JUMP CUT
A REVIEW OF CONTEMPORARY MEDIA

 

Notes

Acknowledgement: The work described in this paper was fully supported by a grant from the Research Grants Council of the Hong Kong Special Administrative Region, China (Project No. HKU 7416/05H).

1.My sincere thanks to a number people who contributed to the compilation of this set of interviews with critics from the PRC and Macau. Cheng Kwok-Hung, the one who transcribed and translated the interviews, was the most important contributor because it was through him that we were able to make connections with the interviewees. Jamie Ting-chee Ku, Nicole Hess and Michelle Kwok Lai-yung have offered invaluable help in the editing and word processing of this article.

2. The interviews recorded and compiled in this report were conducted over a period of one month in 2004 in various locales in the PRC and Macau. The three critics from Shanghai 101 were interviewed on June 1, 2004 at Shanghai University. The conversation with the two critics associated with Espaco Video was made on June 8, 2004 at Macau University. The interview with the film critics from Guangzhou, Ou Ning and Wang Bang, took place on July 2, 2004 at their U-theque Studio in Guangzhou. I would like to express my greatest gratitude to them for their time and precious opinion.

3. Ann Hui’s As Time Goes By (1997) and Stanley Kwan’s Still Love You After All These (1997) are autobiographical documentaries which fit in the general criteria of what an independent film should be.

4. Fruit Chan had worked in the film industry as assistant director for ten years before he filmed Made in Hong Kong (1997), his indie debut. Chan’s independent film productions include “The 1997 Trilogy” which consists of Made in Hong Kong (1997), The Longest Summer (1998), and Little Cheung (1999). His second incomplete trio called “The Trilogy of the Prostitute” consists of Durian Durian (2000) and Hollywood Hong Kong (2001). Later he made Public Toilet (2002), and shifted to a somewhat mainstream production called Dumplings (2004) which, except with the use of professional actors, is not very different in style and subject matter from his earlier works.

5. Lam Wah-chuen, the cinematographer for Made in Hong Kong, is a typical example. He admitted that his own attempt to make Runaway Pistol (2002) is inspired by his collaboration with Chan when they produced Made in Hong Kong.

6. See its official website: http://www.focusfirstcuts.com for detailed information on the objectives of the project and its relation with Andy Lau’s company Focus Films.


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