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Film Salons curated by students: Women’s revenge series

Film Salons curated by students: Women’s revenge series

Dates: 29/1, 5/2, 6/2, 12/2
Time: 18:00 – 21:00
Language: (film) Japanese/Korean/Cantonese with English subtitles; (post-screening discussion) Bilingual

*All are welcome! No registration required.*

In this semester, we again look for fellow movie lovers at EdUHK, who enjoy viewing and analyzing films, and would like to help this platform grow. This semester’s programme will cover 4 films on the topic “Women’s Revenge,” starting from 29/1 (Monday) with Sympathy For Lady Vengeance by Korean director Park Chan-wook. In February, we will screen three more films on the same topic with the schedule listed below:

這是由學生所策劃的電影沙龍,現邀請教大電影愛好者與我們一起欣賞和分析電影。今個學期我們將以「女性復仇」為題播放四套電影。我們將首先於1 月29日(星期一)放映由韓國導演朴贊郁所執導的《親切的金子》,而2 月之片單則詳列如下。

About Women’s Revenge

Throughout cinematic history, plenty of men have tried their hands at turning the tides with a swift kick of vengeance — but they weren’t alone. Movies aren’t always blind when it comes to gender, and men tend to get an unfair advantage, especially when it comes to being the aggressive protagonists. However, the playing field is starting to even out. Slowly but surely, women are bringing balance to the Force, so to speak.

Some women in film have had no trouble taking matters into their own hands, gladly getting those hands dirty in the process. They were wronged, so they stepped up. They were pushed, so they pushed back. They proved in their respective roles that there isn’t a weaker sex, only certain men who overestimate their power. These women fix that problem head-on. With aggressive cleverness and the element of surprise in their arsenal, they stood up, they fought back, and they turned the tide once and for all.

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

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?


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 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.


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.


〔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。



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