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Director Chow Kwun-wai describes *BEYOND THE DREAM* as his first personal feature-length film, although he had previously completed *A COMPLICATED STORY* and the "Self-immolator" short in *TEN YEARS*, which won Best Film at the Hong Kong Film Awards. Hong Kong On Screen is honored to include *BEYOND THE DREAM* in the second "Hong Kong On Screen Festival" online screening lineup. The film was free for global viewing from August 25, 2024, at midnight Pacific Time until 11:59 p.m. on September 1, 2024. Additionally, a short introduction by Director Chow, explicitly recorded for registered viewers, has been included, and an enthusiastic response has been received. We thank all viewers for their support, especially those who generously donated!
In this podcast episode, we review all the films in which Director Chow has been involved and mention his recent co-production in Taiwan, which is also his first "Hong Kong film" shot in a non-Cantonese language. Listeners can also check out episodes 12 and 13 of our podcast, where we discuss in detail his Golden Horse Award-winning work, *REVOLUTION OF OUR TIMES*.
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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Episode 7: “TVB’s Impact on the Emergence of ‘Hong Kong’ and the ‘Hong Konger’ Identity"
Television Broadcasting Limited (TVB) was founded in 1967 and had, by the 1970s, become a popular and influential entertainment and information program in Hong Kong. Even Hong Kong cinema was directly influenced by the rise of television. Television soon became a training ground for talent in the film industry: successful televisions were often adapted into movies, and it was common for successful television personnel to be introduced into the film industry. Television dramas and news programs also established a distinctive identity for the people of Hong Kong. Cantonese Television even helped shift Hong Kong Cinema’s market from being a Mandarin-dominated market to being Cantonese-dominated. In the 1970s, Hong Kong cinema completed a generational transition, with the previous generation of directors and writers retiring from the scene and a new generation of filmmakers from Hong Kong taking over. Notable directors who emerged from this period include John Woo, Sammo Hung, and Tsui Hark, who all established themselves as leading figures in the industry. In addition to new filmmakers, new film genres such as martial arts films, crime films, gangster films, and gambling films also emerged in the 1970s, which had not been seen before.
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Episode 5: “Changes in Hong Kong Cinema in the 1960s”
The 1960s for the Hong Kong film industry was, for the most part, a continuation of the 1950s. Many key directors and screenwriters of the era had their origins rooted in the group that emerged in the 1950s; as such, creative theories in regard to filmmaking changed little during this time.
However, during the 1960s, Hong Kong’s economy had begun to break off from the economically impoverished state of the 1950s, entering instead into a relative period of prosperity.
For Cantonese cinema, tragic art films were gradually replaced by “Family Style” middle-class and young family comedies. These films celebrated the self-supported “Factory Girl” and youth films that focused on the worry of a new generation that might be led astray. These gave rise to then-upcoming stars like Connie Chan Po-chu and Josephine Siao Fong-Fong, who had fervent film fanbases.
As for Mandarin Films, their economic growth created an attitude of pursuing individual freedom, leading to Chang Cheh's use of Wuxia films to appeal to masculine audiences—completely changing the tradition of female movie stars dominating Hong Kong and even Chinese Cinema.
In this fifth episode of the podcast, we have three segments, each focusing on the following topics;
5.1 The overall characteristics of the Hong Kong film industry in the 1960s, with a specific focus on discussing three popular Cantonese film genres, including martial arts films, romantic comedies featuring married couples, and youth musical films.
5.2 How the paradigm shift in popular Chang Cheh's Mandarin martial arts films of the 1960s influenced subsequent Hong Kong films. Additionally, there is a specific emphasis on discussing the films of directors Cheung Po Kin (Chu Yuan) and Lung Kong.
5.3 Some unique phenomena in the 1960s film industry, the impact of the six-seven riots and wireless TV broadcasting on Hong Kong cinema, and finally, the reasons for the cessation of Hong Kong Cantonese films.
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Episode 5: “Changes in Hong Kong Cinema in the 1960s”
The 1960s for the Hong Kong film industry was, for the most part, a continuation of the 1950s. Many key directors and screenwriters of the era had their origins rooted in the group that emerged in the 1950s; as such, creative theories in regard to filmmaking changed little during this time.
However, during the 1960s, Hong Kong’s economy had begun to break off from the economically impoverished state of the 1950s, entering instead into a relative period of prosperity.
For Cantonese cinema, tragic art films were gradually replaced by “Family Style” middle-class and young family comedies. These films celebrated the self-supported “Factory Girl” and youth films that focused on the worry of a new generation that might be led astray. These gave rise to then-upcoming stars like Connie Chan Po-chu and Josephine Siao Fong-Fong, who had fervent film fanbases.
As for Mandarin Films, their economic growth created an attitude of pursuing individual freedom, leading to Chang Cheh's use of Wuxia films to appeal to masculine audiences—completely changing the tradition of female movie stars dominating Hong Kong and even Chinese Cinema.
In this fifth episode of the podcast, we have three segments, each focusing on the following topics;
5.1 The overall characteristics of the Hong Kong film industry in the 1960s, with a specific focus on discussing three popular Cantonese film genres, including martial arts films, romantic comedies featuring married couples, and youth musical films.
5.2 How the paradigm shift in popular Chang Cheh's Mandarin martial arts films of the 1960s influenced subsequent Hong Kong films. Additionally, there is a specific emphasis on discussing the films of directors Cheung Po Kin (Chu Yuan) and Lung Kong.
5.3 Some unique phenomena in the 1960s film industry, the impact of the six-seven riots and wireless TV broadcasting on Hong Kong cinema, and finally, the reasons for the cessation of Hong Kong Cantonese films.
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
🕵️ 🔎 👁️🗨️ To help more people understand the behind-the-scenes story of the film IN BROAD DAYLIGHT, HKOS is delighted to invite the veteran journalist Mr. Edward Choi, who was the head of the investigative team that uncovered several stories related to IN BROAD DAYLIGHT to record this podcast episode with us. Besides explaining the stories behind the investigative news that day, Mr. Choi shares his perspectives on the film.
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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
🎞️🎞️🎞️ Earlier, in the 'HKOS Indie Film Online Showcase,' we showed three films from director Vincent Cui: 'Fig' (2013), 'Leaving in Sorrow' (2002), and 'Three Narrow Gatess' (2009).
In this episode, we discussed the creative process of these three films and the significance of watching these works today with the director. Many questions were discussed, such as:
👉 The religious consciousness inside the films is quite prominent. Does the director himself have a religious belief? 👉 All three films were shot in locations outside Hong Kong. Did the director encounter any difficulties during the filming? 👉 Does the director only focus on independent productions? 👉 Does 'Leaving in Sorrow' have an alternate ending? 👉 Why should one make movies when young and as soon as possible? 👉 Have these three independent films been publicly screened in Hong Kong or elsewhere? 👉 How does the director shoot films based on the script? 👉 Can the texts of these three films be read about each other? 👉 Are there any future film projects? 👉 How can overseas Chinese support independent productions in Hong Kong?
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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Episode 5: “Changes in Hong Kong Cinema in the 1960s”
The 1960s for the Hong Kong film industry was, for the most part, a continuation of the 1950s. Many key directors and screenwriters of the era had their origins rooted in the group that emerged in the 1950s; as such, creative theories in regard to filmmaking changed little during this time.
However, during the 1960s, Hong Kong’s economy had begun to break off from the economically impoverished state of the 1950s, entering instead into a relative period of prosperity.
For Cantonese cinema, tragic art films were gradually replaced by “Family Style” middle-class and young family comedies. These films celebrated the self-supported “Factory Girl” and youth films that focused on the worry of a new generation that might be led astray. These gave rise to then-upcoming stars like Connie Chan Po-chu and Josephine Siao Fong-Fong, who had fervent film fanbases.
As for Mandarin Films, their economic growth created an attitude of pursuing individual freedom, leading to Chang Cheh's use of Wuxia films to appeal to masculine audiences—completely changing the tradition of female movie stars dominating Hong Kong and even Chinese Cinema.
In this fifth episode of the podcast, we have three segments, each focusing on the following topics;
5.1 The overall characteristics of the Hong Kong film industry in the 1960s, with a specific focus on discussing three popular Cantonese film genres, including martial arts films, romantic comedies featuring married couples, and youth musical films.
5.2 How the paradigm shift in popular Chang Cheh's Mandarin martial arts films of the 1960s influenced subsequent Hong Kong films. Additionally, there is a specific emphasis on discussing the films of directors Cheung Po Kin (Chu Yuan) and Lung Kong.
5.3 Some unique phenomena in the 1960s film industry, the impact of the six-seven riots and wireless TV broadcasting on Hong Kong cinema, and finally, the reasons for the cessation of Hong Kong Cantonese films.
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Vanished Archives (2017) is one of the films featured in the HKOS Indie Film Online Showcase (for more info: https://www.hkonscreen.org/indie-home).
In this episode, the Director of "Vanishing Archive" details some important incidents and characters she discovered about the 1967 Riot. Director Connie Yan-wai Lo also recounts some difficulties and feedback she has encountered in the film's post-production and reception.
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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Vanished Archives (2017) is one of the films featured in the HKOS Indie Film Online Showcase (for more info: https://www.hkonscreen.org/indie-home).
In this episode, the Director of "Vanishing Archives (2017)" speaks to the origin of the project and the attempt by Hong Kong's traditional Leftists to revisit and rewrite the history of the 1967 Riot at the incident's 50th Anniversary in 2017. Most importantly, Director Connie Yan-wai Lo reveals what she has discovered about this history in the process of researching for the film, especially on the discrepancies between the narration of the traditional Left and what she has found in the archive.
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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Ep. 47: Bamboo Theatre w/ Director Cheuk Cheung [Cantonese]
04 Nov 2023
01:17:35
In this episode, director Cheuk Cheung joins us to discuss several aspects of his documentary Bamboo Theatre, including the behind-the-scenes process, his direct cinema stylistic choices, and the context of several important sections.
Bamboo Theatre is screening as part of HKOS’s Indie Film Online Showcase, from Oct. 30 to Nov. 5, 2023.
Films mentioned: Bamboo Theatre《戲棚》 My Way《乾旦路》 My Next Step《一個武生》 Farewell My Concubine《霸王別姬》 Hu-Du-Men《虎度門》 Two Stage Sisters《舞台姐妹》 A City of Sadness《悲情城市》
3CM (2019) is one of the films featured in the HKOS Indie Film Online Showcase (for more info: https://www.hkonscreen.org/indie-home). Despite its seemingly insignificant distance, 3CM (2019) serves as a crucial marker of life and death for patients with tuberous sclerosis, impacting their ability to access the proper medication. The film takes the perspective of two mothers from diverse backgrounds who embark on a journey to fight for their right to survival and dignity, thereby exploring issues related to public policy and social justice. 3CM (2019) is not only a story of rare disease patients but also a story of the people of Hong Kong.
In this episode, director Wong Siu-pong of 3CM (2019) joins the discussion to explore:
Why did the director choose the relatively unique topic of rare diseases? What was the inspiration behind making this documentary?
Issues like drug policies, medical ethics, and public health can be pretty heavy and complex, often requiring much information for the general audience to understand. How did the director balance the different materials to engage the audience and keep them interested?
Filmmaking, like life, is unpredictable. During the editing process, what challenges did the director face, and how did they select and arrange the materials?
The film focuses on the caregiver community and their journey to advocate for their rights rather than solely depicting the severe conditions of rare disease patients. What was the reasoning behind this approach?
The interviewees in the documentary are very candid and trusting in sharing their thoughts. How did the director establish this rapport?
One of the core messages of the film is about speaking up for oneself and trying to bring about change. We see how the interviewees in the movie do this, but for the director, what does "speaking up" mean?
The film ends with a stark visual contrast. What message does the director hope to convey with this ending?
Previously, the film was screened locally in Hong Kong, and due to the pandemic, it may not have reached many viewers. With online screening, it can reach an international audience. What are the director's thoughts on this?
Could you give us a glimpse of the director's upcoming film projects?
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Ep. 45: Interview w/ SDAFF Artistic Director Brian Hu (II) [English]
02 Nov 2023
01:08:51
The Artistic Director of the San Diego Asian Film Festival Brian Hu returns to our podcast! In this mega episode, we unveil the inner workings of a major film festival and dive into highlights from this year’s edition, including the three Hong Kong films in the official selection – Mad Fate, Elegies, and Farewell My Concubine. Later, Brian discusses his thoughts on contemporary Hong Kong and Asian cinema, and gives advice to filmmakers looking to submit.
Movies mentioned: Drug War《毒戰》 Romancing in Thin Air《高海拔之戀II》 Don’t Go Breaking My Heart《單身男女》 The Oath of the Sword Youth (Spring)《青春》 Mad Fate《命案》 Elegies《詩》 Keep Rolling《好好拍電影》 Farewell My Concubine《霸王別姬》 The Narrow Road《窄路微塵》 Table for Six《飯戲攻心》 A Guilty Conscience《毒舌大狀》
Episode 6: “The Emergence of Golden Harvest and the Flourishing of the Film Industry in the 1970s Under Free Competition"
At the start of the 1970s, the Shaw Brothers Company, with its studios and cinema chains and a massive production volume, seemed like an invincible giant in the film industry. However, it created its formidable competitor: Raymond Chow, a former Shaw Brothers executive. Chow left the company due to disagreements with Mona Fong's management and founded Golden Harvest. Golden Harvest discovered Bruce Lee, took over Cathay Organization's studios, and established its cinema chain. The success of Michael Hui's comedies repeatedly broke box office records. Golden Harvest evolved from a financially struggling company into an internationally renowned giant capable of rivaling Shaw Brothers. It became a pillar of Hong Kong cinema from the 1980s to the 1990s, embodying a legendary success story.
In addition to Golden Harvest, several independent film companies achieved significant box office success during the 1970s, bringing fresh ideas to the industry. These included companies like Seasonal Film Corporation and Bo Ho Film Company, which thrived due to the free competition in Hong Kong's film industry.
In this sixth episode of the podcast, we divided our discussion into three segments. In the third segment, we covered the following topics:
How were Hong Kong and Taiwanese films related in the 1970s, and why can this period be considered the closest in history?
With the cessation of Cantonese films, Taiwanese films entered the Hong Kong market. Which works were well-received?
Why did many Taiwanese filmmakers come to Hong Kong to register companies and conduct post-production work there?
Why did Hong Kong's post-production industry benefit from the influx of Taiwanese films during this period?
How did Taiwanese films decline in Hong Kong, and how is this related to the creative explosion in Hong Kong's free atmosphere? How did Hong Kong surpass Taiwanese filmmakers' works in a free environment?
Did "Filmmakers from Mainland China" continue to develop in the 1970s?
What connections existed between Hong Kong's film and foreign (mainly American) film industries? What impact did their interactions since the 1960s have on Hong Kong film production?
In the 1970s, many film studios closed down and were replaced by equipment rental companies, such as Salon. Why did this phenomenon occur, and what contributions did it make to the film industry?
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
💙💙💙 The film "Farewell My Concubine" is adapted from the novel of the same name by 🇭🇰Hong Kong writer Lilian Lee. Directed by Chen Kaige, written by Lu Wei, and starring Leslie Cheung🇭🇰, Gong Li, Zhang Fengyi, Ge You, and others, this movie can be considered a classic collaboration that brought together financial, material, and human resources from Mainland China, Hong Kong, and Taiwan. As a flagship film with the highest artistic achievements in the Chinese-language film industry and enjoying worldwide acclaim, "Farewell My Concubine" has been beloved by millions of fans since its release in 1993. It broke the box office records for mainland Chinese art films in the United States. It won numerous international honors for Chen Kaige, including the Palme d'Or at the 1993 Cannes Film Festival, the Golden Globe Award for Best Foreign Language Film, and awards from the International Federation of Film Critics. In 2005, "Farewell My Concubine" was selected as one of the "100 All-Time Best Films" by Time magazine, marking a brilliant chapter in Chen Kaige's directorial career.
🌟🌟🌟 When the film reached US theaters in 1993, Miramax's Harvey Weinstein cut 14 minutes from the movie. Film Movement is now being returned to theaters in its full 171-minute glory, courtesy of Film Movement Classics. The distributor will release a newly restored 4K version in North American theaters beginning September 22 at the Film Forum in New York City.
Audiences in Los Angeles can see this version on the big screen on September 29 at the Nuart Theatre.
To make it grand, we produced a four-episode podcast, inviting four scholars to discuss the significance of this Chinese-language film, "Farewell My Concubine," from their respective fields. Two of the four episodes will be conducted in English, and the other two will be recorded in Cantonese.
In the final episode, Professor Ho-fung Hung from Johns Hopkins University joined us to discuss how the Chinese historical perspectives presented in "Farewell My Concubine" differ from contemporary official narratives. Furthermore, what are the similarities and differences between the movie's portrayal of the Cultural Revolution and today's prevailing official ideology?
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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Ep. 43: Farewell My Concubine w/ Prof. Chris Berry 3/4 [English]
11 Oct 2023
00:59:08
Continuing our 4-part series on the seminal film Farewell My Concubine, Prof. Chris Berry joins us to discuss the film in the context of the Fifth Generation of Chinese cinema, its queer representation, and its taboo depiction of the Cultural Revolution.
Films mentioned: Farewell My Concubine《霸王別姬》 Serfs《農奴》 To Live《活着》 Hero《英雄》 Yellow Earth《黃土地》 Red Sorghum《紅高粱》 Blue Kite《藍風箏》 Horse Thief《盜馬賊》 A City of Sadness《悲情城市》 The Battle at Lake Changjin《長津湖》 The Battle at Lake Changjin II《長津湖之水門橋》 Full River Red《滿江紅》 East Palace West Palace《東宮西宮》
☠️☠️☠️ In this episode, the hosts discussed Juno Mak's 2013 film "Rigor Mortis," which he wrote and directed. This film pays tribute to 1980s zombie film (derived from Taoist folklore) series like "Mr. Vampire" and features many stars who were part of 1980s "hopping vampire" movies. The hosts also discussed how Juno Mak and Takashi Shimizu meticulously designed the scenes and the significance of remaking zombie films in 2013.
A group of people enjoy taking mundane activities seriously in some corners of the world. They love watching movies 🎞️ and eating popcorn 🍿️. These somewhat eccentric individuals are multilingual and well-versed in unique Hong Kong community slang. They share their opinions on various films with the general public in a relatable but not vulgar manner. They aim to spread happiness 🥳 and invite all cinephiles 👯 to discuss movies 🎬 and enjoy popcorn 🍿️ together.
麥浚龍,殭屍,殭屍先生,清水崇,殭屍電影,香港電影
----------------------- The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
In this podcast episode, the director talked about where the script's inspiration came from, how the characters were found, how each character's personality was defined, and why he chose to use the work of independent singer-songwriters as the film's soundtrack.
--------------------- The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
"Hong Kong On Screen" will premiere director Wong Ho-yan's latest work 'Everyphone Everywhere' at Starlight Whittier Village Cinemas on September 30. For more details, please visit: https://www.hkonscreen.org/news/202309-everyphone-everywhere
In this podcast episode, director Amos WHY (Wong Ho-yan) discusses what is the Golden Horse Film Investment Forum (GHFIF) and his insights on the Hong Kong film industry. In the next episode, we will focus on the thoughts behind the production of 'Everyphone Everywhere.' This podcast episode will be available for listening at 5:00 PM on September 30, right after the film's screening!
Listen to Director Wong Ho-yan's thoughts on the film industry now!
--------------------- The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
❣️❣️❣️ The film "Farewell My Concubine" is adapted from the novel of the same name by 🇭🇰Hong Kong writer Lilian Lee. Directed by Chen Kaige, written by Lu Wei, and starring Leslie Cheung🇭🇰, Gong Li, Zhang Fengyi, Ge You, and others, this movie can be considered a classic collaboration that brought together financial, material, and human resources from Mainland China, Hong Kong, and Taiwan. As a flagship film with the highest artistic achievements in the Chinese-language film industry and enjoying worldwide acclaim, "Farewell My Concubine" has been beloved by millions of fans since its release in 1993. It broke the box office records for mainland Chinese art films in the United States. It won numerous international honors for Chen Kaige, including the Palme d'Or at the 1993 Cannes Film Festival, the Golden Globe Award for Best Foreign Language Film, and awards from the International Federation of Film Critics. In 2005, "Farewell My Concubine" was selected as one of the "100 All-Time Best Films" by Time magazine, marking a brilliant chapter in Chen Kaige's directorial career.
🌕🌕🌕 When the film reached US theaters in 1993, Miramax's Harvey Weinstein cut 14 minutes from the movie. Film Movement is now being returned to theaters in its full 171-minute glory, courtesy of Film Movement Classics. The distributor will release a newly restored 4K version in North American theaters beginning September 22 at the Film Forum in New York City.
Audiences in Los Angeles can see this version on the big screen on September 29 at the Nuart Theatre.
To make it grand, we produced a four-episode podcast, inviting four scholars to discuss the significance of this Chinese-language film, "Farewell My Concubine," from their respective fields. Two of the four episodes will be conducted in English, and the other two will be recorded in Cantonese.
In this episode, the two hosts discuss various aspects of the research direction for "Farewell My Concubine," such as the different versions of novels and films. What are the differences in the endings? How does the director of "Farewell My Concubine" view Chinese tradition, and how does Leslie Cheung, as a star figure, draw inspiration from the film "Farewell My Concubine"?
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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
❣️❣️❣️ The film "Farewell My Concubine" is adapted from the novel of the same name by 🇭🇰Hong Kong writer Lilian Lee. Directed by Chen Kaige, written by Lu Wei, and starring Leslie Cheung🇭🇰, Gong Li, Zhang Fengyi, Ge You, and others, this movie can be considered a classic collaboration that brought together financial, material, and human resources from Mainland China, Hong Kong, and Taiwan. As a flagship film with the highest artistic achievements in the Chinese-language film industry and enjoying worldwide acclaim, "Farewell My Concubine" has been beloved by millions of fans since its release in 1993. It broke the box office records for mainland Chinese art films in the United States. It won numerous international honors for Chen Kaige, including the Palme d'Or at the 1993 Cannes Film Festival, the Golden Globe Award for Best Foreign Language Film, and awards from the International Federation of Film Critics. In 2005, "Farewell My Concubine" was selected as one of the "100 All-Time Best Films" by Time magazine, marking a brilliant chapter in Chen Kaige's directorial career.
🌕🌕🌕 When the film reached US theaters in 1993, Miramax's Harvey Weinstein cut 14 minutes from the movie. Film Movement is now being returned to theaters in its full 171-minute glory, courtesy of Film Movement Classics. The distributor will release a newly restored 4K version in North American theaters beginning September 22 at the Film Forum in New York City.
Audiences in Los Angeles can see this version on the big screen on September 29 at the Nuart Theatre.
To make it grand, we produced a four-episode podcast, inviting four scholars to discuss the significance of this Chinese-language film, "Farewell My Concubine," from their respective fields. Two of the four episodes will be conducted in English, and the other two will be recorded in Cantonese.
In this first episode, Dr. Stanley Rosen, a Political Science professor from USC, will discuss what Harvey Weinstein cut in the film when it first reached the US theaters in 1993 and the political significance of 1993 when it was released in mainland China.
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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
In this episode, we have discussed the film MY PRINCE EDWARD (2019), directed by Norris Wong. The film explores the balance between life and survival for middle-aged Hong Kong women through the characters of Cheung Lai-Fong, played by Stephy Tang, and her boyfriend Yan Chun-wing, played by CHU Pak Hong. It delves into their journey from love, life, and engagement to marriage preparation. Additionally, it examines how the fast-paced culture of Hong Kong in the past has influenced everyday decisions, as seen in the wedding shops of the Golden Plaza.
A group of people enjoy taking mundane activities seriously in some corners of the world. They love watching movies 🎞️ and eating popcorn 🍿️. These somewhat eccentric individuals are multilingual and well-versed in unique Hong Kong community slang. They share their opinions on various films with the general public in a relatable but not vulgar manner. They aim to spread happiness 🥳 and invite all cinephiles 👯 to discuss movies 🎬 and enjoy popcorn 🍿️ together.
----------------------- The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Ep. 38: Hong Kong Spectral Cinema and the 1997 Turnover [Cantonese]
16 Sep 2023
00:51:08
In this episode, we aimed to explore Hong Kong's spectral cinema from the 1980s - the 2000s, the perception of 1997, and Hong Kong's changing cultural and political identity. During the discussion, the hosts discussed three ghost films, namely Stanley Kwan's ROUGE (胭脂扣，1987), Clara Law's THE REINCARNATION OF GOLDEN LOTUS (潘金蓮的前世金生, 1989) and Fruit Chan's DUMPLINGS (餃子, 2004).
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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Ep. 37: On Pang Ho-cheung's DREAM HOME 維多利亞壹號 (Starring Josie Ho) [Cantonese]
05 Sep 2023
00:35:15
In this episode, we have discussed DREAM HOME - which Josie Ho starred in. In the discussion, we have discussed: What is a cult film? What is the most terrifying scene? How is Josie Ho's performance? Is it similar to OVER MY DEAD BODY （死屍死時四十四）and other similar films?
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Episode 6: “The Emergence of Golden Harvest and the Flourishing of the Film Industry in the 1970s Under Free Competition"
At the start of the 1970s, the Shaw Brothers Company, with its studios and cinema chains and a massive production volume, seemed like an invincible giant in the film industry. However, it created its formidable competitor: Raymond Chow, a former Shaw Brothers executive. Chow left the company due to disagreements with Mona Fong's management and founded Golden Harvest. Golden Harvest discovered Bruce Lee, took over Cathay Organization's studios, and established its cinema chain. The success of Michael Hui's comedies repeatedly broke box office records. Golden Harvest evolved from a financially struggling company into an internationally renowned giant capable of rivaling Shaw Brothers. It became a pillar of Hong Kong cinema from the 1980s to the 1990s, embodying a legendary success story.
In addition to Golden Harvest, several independent film companies achieved significant box office success during the 1970s, bringing fresh ideas to the industry. These included companies like Seasonal Film Corporation and Bo Ho Film Company, which thrived due to the free competition in Hong Kong's film industry.
In this sixth episode of the podcast, we divided our discussion into three segments. In the second segment, we covered the following topics:
How did Golden Harvest overcome the difficulties following Bruce Lee's sudden death?
In the 1970s, Hong Kong society transitioned from traditional to modern, with the film industry reflecting this social change. How did Golden Harvest surpass Shaw Brothers during this transformation?
Golden Harvest had many stars. How significant were the influences of Sammo Hung, Michael Hui, John Woo, and Jackie Chan?
What are comedy kung fu films? What are some famous works, and how did they influence "Kung Fu Panda"?
How did comedy kung fu films help Cantonese-language movies become mainstream in Hong Kong?
Besides Golden Harvest, many independent film production companies emerged in the 1970s. Who were involved, and what works did they produce?
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Outline of Introduction to Hong Kong Film Industry Podcast Part 4 About this series of podcasts, please check here.
Part 4: Left-Right Opposition and the Competition of the Two Titans
In this fourth episode of the podcast, we have two segments, each focusing on the following topics; 4.1 The Rise and Fall of MP & GI 4.2 The Rise of Shaw Bros
Outline:
Mandarin Film Industry’s Progress: From Left and Right Opposition to the Competition of Industry Titans “Shaw Bros” and “MP & GI” In the 1950s, Hong Kong’s Mandarin Film Industry’s right and left parties became increasingly diametrically opposed. Leftist companies like the “Great Wall Movie Enterprise” and “Phoenix Motion Enterprise” received support from the leaders of the Chinese Communist Party. While companies that appeared more rightist included “Hsin Hwa Motion Pictures” and “Asia Film Company.” Amongst them were companies that sought to enter and endear themselves to the Taiwanese market, including the “Shaw Bross” and “MP & GI” (also known as Cathay Organization).
Although their political stances were seemingly oppositional, both sides had for a long period where few films openly displayed any political messages-- most movies filmed were commercial features focused foremost on entertainment.
The superiority of Mandarin films gradually became clear through the abundant wealth and influence of Singaporean and Malaysian capital put into companies like “MP & GI” and “Shaw Brothers.”
“MP & GI” use of modern and fashionable films were heavily praised. “Shaw Bros,” on the other hand, was at first less favorably received. Run Run Shaw later acquired a large amount of Singaporean capital to build theaters, produce colored films, raise the manufacturing quality of the industry, and successively established Huangmei Opera and Wuxia as two of the largest film trends.
By the 1960s, these companies were superior within the Mandarin Film Market, and their impact and influence could also be seen in the Cantonese Film Market.
⭐4.2：The Rise of Shaw Bros⭐
In the fourth episode, the second section, we primarily discussed:
What was the origin of the Shaw Bros Group?
Regarding the Shaw Bros Cantonese film division, which important Cantonese-speaking stars were active in its early days? What were the significant Cantonese-language films?
Why was Patricia Lam Fung jokingly called the "Queen of Gestures" early on?
When did Shaw Bros. begin to make significant strides?
Shaw Bros possessed a robust infrastructure (film studios, capital, market), significantly elevating the production quality of Hong Kong cinema. Unfortunately, they had weak creative capacity. How did they address this deficiency?
What were the distinctive features of the Shaw Bros' films? What kind of ideal world did they portray?
Li Han-Hsiang was a pivotal figure at Shaw Bros. Why did he eventually leave the studio?
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Outline of Introduction to Hong Kong Film Industry Podcast Part 4 About this series of podcasts, please check here.
Part 4: Left-Right Opposition and the Competition of the Two Titans
In this fourth episode of the podcast, we have two segments, each focusing on the following topics; 4.1 The Rise and Fall of MP & GI 4.2 The Rise of Shaw Bros
Outline:
Mandarin Film Industry’s Progress: From Left and Right Opposition to the Competition of Industry Titans “Shaw Bros” and “MP & GI” In the 1950s, Hong Kong’s Mandarin Film Industry’s right and left parties became increasingly diametrically opposed. Leftist companies like the “Great Wall Movie Enterprise” and “Phoenix Motion Enterprise” received support from the leaders of the Chinese Communist Party. While companies that appeared more rightist included “Hsin Hwa Motion Pictures” and “Asia Film Company.” Amongst them were companies that sought to enter and endear themselves to the Taiwanese market, including the “Shaw Bross” and “MP & GI” (also known as Cathay Organization).
Although their political stances were seemingly oppositional, both sides had for a long period where few films openly displayed any political messages-- most movies filmed were commercial features focused foremost on entertainment.
The superiority of Mandarin films gradually became clear through the abundant wealth and influence of Singaporean and Malaysian capital put into companies like “MP & GI” and “Shaw Brothers.”
“MP & GI” use of modern and fashionable films were heavily praised. “Shaw Bros,” on the other hand, was at first less favorably received. Run Run Shaw later acquired a large amount of Singaporean capital to build theaters, produce colored films, raise the manufacturing quality of the industry, and successively established Huangmei Opera and Wuxia as two of the largest film trends.
By the 1960s, these companies were superior within the Mandarin Film Market, and their impact and influence could also be seen in the Cantonese Film Market.
4.1 Rise and Fall of MP & GI
In the fourth episode, the first section, we mainly discussed:
How did MP & GI rise to prominence?
Who is the key figure, Loke Wan Tho?
What are the distinctive features of MP & GImovies?
Which is the best movie produced by MP & GI?
Why did MP & GI decline?
Are there any notable celebrities involved?
Who are the important figures in the MP & GI film industry?
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
「The Hong Kong On ScreenPodcast」在這一集特別邀請了香港電影專家Frank Djeng討論了：
為何美國會這麼重視這部電影呢？
西方一致認為《猛龍過江》為李小龍最好的電影，但香港一般認為前三部都比這部好，為什麼呢？
有說李小龍在設計武打時，刻意迎合西方觀眾，究竟什麼是迎合西方品味呢？
有什麼片段被删呢？
《猛龍過江》有什麼特別呢？
李小龍最好的電影是什麼呢？
On the 50th anniversary of Bruce Lee's passing, the first Hong Kong film co-produced with a major American film studio, "Enter the Dragon," was released nationwide in the United States one month after his death, causing a sensation and ranking 13th in the box office for the year in 1973. Bruce Lee became the first Chinese actor to play the lead role in a Hollywood film, significantly influencing the development and status of martial arts films in world cinema history.
Unfortunately, he couldn't witness his achievements and influence during his lifetime. On August 13th and August 16th, Warner Bros. owns the film "Enter the Dragon," which will hold nationwide screenings of the newly restored 4K version. Don't miss the opportunity to see the final work of the legendary Bruce Lee on the big screen.
"The Hong Kong On Screen Podcast" in this episode has invited Hong Kong film expert Frank Djeng to discuss:
Why does the United States value this film so much?
While Western audiences generally regard "Enter the Dragon" as Bruce Lee's best film, Hong Kong audiences believe the first three films are better. Why is that?
It's been said that Bruce Lee intentionally catered to Western audiences when designing martial arts choreography. What exactly constitutes catering to Western tastes?
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Besides the political divide between left and right in the industry, Cantonese and Mandarin films gradually garnered traction and became two distinct and independent film markets. In addition to Mandarin and Cantonese films, Hong Kong was the production center of lesser-known films in the Hokkien and Teochew dialects. These films were exported to various Southeast Asian countries with Chinese diasporic communities. The cultural influence of Hong Kong’s film industry was far from what we commonly imagined.
One of the most significant achievements in the post-War Cantonese film industry was the establishment of the Union Film Enterprise Ltd (Union). Union was part of the leftist film movement despite being a film production company. It represented a filmmaking notion that attempted to unify the organizational structure, ideology, and aesthetic style of the company from a leftist perspective. As a result, it profoundly affected the production of Cantonese films in later eras. Beyond becoming the precursor of other film studios that shared similar ideological orientations, Union contributed significantly to improving the overall standard, emphasizing dramaturgical elements, and promoting arthouse films as a mainstream genre in Cantonese film production. Even after the demise of Union in the late 1960s, its impact was still evident in the industry. Specifically, while Union promoted the separation between Cantonese opera artists and pop movie stars, it nonetheless played a pivotal role in promoting the adaptation of Cantonese song records to opera films. Understanding the rise and fall of Union is the key to studying the development of Cantonese films during the 1950s to 1960s.
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Besides the political divide between left and right in the industry, Cantonese and Mandarin films gradually garnered traction and became two distinct and independent film markets. In addition to Mandarin and Cantonese films, Hong Kong was the production center of lesser-known films in the Hokkien and Teochew dialects. These films were exported to various Southeast Asian countries with Chinese diasporic communities. The cultural influence of Hong Kong’s film industry was far from what we commonly imagined.
One of the most significant achievements in the post-War Cantonese film industry was the establishment of the Union Film Enterprise Ltd (Union). Union was part of the leftist film movement despite being a film production company. It represented a filmmaking notion that attempted to unify the organizational structure, ideology, and aesthetic style of the company from a leftist perspective. As a result, it profoundly affected the production of Cantonese films in later eras. Beyond becoming the precursor of other film studios that shared similar ideological orientations, Union contributed significantly to improving the overall standard, emphasizing dramaturgical elements, and promoting arthouse films as a mainstream genre in Cantonese film production. Even after the demise of Union in the late 1960s, its impact was still evident in the industry. Specifically, while Union promoted the separation between Cantonese opera artists and pop movie stars, it nonetheless played a pivotal role in promoting the adaptation of Cantonese song records to opera films. Understanding the rise and fall of Union is the key to studying the development of Cantonese films during the 1950s to 1960s.
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Besides the political divide between left and right in the industry, Cantonese and Mandarin films gradually garnered traction and became two distinct and independent film markets. In addition to Mandarin and Cantonese films, Hong Kong was the production center of lesser-known films in the Hokkien and Teochew dialects. These films were exported to various Southeast Asian countries with Chinese diasporic communities. The cultural influence of Hong Kong’s film industry was far from what we commonly imagined.
One of the most significant achievements in the post-War Cantonese film industry was the establishment of the Union Film Enterprise Ltd (Union). Union was part of the leftist film movement despite being a film production company. It represented a filmmaking notion that attempted to unify the organizational structure, ideology, and aesthetic style of the company from a leftist perspective. As a result, it profoundly affected the production of Cantonese films in later eras. Beyond becoming the precursor of other film studios that shared similar ideological orientations, Union contributed significantly to improving the overall standard, emphasizing dramaturgical elements, and promoting arthouse films as a mainstream genre in Cantonese film production. Even after the demise of Union in the late 1960s, its impact was still evident in the industry. Specifically, while Union promoted the separation between Cantonese opera artists and pop movie stars, it nonetheless played a pivotal role in promoting the adaptation of Cantonese song records to opera films. Understanding the rise and fall of Union is the key to studying the development of Cantonese films during the 1950s to 1960s.
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Besides the political divide between left and right in the industry, Cantonese and Mandarin films gradually garnered traction and became two distinct and independent film markets. In addition to Mandarin and Cantonese films, Hong Kong was the production center of lesser-known films in the Hokkien and Teochew dialects. These films were exported to various Southeast Asian countries with Chinese diasporic communities. The cultural influence of Hong Kong’s film industry was far from what we commonly imagined.
One of the most significant achievements in the post-War Cantonese film industry was the establishment of the Union Film Enterprise Ltd (Union). Union was part of the leftist film movement despite being a film production company. It represented a filmmaking notion that attempted to unify the organizational structure, ideology, and aesthetic style of the company from a leftist perspective. As a result, it profoundly affected the production of Cantonese films in later eras. Beyond becoming the precursor of other film studios that shared similar ideological orientations, Union contributed significantly to improving the overall standard, emphasizing dramaturgical elements, and promoting arthouse films as a mainstream genre in Cantonese film production. Even after the demise of Union in the late 1960s, its impact was still evident in the industry. Specifically, while Union promoted the separation between Cantonese opera artists and pop movie stars, it nonetheless played a pivotal role in promoting the adaptation of Cantonese song records to opera films. Understanding the rise and fall of Union is the key to studying the development of Cantonese films during the 1950s to 1960s.
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Episodes Outline: Besides the political divide between left and right in the industry, Cantonese and Mandarin films gradually garnered traction and became two distinct and independent film markets. In addition to Mandarin and Cantonese films, Hong Kong was the production center of lesser-known films in the Hokkien and Teochew dialects. These films were exported to various Southeast Asian countries with Chinese diasporic communities. The cultural influence of Hong Kong’s film industry was far from what we commonly imagined.
One of the most significant achievements in the post-War Cantonese film industry was the establishment of the Union Film Enterprise Ltd (Union). Union was part of the leftist film movement despite being a film production company. It represented a filmmaking notion that attempted to unify the organizational structure, ideology, and aesthetic style of the company from a leftist perspective. As a result, it profoundly affected the production of Cantonese films in later eras. Beyond becoming the precursor of other film studios that shared similar ideological orientations, Union contributed significantly to improving the overall standard, emphasizing dramaturgical elements, and promoting arthouse films as a mainstream genre in Cantonese film production. Even after the demise of Union in the late 1960s, its impact was still evident in the industry. Specifically, while Union promoted the separation between Cantonese opera artists and pop movie stars, it nonetheless played a pivotal role in promoting the adaptation of Cantonese song records to opera films. Understanding the rise and fall of Union is the key to studying the development of Cantonese films during the 1950s to 1960s.
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
In this episode, I'm delighted to deeply discuss with Director Ka Sing-Fung his debut feature film "LOST LOVE." How did the director transition from telling stories through text to telling stories through visuals? What were the challenges of moving from making short films to a full-length feature? Did the focus on society, grassroots concerns, and realistic style contribute to government funding? What is the director's relationship with other emerging directors? How did the director and screenwriter shape the character of Aunt Tin Mei? How did the seven children's stories enrich Aunt Tin Mei’s character and impact her marital relationship? Which scene was the most challenging to film? Do cigarettes and other food items hold special significance in the movie?
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Ep. 27: Special: Reaction to The Sparring Partner [Cantonese]
15 Jun 2023
00:48:29
Our guest host Vivi offers an interpretation of The Sparring Partner 正義迴廊 (2022) from a 100% Hong Kong people's perspective.
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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving Leave a comment and share your thoughts: https://open.firstory.me/user/hkonscreen/comments
"The Lyricist Wannabe" was screened on May 25th at 3:00 PM at Starlight Whittier Village Cinemas 🎬✨. We thank everyone who came to watch the film 💖 and special thanks to director Norris Wong and producer Hoi Wong for coming in person to share with us 🙏.
In this episode of the podcast, we mainly discussed with the director the initial inspiration for making the film 🎥, the logic behind choosing locations 📍, the challenges faced during filming 💪, and their thoughts on the outcome of the dream of becoming a lyricist 🎶.
Listen here: https://hkonscreen.firstory.io/ 🎧
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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Following the end of World War Two, Hong Kong was liberated from the Japanese occupation while China was embroiled in the Chinese Civil War between the Kuomintang (KMT) government and forces of the Chinese Communist Party (CCP). Despite being unscathed by the regime changes, the shift in the Chinese political landscape had a determining but indirect influence on Hong Kong’s film industry. During the Civil War, many Shanghai filmmakers sought refuge in Hong Kong because they were considered traitors to the regime. The well-capitalized company, Wing-Wah, also established its foundation in Hong Kong due to its relative political stability. During the Cold War, KMT and CCP tried to expand their reach to Hong Kong. The conflict between the two camps consolidated the leftist-rightist dichotomy as the basic structure of the Hong Kong film industry.
Movies Mentioned in this episode: 這一集中提到的電影:
Orphan Island Paradise 孤島天堂 (1939)
Twin Sisters of the South 南國姊妹花 (1939)
The Rich House 蓬門碧玉 (1942)
Bitter Phoenix, Sorrowful Oriole 苦鳳鶯憐 (1947)
The White Gold Dragon, Part Two (aka The Platinum Dragon, Part Two) 續白金龍 (1937)
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Ep. 25: Dora Choi (徐岱靈) on TO BE CONTINUED (尚未完場) [Cantonese]
20 May 2023
00:45:20
This episode features a conversation between an HKOS member and the co-director of TO BE CONTINUED, who is also the Co-founder of 'Walk in Hong Kong", Dora Choi. They discuss the documentary's origins and her team’s discoveries on Harry Odell, the forgotten impresario of Hong Kong. Odell, a Shanghai-bred Russian Jew, left a significant impact on the cultural life of post-war Hong Kong. Dora believes that this movie is just the beginning of the writing of Hong Kong’s cultural history, and she encourages people from Hong Kong to continue the spirit of Odell, embarking on a soul-searching journey to define what truly makes Hong Kong unique.
Film Mentioned:
To BE CONTINUED 尚未完場 (2022)
From Mao to Mozart: Isaac Stern in China 從毛澤東到莫扎特 (1981)
You can also check the list on letterboxd: https://letterboxd.com/hkonscreen/list/movies-mentioned-episode-25/
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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Ep. 24: Sammo Hung Retrospective at Academy Museum w/ Patrick Lowry and Lindy Leong [English]
17 May 2023
00:43:58
This episode features a conversation between HKOS member Lindy Leong and AMPAS Museum's Patrick Lowry on the Sammo Hung (洪金寶）: From Stuntman to Star retrospective running throughout May 2023 as part of the museum's AAPI Heritage Month programming. They discuss the genesis of the retrospective, his personal admiration and fandom for the HK action cinema icon, the museum's interest in supporting Hong Kong cinema as part of its programming, HKOS' desire for collaboration to serve the diaspora in the Greater LA area and beyond, and its ongoing search for its identity as an all-volunteer run collective, the curatorial rationale and logistical challenges of putting together the film series, including a deeper dive into the significance of each film title in the retrospective. They encourage film fans of the HK icon to attend the film series as it is a rare opportunity to see most of these films on the big screen in the US.
Films Mentioned:
Features
The Millionaires' Express富貴列車 (1986) - Digital
Pedicab Driver 群龍戲鳳 (1989) - 35mm English dubbed print
Wheels on Meals 快餐車 (1984) - DCP
Dragons Forever 飛龍猛將(1988) - DCP
Project AA計劃 (1984) - DCP
Painted Faces 七小福 (1988) - 35mm print courtesy of the Academy Film Archive
Eastern Condors東方秃鷹 (1987) - 35mm print courtesy of the Academy Film Archive
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
In this podcast episode, we interviewed a newly established Hong Kong film distributor in the United States. During the interview, we talked about their background and past screening experience and then how did they go from private screenings to officially entering the distributorship? What are the challenges when distributing their first film - SAY I DO TO ME? And how did they feel after releasing the first movie? What are their plans? Finally, we also talked about how to go on the road of distributing Hong Kong movies in the United States.
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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
The Hong Kong government commemorated the centenary of the Hong Kong cinematic industry with a range of activities in 2019. Perhaps the most significant yet ironic event was the academic symposium held by the Hong Kong Film Archive at the end of the year. In the symposium, a scholar presented concrete evidence to challenge the long-held consensus that the first Hong Kong film was produced in 1909. Instead, the scholar suggested the first film was produced five years later, in 1914. This discussion was an exciting and thought-provoking example of a scholarly endeavor in Hong Kong’s cinematic history.
While the first film marked a milestone in Hong Kong history, it did not suggest the industry was vibrant during the initial stage. In the 1930s, Hong Kong finally established its Mandarin film industry, only second to Shanghai. Its development could be attributed to various factors, including Chinese politics, economy, and culture. In part, Shaw Brothers Studio, a local film production company, played an influential yet less-known role in the industry.
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Ep. 21: HKOSFF Festival Line-Up w/ Lindy [English]
18 Apr 2023
01:01:03
This episode features a conversation between HKOS Podcast host and film and media educator/film programmer/film archivist Lindy Leong about the HKOSFF festival line-up. They discuss the origin, mission, and goals of HKOS and how this inaugural film festival (being held on April 28th-30th, 2023, at the Starlight Whittier Village Cinemas) aspires to offer an important platform for HK independent cinema while celebrating the incredible legacy of Hong Kong cinema, as best exemplified by the 20th Anniversary tribute to HK icons Leslie Cheung and Anita Mui. An overview of each festival day is provided with some insights into the features and the shorts showcase.
Features Rouge 胭脂扣(1987) - 4K Restoration Nomad 烈火青春(1982) - 4K Restoration The Heroic Trio 東方三俠 (1993) Days of Being Wild 阿飛正傳 (1990) - 4K Restoration Happy Together (1997)春光乍洩 - 4K Restoration The Narrow Road 窄路微塵(2022) Made in Hong Kong 香港製造 (1997) - 4K Restoration The Sparring Partner 正義迴廊 (2022) To Be Continued 尚未完場 / The Entrepot 中轉站 (both 2022) The Sunny Side of the Street 白日青春 (2022)
Shorts 短片： Three Rivers for a Fish 迴游 By 3 pm 下午三點 The Outlanders - From HKG to SEA Blue Hour 第一晚 White Night 天暗亦日月 Night is Young 夜更
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Ep. 20: Interview with Ho Cheuk-Tin, Director of The Sparring Partner [Cantonese]
14 Mar 2023
00:39:58
Interview with film director Ho Cheuk-Tin (何爵天). We chatted about how he started working in cinema and how his first feature film The Sparring Partner 正義迴廊 (2022) came into being. He also discussed the aesthetic style as well as the reception of the film.
Ep. 19: A conversation with Frank Djeng on the Criterion Channel's Michelle Yeoh Kicks Ass Series [Cantonese]
07 Mar 2023
00:43:14
This episode features a conversation between the HKOS Podcast host and Asian film expert Frank Djeng. The discussion started with the new film series on The Criterion Channel - Michelle Yeoh Kicks Ass. With Michelle Yeoh having a banner year, Criterion has put together a series of eight films that display her action prowess, featuring, Yes, Madam! (皇家師姐)(1985), Royal Warriors (皇家戰戰士)(1986), Magnificent Warriors（中華戰士） (1987), Police Story 3: Supercop（警察故事3：超級警察) (1992), The Heroic Trio(東方三俠) (1993), Executioners (現代豪俠傳) (1993), The Stunt Woman (阿金) (1996), and of course, Crouching Tiger, Hidden Dragon (臥虎藏龍 ) (2000). After highlighting the key features of the eight films, their talks branch out to address other topics, including the best films of Michelle Yeoh and Frank's favorite.
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Ep. 18: Interview with new generation filmmaker: Twinkle Ngan (II) [Cantonese]
18 Feb 2023
01:20:49
The second interview with Twinkle Ngan, director of Love in the Time of Revolution (因為愛所以革命, 2022). We discussed his "fictional film" approach in making this documentary and the kind of love that he portrayed in the film. Twinkle shared some more stories about the difficulties and experiences in shooting, producing, and exhibiting this film.
For more conversations like this one, subscribe to Hong Kong On Screen on Apple Podcasts, Spotify, or wherever you listen to podcasts.
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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Ep. 17: Interview with new generation filmmaker: Twinkle Ngan (I) [Cantonese]
06 Feb 2023
00:40:50
In today’s episode, we spoke with Twinkle Ngan, director of Love in the Time of Revolution (2022) (因為愛所以革命,2022). He shared his experience in making his first documentary, his screenings experience, and his thoughts on other Hong Kong documentaries about the 2019-2020 protests.
This post is based on an episode of the Hong Kong Podcast with Twinkle Ngan. For more conversations like this one, subscribe to Hong Kong On Screen on Apple Podcasts, Spotify, or wherever you listen to podcasts.
Episode 6: “The Emergence of Golden Harvest and the Flourishing of the Film Industry in the 1970s Under Free Competition"
At the start of the 1970s, the Shaw Brothers Company, with its studios and cinema chains and a massive production volume, seemed like an invincible giant in the film industry. However, it created its formidable competitor: Raymond Chow, a former Shaw Brothers executive. Chow left the company due to disagreements with Mona Fong's management and founded Golden Harvest. Golden Harvest discovered Bruce Lee, took over Cathay Organization's studios, and established its cinema chain. The success of Michael Hui's comedies repeatedly broke box office records. Golden Harvest evolved from a financially struggling company into an internationally renowned giant capable of rivaling Shaw Brothers. It became a pillar of Hong Kong cinema from the 1980s to the 1990s, embodying a legendary success story.
In addition to Golden Harvest, several independent film companies achieved significant box office success during the 1970s, bringing fresh ideas to the industry. These included companies like Seasonal Film Corporation and Bo Ho Film Company, which thrived due to the free competition in Hong Kong's film industry.
In this sixth episode of the podcast, we divided our discussion into three segments. In the first segment, we covered the following topics:
The background of Golden Harvest's establishment: What is the background of its founders? What personnel did Raymond Chow take with him from Shaw Brothers? What were the reasons for the departure?
Chang Cheh initially planned to leave with Raymond Chow but ultimately did not—why was that?
How did the emergence of the superstar Bruce Lee save Golden Harvest?
How did kung fu films become box office hits after Bruce Lee's appearance, and how did they differ from the earlier wuxia films?
What defines a true kung fu film?
What was Golden Harvest's satellite company, and how did Golden Harvest utilize it to reduce costs?
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Ep. 16: Interview with Hong Kong Film Music Composer Anthony Chue [English]
21 Jan 2023
00:33:40
Interview with film music composer Anthony Chue (褚鎮東). We chatted about the opportunities and industry practices for film music composition in Hong Kong, followed by some more in-depth discussion of Chue's style in the movies Divergence 三岔口 (2005, dir. Benny Chan) and All About Love 得閒炒飯 (2010, dir. Ann Hui). He also discussed how working in films influenced his work in Cantopop.
With special guest Prof. Joseph Lee, we put on a spirited defense of the seminal anthology film Ten Years, in terms of its artistic merit, political themes, and widespread legacy.
The shorts: Extras〈浮瓜〉 Season of the End〈冬禪〉 Dialect〈方言〉 Self-Immolator〈自焚者〉 Local Egg〈本地蛋〉
The Ten Years films: Ten Years Ten Years Thailand Ten Years Japan Ten Years Taiwan
Other films mentioned: Port of Call《踏血尋梅》 Good Take! Septet: the Story of Hong Kong《七人樂隊》 She Remembers, He Forgets《哪一天我們會飛》 Schindler’s List The Dark Knight Warriors of Future《明日戰記》 Plan 75 Beyond the Dream《幻愛》 Revolution of Our Times《時代革命》 Far Far Away《緣路山旮旯》 Hong Kong Connection《鏗鏘集》 Center Stage《阮玲玉》 Parasite Joshua: Teenager vs. Superpower Lost in the Fumes《地厚天高》 Blue Island《憂鬱之島》
Ep. 14: Distributing Hong Kong Protest Films in the U.S. [English]
21 Dec 2022
00:49:21
We continue our discussion of the landmark documentary Revolution of Our Times with a team member behind its U.S. distribution, Anna Kwok from the Hong Kong Democracy Council (HKDC). We share lessons learned behind the film’s successful global simulcast and failed Oscar campaign, and talk about cinema’s role in building diaspora and healing collective trauma.
Movies mentioned: Revolution of Our Times《時代革命》 Ten Years《十年》 Inside the Red Brick Wall《理大圍城》 Taking Back the Legislature《佔領立法會》 Blue Island《憂鬱之島》 Table for Six《飯戲攻心》
Continued the talk with director Kiwi Chow (周冠威)! We focus on the structure of his documentary REVOLUTION OF OUR TIME (時代革命) and the production condition of independent Hong Kong cinema.
Movies mentioned in this episode: https://letterboxd.com/hkonscreen/list/move-mentioned-episode-12-13/
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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.