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Seminar: How to Reimagine Bollywood by Prof. Ashish Rajadhyaksha

Seminar: How to Reimagine Bollywood by Prof. Ashish Rajadhyaksha

Dates: 4th December 2017
Time: 15:30 – 17:00
Venue: D2-LP-12
Language: English

*All are welcome! No registration required.*

 

How to Reimagine Bollywood

Bollywood has produced numerous conundrums: as a kind of copycat version of a Hollywood original, it has been a source of some irritation to Indian filmmakers. As a new kind of cultural economy, including fashion, tourism, food and investment destinations, Bollywood has been a brand ambassador for numerous industries: but in the process, it has also become far removed from, and far in excess of, the cinema. Bollywood is presented at its most complex when it is widely seen, as with Aamir Khan’s recent successes in China, as the soft power arm of India, except that the Indian state has no control over it, and no capacity to leverage its global reach. Most corporate interests in the entertainment sector trying to ride on Bollywood’s success have also had a hard time converting an obvious interest in all things Indian into a stable market for a new economy. This presentation tracks the origins and key uses of the concept, and also the consequences of the Bollywood conundrum: is it an industry in its own right, or merely a refraction of other industries in India and elsewhere? Does it have economic existence or is it a countercultural chimera, to be consumed on the margins of the world’s creative industries?

Bio

Ashish Rajadhyaksha is a noted cultural theorist and film scholar. He is currently Professor of Practice in the Department of Cultural Studies at Lingnan University. He has written and published widely in the area of Indian cinema, India’s cultural policy, and on the visual arts. He is the co-editor (with Paul Willemen) of the Encyclopaedia of Indian Cinema (published in 1999 and 2001 by the British Film Institute). His books include The Last Cultural Mile: An Inquiry into Technology and Governance in India (2011) and Indian Cinema in the Time of Celluloid: From Bollywood to the Emergency (2009). He has curated a number of film and art events, including (with Geeta Kapur) Bombay/Mumbai 1991-2001 for the exhibition Century City: Art and Culture in the Modern Metropolis (2002) and You Don’t Belong (China/Hong Kong, 2012/13).

Film Salons curated by students: Fruit Chan’s Hong Kong

Film Salons curated by students: Fruit Chan’s Hong Kong

Dates: Starting from 19/10, every other Thursday
Time: 18:00 – 21:00
Venue: D2-LP-05
Language: (film) Cantonese with English subtitles for film; (post-screening discussion) Bilingual

*All are welcome! No registration required.*

 

In this semester, we are looking for fellow movie lovers at EdUHK, who enjoy viewing and analyzing films, and would like to help this platform grow. We will kick off this semester’s programme on 19th October (Thurs) with Fruit Chan’s The Midnight After. In November, we will screen “The 1997 Trilogy “(1997 refers to the year of Hong Kong’s handover to the People’s Republic of China) every other week.

這是由學生所策劃的電影沙龍,現邀請教大電影愛好者隔週與我們一起欣賞和分析電影。今個學期讓我們從陳果的電影開始,看看我們(不曾)熟識的香港:我們將先於10 月19 日放映《那夜凌晨,我坐上了旺角開往大埔的紅VAN》;11 月將放映「九七三部曲」。

  • 19/10 The Midnight After 《那夜凌晨,我坐上了旺角開往大埔的紅VAN》 (2014)
  • 2/11 Little Cheung 《細路祥》 (1999)
  • 16/11 The Longest Summer 《去年煙花特別多》 (1998)
  • 30/11 Made in Hong Kong 《香港製造》 (1997)

About Fruit Chan (陳果)

Award-winning independent Hong Kong filmmaker, screenwriter and producer Fruit Chan is best known for his films depicting the everyday life of local people. His internationally acclaimed films include Made in Hong Kong (1997) and Durian Durian(2000). Fruit Chan’s latest film, The Midnight After, had its world premiere in the Panorama section of the 64th Berlin International Film Festival in February 2014.

陳果是香港獨立電影導演、編劇、監製,曾多次奪得海外獎項。陳果的電影風格寫實,題材多為草根階層日常生活。他的代表作《香港製造》(1997)、《榴槤飄飄》(2000)享譽國際。陳果最新的作品《那夜凌晨,我坐上了旺角開往大埔的紅VAN》於2014年2月的第64屆德國柏林國際電影節「電影大觀」單元上作全球首映。

Supplementary materials on Fruit Chan’s films in relation to identity issue

Siu, H.. (2004). The representation of Hong Kong identity in Fruit Chan’s films. (Thesis). University of Hong Kong, Pokfulam, Hong Kong SAR. Retrieved from http://dx.doi.org/10.5353/th_b2994910

 

 

 

All sessions are intended for purposes of giving or receiving instruction through film analysis and commentary among students and teachers.

 

Film Screening: exodus of nowhere.episode one

Screening & Discussion – exodus of nowhere, episode one: the water is wide

Co-created by Lee Wai Yi, Enoch Ng, and Kelvin Wu, 2002-2013. A v-artivist film.

Venue: C-LP-02

Date: 6th November 2017 (Mon)

Time: 18:30 – 21:30

Language: (Screening) Chinese and English, with Chinese and English subtitles; (Discussion) Cantonese, supplemented with English

exodus of nowhere is a film series about the relationships between the grassroots and the borders in Hong Kong. The three filmmakers look into individual family histories as well as the grand narratives of human migration in their attempt to understand the ways in which the narrative network constituted by migration, border-crossing, wealth disparity, colonization, gender politics, capitalistic globalization and ethnic politics, creates countless tragedies of the grassroots.

the water is wide: Currently, questions of “migration” and “locality” are hotly debated in Hong Kong and often viewed as oppositional and irreconcilable.  the water is wide tells the story of the very first of these serious conflicts, the right of abode issue of children of Hong Kong citizens who were born in Mainland China before the 1997 handover.

Biography

v-artivist, a Hong Kong community-based art group, believes that ‘art is the creative expression of the relationship between individual and collective,’ and is thus devoted to “giving art back to the people and letting people return to art.” Most of v-artivist’s film-length “productions,” are continuous participatory documentaries that involve co-creation with people who are “being filmed,” including people in deep distress (2013), raging land film series (2010-), walk on! shung ning road (2011), and home where the yellow banners fly (2006). The essay-film trilogy exodus of nowhere is their response to the growing ethnic tension in contemporary Hong Kong. Other than filmmaking, v-artivist is also actively engaged in the media literacy movement to empower the grassroots’ continuous and autonomous engagement with art.

〔未存在的故鄉〕是影行者所製作、一系列有關基層與邊境的影片。〔未存在的故鄉〕的三人,嘗試透過自身和家族的歴史,對照各種小人物跨越邊境的歴史,了解移民、邊境、貧富懸殊、殖民、資本全球化與族群政治之間千絲萬縷的故事網絡,如何導致歷史上大大小小的悲劇。

〔只隔一江水〕:近年在香港,圍繞著「移動」和 「本土」的對立展開了十分劇烈的社會爭議,彷彿兩者只可以是相互排斥的身份。〔只隔一江水〕這一段,環繞著近廿年裡首宗掀起爭議的「港人內地所生子女爭取居港權運動」,以居港權運動的家長和子女穿越邊界的故事,尋問「人」的立足點。

在越趨非此即彼,越來越喜歡為人貼標籤、迫人站邊以示正義的時代裡,我們可以選擇既有原則,但也有思考、了解、溝通、反思嗎?我們可以選擇,做一個人嗎?

誠邀各位有興趣的朋友來參與放映及映後討論,到時見。

共同創作:吳以諾、胡家偉、李維怡 |製作:影行者|語言:廣東話/福建話/海南話/潮州話/普通話/波斯語/西班牙語/英語/中英文字幕|2002﹣2013/香港/75分鐘/彩色/DV

co-created: enoch ng、kelvin wu、lee waiyi |produced: v-artivist|language: cantonese/fujian dialect/hainan dialect/chaozhou dialect/mandarin/spanish/persian/english/chinese and english subtitles|2002﹣2013/hong kong /75 min/colors/dv