Transgression as a Postfeminist Masquerade: The Representation of Female Perpetrators in Hong Kong Crime Films

2019 ◽  
Vol 43 (4) ◽  
pp. 710-727
Author(s):  
Tingting Hu
Keyword(s):  
Hong Kong ◽  
Crime Films ◽  
Female Perpetrators

scholarly journals Masculine Performance in Hong Kong Crime Films from Post-Bruce to the 2000s

2017 ◽  
Vol 4 (2) ◽  
pp. 73-82
Author(s):  
Gabriel F. Y. Tsang
Keyword(s):  
Hong Kong ◽  
Film Industry ◽  
Cultural Development ◽  
Action Films ◽  
Crime Films ◽  
Crime Film ◽  
Male Characters ◽  
Bruce Lee ◽  
Chinese Masculinity ◽  
Artistic Images

Masculinity, in Lacan’s sense, is an imagination. To specifically theorise Chinese masculinity, Kam Louie examined the elements of wen (cultural attainment) and wu (martial valour) rendered through historical or artistic images, and Song Geng and Derek Hird guide the discussions about Chinese manhood represented in everyday life. With a Marxist perspective, Lo Kwai Cheung illustrated the dissolvability of Chinese masculinity under international capitalism. With reference to Aristotle, it is supposed that Chinese masculinity, similar to ‘tragicity’ in nature, can be represented through imitating actions and hence be perceived. Based on Aristotle’s understanding, we can regard actions as ‘iterable’ media (like Derrida’s understanding of written texts) which engender performances according to the genealogy of quantitative mimesis. Integrating theoretical discussions with a chronological approach, my full paper will go through following points in order to summarise the changes in Hong Kong crime films from the post-Bruce Lee era to the 2000s: (1) Hong Kong crime film inherited the martial side of masculinity from action films and became a popular genre since A Better Tomorrow was well received in the mid-1980s. (2) Many directors diversified the interpretation of crime in the late 1980s and the 1990s, but remained a focus on the strength, nimbleness and boldness of men. (3) After the decline of Hong Kong film industry for several years, Infernal Affairs’s success renewed the representation of manhood. (4) From the 2000s to now, male characters in crime films are preferably intelligent and wisely-romantic, like the fragile scholar in ancient China. (5) While globalisation seems to be eliminating the Chineseness of Chinese masculinity, I argue that geographical specificity and different speed of cultural development lead to the impossibility of synchronic masculine similarity. (6) Through a brief discussion concerning Hollywood’s adaptation of Hong Kong films, I argue that local masculinity is not transformable.  

From Killer Snakes to Taxi Hunters: Hong Kong Horror in an Exploitation Context

2018 ◽  
Author(s):  
Andy Willis
Keyword(s):  
Hong Kong ◽  
Production Line ◽  
Film Industry ◽  
Kung Fu ◽  
Horror Genre ◽  
Crime Films ◽  
Box Office ◽  
Bruce Lee ◽  
Hong Kong Cinema ◽  
Visual Style

From the Shaw Brothers production line to the clones of Bruce Lee, Hong Kong cinema has long been seen as driven by raw commercial concerns. Like many other commercial film industries, most notably Hollywood, production in the Hong Kong film industry has also been focused on popular cycles of production. These have included phases when family melodramas, historical swordplay and kung-fu films, screwball comedies and triad based crime films have all proved successful at the domestic and regional box-office. As with other commercially focused film industries there has also been a low budget sector within Hong Kong industry. Here producers and directors have fashioned energetic, populist films that were designed to appeal to audiences’ desire for films that contained sex and violence. The horror genre seemed the perfect vehicle to satiate these needs. This chapter explores the work of filmmakers who worked at this rougher end of Hong Kong horror in the 80s and 90s. As well as placing them into this exploitation context of production, this chapter discusses their excessive content and the visual style employed by directors such as Kuei Chih-hung (Killer Snakes, Hex) and Herman Yau (The Untold Story, Ebola Syndrome) to deliver their exploitative content.

Verocytotoxin-producing Escherichia coli infection: The Hong Kong experience

1998 ◽  
Vol 13 (11-s4) ◽  
pp. S289-S293 ◽  
Author(s):  
SSY WONG ◽  
WC YAM ◽  
PHM LEUNG ◽  
PCY WOO ◽  
KY YUEN
Keyword(s):  
Escherichia Coli ◽  
Hong Kong ◽  
Escherichia Coli Infection

Abstracts of the Annual Scientific Meeting of the College of Surgeons of Hong Kong 20-21 May 2000

2000 ◽  
Vol 4 (2) ◽  
pp. A5-A5
Author(s):  
P.B.S. Lai ◽  
W.Y. Lau ◽  
S.S.M. Ng ◽  
P.T. Chui ◽  
K.L. Leung ◽  
...  
Keyword(s):  
Hong Kong ◽  
Scientific Meeting ◽  
Annual Scientific ◽  
Annual Scientific Meeting
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