Report - Download schedule (PDF format, 257
Ko)
Hong Kong/Hollywood at the Borders
encourages a fresh perspective on topics including Hong Kong filmmakers working in
Hollywood, American-educated filmmakers working in Hong Kong, genres of common concern
(e.g., action, martial arts, comedy, and melodrama), economic and industrial links between
Hong Kong and Hollywood involving transnational capital flows, labor migrations, and the
globalization of culture and media, and issues involving gender, class, race, ethnicity,
political affiliations and national formations.
Assessing the links between Hong Kong
New Wave cinema and the rise of the American independents forms the foundation for further
critical consideration of the connections between Asian American film, Hong Kong
experimental and alternative media, and other non-commercial film practices. In
addition, the symposium includes scholarship on Hong Kong and American film within the
wider context of international film culture, with a discussion of competition between the
industries in Asia, international film festivals, and in relation to the development of
global film aesthetics. Cinema practices at the border of Hong Kong and Hollywood,
including (but not limited to) connections with Canada, Korea, Thailand, Taiwan, and the
People’s Republic, are included.
The symposium is jointly sponsored by
the Fulbright Program in Hong Kong, the U.S. Consulate General in Hong Kong and Macau, the
Hong Kong-America Center, Videotage, the Hong Kong Film Archive, the Centre of Asian
Studies, the American Studies Program and the Department of Comparative Literature at the
University of Hong Kong and the Faculty of Social Sciences and Humanities
at University of Macau. Special thanks to the Hong Kong International Film
Festival. The symposium organizing committee consists of Glenn Shive (Hong Kong America
Center), Ramona Curry (Fulbright, Hong Kong Baptist University), Amy Lee (Fulbright,
University of Hong Kong), Nicole Hess (Fulbright, University of Hong Kong), Staci Ford
(University of Hong Kong), Tan See Kam (University of Macau), and Gina Marchetti
(University of Hong Kong).
Among other
interesting things:
Thursday, April 1
3:00—Opening—Dedication to the memory of Leslie Cheung on the 1st
anniversary of his death
7-8:30 pm City University of Hong Kong student screening #1
Introduction: Linda Lai (City University of Hong Kong)
Title: Micro-Narratives: New Language, New Experience, and Experimental Pedagogy For New
Screen Contexts
Saturday, April 3
1 -3 pm-Panel 9
Topic: Fruit Chan
Chair: Esther Cheung (Comp Lit, HKU)
Presenters: Esther Cheung (HKU), Do We Hear the City?: The Ghostly Voices in Fruit Chan's
MADE IN HONG KONG
Siu Heng (Comp Lit, HKU), Home for Border-Crossers in Hong Kong in Fruit Chan's LITTLE
CHEUNG and DURIAN DURIAN
Wesley Siu Hang Tang (Comp Lit, HKU), response to Esther Cheung and Siu Heng
Wendy Gan (English, HKU), DURIAN DURIAN and the Contiguities of Identity: Rootless in Hong
Kong and China
Albert Lin Chieng-ting (National Chiao Tung University), Home(s), Identities and Female
Roles: DURIAN DURIAN
Feng Pin-Chia (National Chiao Tung University), Reimagining the Femme Fatale: Gender and
Nation in Fruit Chen's HONG KONG HOLLYWOOD
7:30 THE MISTRESS
(HKU- Rm. K223 Knowles Building)
Crystal Kwok introduces film
Screening of THE MISTRESS (DVD)
Response by Patricia Erens (School of the Art Institute of Chicago) -- THE MISTRESS and
Female Sexuality
Q and A with Ms. Kwok and Dr. Erens
AND MORE...
Thanks to
Gina Marchetti for the material.
Page by Thomas Podvin, 28/03/2004.
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