business Administration Title: Marketing Strategic Change in Expansion of Disneyland Authors: Li Zhu & Dan...
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...Scott / CULTURAL-PRODUCTS INDUSTRIES REVIEW / March 2004 10.1177/1078087403261256 URBAN AFFAIRS ARTICLE CULTURAL-PRODUCTS INDUSTRIES AND URBAN ECONOMIC DEVELOPMENT Prospects for Growth and Market Contestation in Global Context University of California, Los Angeles ALLEN J. SCOTT The article begins with a brief definition of the cultural economy. A first generation of local economic development policy approaches based on place marketing and associated initiatives is described. The possibilities of a more powerful second-generation approach are then sketched out with special emphasis on localized complexes of cultural-products industries. An extensive review and classification of these complexes is laid out, and their inward and outward relations to global markets are considered. On this basis, a critical discussion of local economic policy options focused on cultural-products industries is offered. Contrasting examples of development initiatives in major global cities, in selected old manufacturing towns, and in the Multimedia Super Corridor of Malaysia are briefly presented. It is suggested that the growth and spread of localized production agglomerations based on cultural-products industries are leading not to cultural uniformity but to greatly increased diversity at the global level. Keywords: agglomeration; cultural economy; globalization; industrial districts; local economic development; place marketing Over the past decade or so, the industrial profile...
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