Hong Kong New Wave Cinema (1978-2000) by Pak Tong Cheuk

By Pak Tong Cheuk

The more and more renowned movies of the Hong Kong New Wave grapple with such matters as East-West cultural conflicts, colonial politics, the divide among wealthy and negative, the plight of ladies in a modernizing Asian urban, and the id crises provoked through Hong Kong’s estranged motherland. accomplished and penetrating, Hong Kong New Wave Cinema analyzes the categorical movies that grew out of this dynamic period and investigates the historic and social stipulations that allowed the hot Wave to flourish.Drawing at the auteur and style theories, Pak Tong Cheuk right here examines the cinematic type and aesthetics of recent Wave administrators, so much of whom have been informed at British and U.S. movie colleges. as well as investigating the narrative content material, constitution, and mise-en-sc?ne of person movies, this quantity strains the general improvement of the movie and tv industries in Hong Kong within the Nineteen Sixties and Seventies. Cheuk’s exciting examine of the increase and fall of Hong Kong’s golden age of movie establishes the hot Wave as an period of significant historic value for students of cinema, pop culture, and the arts. “An attention-grabbing and distinctive examine some of the most very important activities within the movie throughout the latter a part of the 20 th century. Pak’s paintings not just offers an informative review of the origins of the flow, yet is going into element concerning the works of a few of the main extraordinary New Wave administrators, together with Tsui Hark, Ann Hui, and Patrick Tam, and the results their photos had on film-makers from all around the world.”—Neil Koch, HKfilm.net    

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From this perspective, it was not strange to see a decline in Cantonese cinema in the late 1960s and the early 1970s. But there was one advantage to reaching the trough of the market, and this was that this marked the turning point for a resurgence. The Film Industry in the 1970s In the 1970s, Hong Kong industries underwent a shift from labour-intensive to technology-intensive activities. Apart from the oil crisis in 1974 and the global recession in 1975, Hong Kong’s economy experienced an annual two-digit rate of growth, the highest in the world.

TVB’s entry broke the monopoly held by Rediffusion and opened a new page in the history of Hong Kong television. It also set the stage for keen competition in the industry. Competition meant progress, which was a good thing for the audience and for the whole of society. When TVB first began operating, all of its programmes were in black and white, with the exception of some imported colour programmes. In 1971, TVB began producing its own shows in colour; for instance, Enjoy Yourself Tonight, Kao’s Club and Sharp’s Club.

Moreover, another series, When We Were Young, made by such directors as David King, Lo Tzi-keung, Rachel Zen, Fung Yiching and others, was launched. It was this series that first brought Rachel Zen to the attention of the public The ratings war initiated by Commercial Television made Tsui Hark famous. He found his direction during his tenure at CTV and waited for a chance to enter the film industry. Patrick Tam, likewise, became popular during his days with HK-TVB. He was not long at CTV; and his Romance of Celebrity was only a project made on contract terms.

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