Hyperreality

Hyperreality
Tittle: Hyper reality and Celebrity culture
Nowadays media and technology are growing as hard to predict. Affected to the social behavior,
Human can 't recognize the truth; we confused by the hyper reality, we involuntarily to follow the
system in our life. Hong Kong is a tiny city with flourishing information. The life style is the faster
the better, it develop a lot of a copy action in different business, especially in wedding industry,
meanwhile Hong Kong peoples are highly depend on Internet, the city haven't realize its lead by
celebrity culture and media. In this past five–year in Hong Kong had created a new way to represent
news call "action news" they use 3D animation represent the whole happened in internet, but Is it
the ... Show more content on Helpwriting.net ...
Hyper– reality or media accelerate new wedding behaviour to intrude our mind and it permeates our
mental.
J.Baudrillard(1988:98) said "as a sort of historical attraction to the second degree, a simulacrum to
the second power." The new wedding behaviours are deception and falsehood; the wedding
photography companies build up a hyper reality land for the bride and groom to takes photos. There
normally like a Destiny land or cinema studio, people can easy to cross around the world, they
imitate Beijing the Forbidden City, Europe church, USA Main Street and something you can expects
(picture 6–11). Because of the high emulation building complex, Human the examination will get
weak. At the same time there is not original emulation, consequently human will forget how is the
real Forbidden City look like, human impress is the emulation of Forbidden City, Reality will cover
by Simulation. J.Baudrillard(1988:113) believe "The Disneyland imaginary is neither true nor false:
it is a deterrence machine set up in order to rejuvenate in reverse the fiction of the real. Whence the
debility, the infantile degeneration of this imaginary. It's meant to be an infantile world, in order to
make us believe that the adults are elsewhere, in the "real" world, and to conceal the fact..."
The Disneyland is really similar the wedding company's studio, they smash
... Get more on HelpWriting.net ...

Difference Between Action And Comedy
There is a very fine line between action movies and comedies. The two genders can be
interchangeable if the correct script comes handy. The situations in which an action hero can create a
comedy are immense there is always room for some jokes between the action.This is an example of
how to melt these two genres correctly without damaging the action or comedy in a film. Despite
having solid field training, CIA analyst Susan Cooper has spent her entire career as a desk jockey,
working hand–in–hand with dashing agent Bradley Fine. Using high–tech equipment and a hidden
earpiece, Susan is the guardian angel who helps Bradley avoid danger. However, when Bradley is
assassinated by Bulgarian arms dealer Rayna Boyanov, Susan wrangles her way into her first
undercover assignment to help capture Boyanov and avenge Bradley.
There is a lot of movies that involve a spy trying to solve a crime or international conflict. The
problem ... Show more content on Helpwriting.net ...
Years later since her graduation from the CIA academy, she regrets the decision her desk job is
pointless and have no action at all. She joins the agency in hopes ofbecomeing a spy and have
fieldwork shespendsall her working hours behind a desk and computers being the eyes of a field
agent. When the opportunity to go to the field rises she is quick to take the mission in the hands. The
result of such adventure is great. McCarthy was surprisingly good in the role. I did not expect to see
her doing some of the maneuvers of the choreograph fighting scenes she has in the movie, but she
has proven that she can do a great job. She is one of the best female comedians out there and she
still has time to build a legacy that definitely would be great. She has managed to make each of her
movies as fun as she can. She has a long way going, the future, but I would have expected more in
future projects from

Movie Review : Lost On Hong Kong
What is a comedy film? The Wikipedia says that "it is a genre of movie which designed to entertain
the audience with exaggerating performance or plot." However, the amount of laugh cannot defines
the successful of a comedy film. In my opinion, every comedy contain a tragedy inside, and to form
a great comedy, you must form a great tragedy first. The movie, Lost in Hong Kong, which is
defined as a comedy, is a successful commercial movie due to its high box office, but remove the
apparent normal jokes, the rest of the comedy is flat and empty. This movie, Lost in Hong Kong, is
the third film of the series Lost which are Lost in Journey, Lost in Thailand, and Lost in Hong Kong.
The director of the second and third film is the new director Xu Zheng, an actor who has performing
career for decades. The series of Lost is basically road & action adventure comedy movie and the
main theme of this series is that the funny things happens during an unfamiliar journey. In Lost in
Hong Kong, the journey happens between the main character Xu Lai, who is performed by the
director Xu Zheng, and main character's brother–in–law Cai Lala who is performed by the new actor
Bao Beier who just known by the public. The journey starts from a family travel to Hong Kong
while the main character find out there is a chance to meet his first love girlfriends Yang yi. Thus he
tries to avoid his family but he is still misunderstood by his brother–in–law who consider Xu lai
wants to be infidelity to his

An Analysis Of Hong Kong Cinema
Sam Maloney
International Cinemas
September 19th, 2011
Restivo, MW 12:00
EXAM 1
"One artistic strength of Hong Kong cinema, then, is its use of parallels and motifs–musical, visual,
or verbal–to bind together episodically plotted films." : In Plots p 120 So far in this Chinese
Cinemas class, I have noticed something every film we have viewed in class and every Hong Kong
film I have watched outside of the lecture: the stories flow perfectly. At first the films could come
off as confusing and spotty with all the kung–fu and epic stories. The Hong Kong films we have
viewed so far have these elaborate story lines that, with thanks to pristine editing and construction,
flow perfectly and the story is conveyed to the viewer with no ... Show more content on
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She's the one who wants to be a singer!" The use of homosexuality becomes a bit more serious, as
serious homosexuality can get in this comedy, when Sam begins to find Wing, still disguised as a he,
attractive. When Wing listens to Sam play the piano in his apartment, you can tell that something
has change between them. Even Rose takes notice by how much attention Sam is giving Wing,
saying, "If you were a girl, I'm certain Sam would be after you." This also gets Wing thinking about
Sam and how much she likes him. For her, the feelings are normal because she's a woman liking a
man, but Sam's feelings for Wing are more complex because he has no idea about Wing being a
woman. But, Sam grows more attached to Wing because of "his" personality and his ability to lead a
simple life. When Sam suggests leaving for Africa, Wing seems ecstatic about the idea, compared to
Rose who just wants to go shopping. They almost kiss while playing with the puppets and Sam
mentions how important Wing is to him. He abruptly leaves to go to Rose and demands sex, as if
that will make him forget about his feelings for Wing. But, even while he is having sex with Rose,
he has a vision that he is having sex with Wing. He begins to question his love for Wing, and

Western Influence In The Film Chilsu And Mansu
After watching Chilsu and Mansu (1988), the first thing that I've noticed apart from this film being
in color was the economic development that took place in Seoul compared to the previous films that
we have seen. The image of Seoul in this film was more recognizable to today. I also found this film
to be relative modern. The film main female character Jina worked at Burger King (American
establishment) and is a college student. I think she is the first female character that we've seen in
college and educated. There was also a lot of Western influence in this film. When Chilsu and Jina
went to the movie, they went to see an American film. When they went to the club, there was
American music playing in the background. Jina takes a contemporary ... Show more content on
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affluent class. In the film, Chilsu and Mansu were both working class men in the painting industry.
They would paint buildings and billboards. Unfortunately, their job wasn't stable and they would
have difficulty finding work. Throughout the film, Chilsu seems to never have any money and
Mansu and his living situation was not the best. I felt that Chilsu was aspiring to be apart of the
affluent class. He essentially was living a double life. When he was with Jina he was an art student
that was going to America to study continue his art studies. He would spend money that he didn't
have on taking Jina to the movies, club, etc. When Chilsu was with Mansu, he was a painting
assistant that never has money. In one scene, Chilsu needed to go pee while working and he
happened to see Jina and her mother shopping. When they were looking at jewelry, he envisions
himself in a suit introducing himself to Jina's mother. In reality, he didn't go in to the jewelry store
and when a man asks him what he was doing there he just ran off. Towards the end of the film,
Chilsu and Mansu went on top of the billboard to vent at their frustration about being in the working
class. The social realism of this film is worth discussing. This film highlights the struggles that the
working classes had to go through. It showed the daily struggle on the common men in Korea in the
80's with no

Eat Drink Man Woman Essay
Eat Drink Man Woman is a movie directed by Ang Lee. The movie takes place in Taiwan in the year
1994. The movie is about a widowed, senior chef, Mr. Chu, and his three grown daughters. Chu Jia–
Jen, the oldest, is an unmarried chemistry teacher who is not being able to love someone after being
heartbroken in her college years. Chu Jia–Chen, the middle daughter, is a thriving airline executive
whose career comes before all and is handed opportunities like never before, although has the
passion of culinary skill from her father. Chu Jia–Ning, the youngest, is caught in romantic situation
with her best friend's ex–boyfriend and wins his heart. Throughout the movie, tension is seen though
the emotions of the three sister's. All living under ... Show more content on Helpwriting.net ...
Chu with the help of his daughters. Lee describes the changes with relationships outside of the
household, but within the daughters own lives. Sunday dinners happen once again. The youngest
daughter falls in a romantic love triangle wither best friend's boyfriend and surely falls for her
boyfriend and takes a toll that she's pregnant and decides to leave. The shock within the oldest and
middle child gives them something to discuss about and opens much more than just the younger
sister but their feelings. The oldest dealing with a broken heart cant finder herself loving another
man like she once did, till she falls head over heels for the couch at the school she worked at. Two
daughters left eating at the Sunday dinner with their father have announcement that had the father
shocked that his older daughter was married and was kicked out and left to live with her husband.
The middle daughter confused on what to do wither her life is to continue on with something she
doesn't love or take on the steps of her father and be in the kitchen. All believed thing change a
Sunday dinner is held and with everyone around the table with all the changes, their own father has
changes of his own. Disbelief faces all around are in shock with Mr. Chu announcement has
everyone shocked. Culture in this movie didn't just change with the daughters but their father as
well. The change may have took a toll on their lives but deep down it was for the better and brought
them all together, even though it took all the years to

Hong Kong, By Wong Kar Wai
Hong Kong occupies a unique place in history; it exists as a city with an expiration date. In his
films, Wong Kar–wai is known for exploring the idea of deja desparu–the already disappeared. In
the Mood for Love was his first film following the 1997 transition, when the city changed from
being a colony of Great Britain to the Special Administrative Region of China. The film explores the
post–1997 mood and experiences a true sense of nostalgia, not for the past, but for that which could
have been. The film follows Mrs. Chan and Mr. Chow as they come to realize that their spouses are
having an affair. In an attempt to process, the two attempt to act out how they imagine the affair
must have unfolded. Although feelings start to develop between the two of them, they keep their
relationship platonic–not wanting to stoop to the level of their cheating spouses. Additionally, they
must navigate their neighbors prying and judgmental eyes. The film, hauntingly beautiful as it is, is
an allegory for Hong Kong's "national" history and its relationship with Britain and China–in an
attempt to answer the question what will happen to Hong Kong come 2047. Different characters in
the film represent different countries as the film follows Mrs. Chan and Mr. Chow–who together
represent Hong Kong–attempt to navigate the complex world and figure out where they belong.
Mrs. Chan and Mr. Chow represent the city of Hong Kong as they struggle to figure out who they
are and where the fit in their

Analysis Of The Movie ' A Lot Of Hong Kong '
Jue Wang
UID: 104575692
The Power of Editing Compared to Mainland China and Taiwan, Hong Kong had a more political
and economic freedom as a former British Colony, so it successfully developed its own Chinese–
speaking filmmaking business and played an important role on the world cinema stage. Because
Hong Kong enjoyed little or no government restriction on import quotas, it slowly became the
second largest film exporter and ranked in the third place for its motion picture production in the
world. At the beginning, Hong Kong film referenced elements from Hollywood films, but later, it
developed its own techniques and styles of the film because as producer Terence Chang Gi–jan
stated in David Bordwell's book, "A lot of Hong Kong films ... Show more content on
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Besides action scenes, many filmmakers also use constructive editing for scenes "demanding
fantastic or super–natural feats, such as flying through the air", "destroying an enemy from a
distance through palm power", and other killing scenes (Bordwell, 133–134). Whenever a scene is
difficult to execute in one establishing shot, filmmaker will take separate shots and use constructive
editing to connect each shot. For example in the film Kung Fu Hustle (2004) and Lost in Hong
Kong (2015), there are a lot of short length shots which will be difficult for filmmakers and editors
if they choose other editing styles besides constructive editing.
Constructive editing was very popular in Hong Kong action cinema. Many directors also use this
method to "set a rhythm or to create a percussive interplay among shot compositions", but director
King Hu stretched this to another level (Bordwell, 135). Director King Hu believed that single
establishing shot couldn't present the entire action scene to the audiences, so it was very important
for the role of the editing. Hu "took pride in rapid cutting, claiming that he was the first Hong Kong
director to use eight–frame shots. He calls on constructive editing, which is supposed to lay out the
action clearly, and then does all he can to sabotage it" (Bordwell, 163). Kung Fu Hustle (2004)
directed by Stephen Chow, was a kung fu comedy film about an ordinary man named Sing who first

In The Mood For Love Narrative Structure
The narrative structure and mechanical elements of In the Mood for Love portrays the theme of the
impossibility of a romance in the frame of the thriller genre. The elliptical narrative structure of the
film develops suspense as the central romantic relationship is developed. The narrative gaps force
the audience to interpret the events that transpire between the two protagonists, prompting
uncertainty of the fate of the relationship. The disruptive use of jump cuts and overlapping editing
accentuate the unpredictability that is a result of hybridity (Marchetti 2013). For instance, the scene
in which a reluctant Su ascends a staircase at a hotel where she is to rendezvous with Chow serves
as a reminder of the temporal and spatial plasticity

Analysis Of In The Mood For Love
Identifying the Author: The Mood For Love By Jullian Marcelo Marimla 'In The Mood For Love' is
a Romance melodrama and is Directed and written by Wong Kar–Wai which is a Hong Kong film
and released in the year 2000. The film's plot takes place in 1962 which tells the story of two
married couples that move into the residents of Shanghai living in rented rooms of a neighbouring
apartment, a newspaper editor Mr Chow (played by Tony Leung) and his wife, Mrs Chan (played by
Maggie Cheung) and her husband a representative of a Japanese–owned company, both couples
become neighbours. Mr Chow and Mrs Chan both being the main protagonists in the story discover
that both their respective spouses are having an affair, the betrayal brings both of the protagonists
together to meet and discuss about their spouses' secret affairs and practice their countermeasures
with one another towards their respective spouses. As they both meet day by day, they begin to have
an uncertain affair and at times deliberately try to avoid one another perhaps due to ethical concerns,
and yet deeply miss one's company. Unfortunately, Mr Chow and Mrs Chan's relationship comes to
a regretful end. The following analytic essay will attempt to demonstrate to provide information in
detail about the key concepts of the film's style and the director's

Analysis Of Wong Kar Wai 's The Mood For Love
Wong Kar–Wai's visually stunning In the Mood for Love, is a 2000 film set in Hong Kong 1962.
The two protagonists, Chow Mo–Wan, and Su Li–Zhen (Ms. Chan), become neighbors where they
learn about the infidelity of their partners. Through their mutual betrayal, they begin to develop an
intimate bond, but fear expressing it to avoid devaluation of their character. Wong is able to exhibit
the love and perversity that circulate throughout the film with minimal physical affection and
dialogue. Particular images play a strong role in broadening the viewer 's understanding of the film,
because although Chow and Su remain moderately reserved, their relationship and emotions are
palpable through the film 's aesthetic elements. The plot consists of ... Show more content on
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Before Chow admits his feelings, the scene begins with him stating he wait with Su in the rain
despite that she said they should not be near each other. Su only admits that they should not go
inside together, but is silent when Chow still decides to wait suggesting that she desires his
company, but simply struggles admitting so. There is a long moment of silence and stillness as the
camera captures the two leaning on the building together, but only within a small portion of the shot.
The other half of the image remains covered by a building. The blockage of the building reflects the
difficulty the two are finding it to admit how they feel because similar to the building that
emphasizes them towards the tight corner, the opinion of others and moral values are holding them
back. In addition, the camera plays a role in making the two feel they have no room to explore their
feelings. The camera observes the two from afar, peeking from around the corner similar to a
spectator ready to judge on any wrong move they make. The image also captures both Chan and
Chow from a distance as though they are irrelevant in the larger spectrum of things. By half of the
image consisting of little openness on the street, whereas the other half is covered, it emphasizes
how much room they feel the world is allowing them to explore their feelings, and therefore
displays the trapped nature of their situation. After Chow admits his feelings, the scene concludes
with Mrs.

Paradise Of The Blind Literary Analysis
The War within Paradise of the Blind Paradise of the Blind is set in Vietnam where communism has
taken over the country after the Vietnam War. The whole war changed the lives of the Vietnamese
people; in which the story revolves around Hang and her views of her family members. Aunt Tam
and Que are two members that Hang thinks dear of, even though they are beloved to her, Hang still
views them very differently since she has lived and experienced events with them. What Hang sees
can be represented as two systems of economic and political policies: capitalism and communism.
Hang is in–between the two women causing her to represent Vietnam, thus creating a miniature
Vietnam War within the novel. The symbolism between the women demonstrate a juxtaposition ...
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Aunt Tam fought through the communist regime her whole life while living in northern Vietnam.
Even then her capitalist ideals persevered through it all allowing her to move forward. Tam is
capable of supporting herself by being able to innovate with what she works with, "After a week of
experimenting, I invented a machine that ground the duckweed by crank. I did everything, every
step of it, myself, and when I sold the noodles at the village market, I made quite a sum" (Huong
77). An entrepreneur is someone who can stride forward with all the failures they have encountered
to better themselves. Innovation is the key for Tam's survival in communist Vietnam. Entrepreneurs
work hard to start their business; they must push forward no matter the consequences if they believe
in their business, "I cleaned and scrubbed for three days straight. Then I set up noodle–and–chip
business. My help had all left me, so I worked alone. At the third dawn watch, I was still up
working" (Huong 78). By her lonesome self, Tam became a hard worker to gain more money. With
her hard–earned money, she then became a powerful ally for the

Comparing the Narrative and Formal Devices of ChungKing...
Comparing the Narrative and Formal Devices of ChungKing Express and A Bout de Souffle
Wong Kar Wai's movie 'ChungKing Express' bears many similarities to Godard's 'A Bout de
Souffle'. To start with, Wai employs a number of cinematic techniques, obviously derived from the
French New Wave, such as for example the jump–cut which is evidently taken from Godard's film.
His use of the Godard–ian jump cut seamlessly blends temporally–exclusive scenes together,
making the passage of time unnoticeable. Other Godard–ian touches include the many shots of
clocks, which remind the viewer that despite the protagonist's fixation on the past, time continues to
move on and that moments in the present are ... Show more content on Helpwriting.net ...
She wears the same type of cloths, has the same hair do and her rather eccentric attitude to life also
corresponds to that of her French counterpart.
The primary function of the traditional Hong Kong film industry was to churn out movies aimed at
the general public and make sure that they bring in a profit. This is much like the French film
industry was before the emergence of the French New Wave. However Wai's 'ChungKing Express'
was clearly not aimed at the masses, but rather only at the people who have developed a real
understanding and appreciation for the art of film. Godard's 'A Bout de Souffle' was also a film
which was made to rebel against the old style of French cinema and break the conventions of the
film industry. In this way, both of the film directors have something in common with each other.
Much of Wai's work has included themes of time passing and how every human emotion, every
material object or specifically tinned food expires. This reoccurring matter isn't simply an accident
but it carries a very significant political message. At the time that Wai made 'ChungKing Express',
Hong Kong was pending to be handed over from the British democratic powers, to the Chinese
communist government. This period was very turbulent for the Hong Kong people as they were in
anticipation of a great change, but they didn't know whether it would be negative or positive.

Essay on Hong Kong Post-colonial Cinema
The Construction of the 'Western Other' in Hong Kong Post–colonial Cinema
Hong Kong has always remained a very unique city, one which is said to have 'a Western past, an
Eastern future'. Since its colonisation by the British in the 1860s, it has maintained to a very large
extent its Chinese identity and its connection to its Motherland, while at the same time, has frequent
contact with the Western world, politically, economically, and culturally. Hong Kong's unique
position has made the city a vibrant international metropolis that acts as a bridge between East and
West. Yet after it was returned to China in 1997, this former British colony has been constantly
reassessing its British past, struggling to find its new position and ... Show more content on
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In the midst of a struggle for a new self, Hong Kong cinema has certainly emerged as the ideal
cultural space in which the notions of Hong Kong nationhood, identity, and alterities are defined,
explored and articulated.
This paper deals with the construction of the 'Western Other' in Hong Kong post–colonial cinema by
exploring the representation of the Western world in two recent commercial films which deal with
the theme of 'East meets West': Qian Ji Bian (Dante Lam & Donnie Yen, 2003) and The Touch
(Peter Pau, 2002). My focus will be the interactions between Chinese and Western characters as
presented by the films' plot, editing, and mise–en–scene. I will argue that while both films begin by
establishing clear binary oppositional codes between the Chinese world and the West, they quickly
enter a process of negotiation and renegotiation about the relationship with the Western world, and
gradually engage in a pursuit for a compromise. Finally, both films end with a celebration of a
reconciliation with the West.
The themes of cultural representations between East and West in post–colonial studies have been
most explored by Edward Said. Said's notion of Orientalism maintains that the Orient is the "Other"
to the West, imagined and created by the West to be the "contrasting image" which only existed
within a system of representations framed by political and ideological forces that brought the Orient
into Western consciousness. The relation of the Occident to the

Wong Kar-Wai's Relationship with Genre
This essay will explore Wong Kar–Wai's relationship with genre within the context of the Hong
Kong film industry, along with Wong's various international influences, in order to argue,
Chungking Express was a major turning point in his career in terms of his complex relationship with
various elements of film genre.
Contextualising genre within the Hong Kong film industry:
Of all the international film industries across the globe Hong Kong is certainly one that is synonyms
with genre cinema. Considering the commercial nature of its film industry, it seems only appropriate
that when discussing Hong Kong cinema as a whole, genre seems to be a frequent and integral part
of the conversation. The Hong Kong film industry was built to turn a profit and has become the
dominant figure in all of East Asian cinema, relying heavily on exporting its films to Mainland
China and Taiwan, as well as local box–office sales. Ding–Tzann Lii describes this relationship as
one of 'marginal imperialism' and compares the Hong Kong industries hold over East Asia to that of
Hollywood's over the rest of the world. (1998: 125) However, with such a large demand for product
Hong Kong has struggled to produce enough films each year to maintain its industries growth.
Production rapidly became focused on making films quickly, cheaply and with the intention of being
sold easily. The industry became much like a factory, producing films in an assembly line fashion,
often pushing films into production without a

In The Mood For Love
Wong Kar Wai's movies often have a particular style of murmuring, the movie "In the Mood for
Love" isn't an exception. Wong focuses on describing the regret and helplessness repeatedly during
the movie time. Yet the background of the movie is based on the period of 1960s in Hong Kong,
Wong keeps highlighting the city Shanghai and leaves many clues of it: the song singing in
Shanghainese in the very beginning of the movie; the Shanghainese land lady, who is willing to
sharing her room with the main character Suu, who also moved from Shanghai, and the traditional
dress of Shanghai women: Cheongsam, which Suu wears it all the time during the movie. Wong
shows his memory of Shanghai in this movie, reflecting his nostalgia by those symbols.

Analysis Of The Movie ' The Asian Film ' And The...
Brian Hu, the "Asian Film" & the Supernatural.
"Fuck this shit. See you next year Cannes. Out". Is a bold twitter quote from the very famous Brian
Hu which gave a lecture at CSU San Marcos film class October 20th 2015. He is the artistic director
of Pacific Arts Movement and of the San Diego Asian Film Foundation who received his PhD in
Cinema and Media Studies at UCLA. His lecture presented grave insight into National cultural
specifics but emphasized mostly on China and Hong Kong. He also broke down genres as they play
a role in the film industry. Martial–arts as a genre are very specific to Chinese cinema and Japan has
samurai films of loyalty and justice. As a genre, martial–arts take place at a temples or a forest and
is very culturally specific. Other genres like body genres are specific to a body reacting to a film and
no mater were you are in the world you have a body. In Latin America they have mellow dramas
called "telenovelas" that people want to cry to and in Korea they have their own form of drama
shows that they cry to as well. Horror films often have us react with our bodies, for example: if you
see something gross you feel it in your body, and at the same time your body is reacting to the way
the characters are. Other body genres like comedy can have a reactional impact on your body as
well. For example: if you see something funny and you laugh, that is a body reaction.
Brian Hu emphasized that classic Hong Kong action films come from the massive influx

What Is The Theme Of The Follow By Wong Kar Wai
In the shortfilm of The Follow by Wong Kar Wai, he used the different slow motion movements
during the opening shot of each films. The credits in The Follow are a pattern of straight lines that
move across the screen, cutting into the space. An intense observation of The Follow opening credit
sequence is vital to understanding how The Follow makes the film mirror of opening. At first, the
film zooms in the on certain parts of a man face.
The Follow (2001) quoted by BMW films. BMW took place along the major film studios with the
production of short films that can unite the talents of several fields of various high effort crossed.
Wong Kar Wai is not denying the author a cinema feature and a mystical, which stands apart from
many mainstream Hong ... Show more content on Helpwriting.net ...
He developed this visual style with legendary film icon, a cinematographer known mostly refer to
cameraman. In addition, the stop motion scenes and the way that colors our oversaturation has come
to associate with Wong kar Wai film becomes in–stock trading their different visual style involving
direct cuts, frames is what amusement in an entire shot in the scene by scene, montage and intense
Street camera and foreground which the part of the picture or scene closest to the

Spring In A Small Town Themes
After once being banned by the Chinese authorities for its lack of sufficient political grounding, Fei
Mu's "Spring in a Small Town" upon reintroduction grew to be acknowledged as being among the
best films of Chinese origin ever produced. Following the life of a woman who grows emotionally
distraught upon being compelled to suppress her attraction for her husband's longtime friend and her
secret first and only love. The feelings are re–ignited when she meets the husband's friend making
the film much of an emotional tale of yearning, restraint order and regret, concepts the director
ingeniously uses the props and the setting of the play to reproduce. Like poetry on film, "Spring in a
Small Town" suitably flows packed with a beautiful, rhythmical feel and fundamentally fascinating
symbolism. To demonstrate emotional distraught and complexity, gaps in marriage, and the aspects
of separation, the film ingeniously uses the setting and particularly the different walls of the story
making this film a cinematic success. ... Show more content on Helpwriting.net ...
The city wall that is paced by Yuwen seems dilapidated that they cannot be brought back to stand
straight or mended. This is very representative of the underlying trouble in the relationship between
Yuwen, who is a cheerless and withdrawn with and Liyan, her depressed, tuberculosis–ridden
husband and who is the male protagonist here. Further, such wall may also be seen to be symbolic of
Liyan's continuously worsening health status. However, as compared to the city wall 's dilapidation,
the events that ensue later in the relationship demonstrate a crumbling of the couple's relationship
just as the dilapidated walls of the town – no amount of work could quickly fix the collapsed reality
surrounding the

Asian Cinem The Advantages And Disadvantages Of Asian Cinema
Asian cinema is refer to film from East Asia, Southeast Asia, Central Asia, West Asia, and South
Asia. What make asian unique is faces, languages, their own traditional costumes and also
geophysical location. In the early silent film era, the first short film produced is in Japan called Bake
Jizo and Shinin no Sosei from 1898. In the forms of chinese martial arts, emerged in 1920s in
Shanghai. Popular with Wuxia ( swordplay) and Gongfu ( kung fu ).While in the early sound era,
earliest sound film is including indian filmmaker released Alam Ara by Ardeshir Irdani, it was the
first indian talking film in 1931. Following cinema of Japan, which start to released their film in U.S
theatrical. However all of the film received increasing censorship. After the world war II, is
considered as Golden Age in asian cinema, Japanese filmmaker starts to emerge without limitation
or rules from West. Then there were 3 director that emerged which is Mizoguchi, Ozu popular with
comedy drama and Akira Kurosawa who ... Show more content on Helpwriting.net ...
Asian cinema should boost their martial arts film to the world. They should proud of the advantages
that asian culture have. In the way of education, they should open up film school to the asian student
and provide import aspect in filmmaking as an example, theater club, equipment house and a
qualified lecturer. This way can produce the best filmmaker and create a masterpiece from asian
culture to the world. Some of the film student makes James Wan a famous malaysian–chinese–
australian filmmaker who famous in the Hollywood as an idol. Even though he is not in martial arts
genre we still should proud as an Asian community. The next step is encourage film student to enter
Film Festival to open up more opportunity to the world to see. Film festivals is the only way for
independence film to shinning and enhance their career to the new

How Chinese Cinema Has Reflected And Shaped The Idea Of...
Cinema and movies are the true reflections of nation as well as society, both in the present and past.
The movies and its modernisms occasionally have to catch up to the idea of nation, however
sometimes it leads and shapes nation too. According to Berry and Farquhar (2006), Chinese movies
have played a critical role in shaping nation and national identity amongst Chinese. This essay will
mainly focus on how Chinese cinema has reflected and shaped the idea of nation. Apart from that,
the history of Chinese cinema, other famous traits such as Beijing opera and martial arts are also
debated in how it reflects nation. Additionally, I will examine how the framing and characterization
of Lee, and in specific in his role as Chen Zhen in the film 'Fist of Fury' compresses within the
masculine body of Bruce Lee the character of Chinese nationalism and masculinity. What do cinema
and movies actually mean? The term cinema is defined as the art of moving pictures or a visual
media that tells stories, exposes reality and conveys messages. On the other hand, movies, also
called a film or motion picture is also a story that is communicated with animating images. Besides
that, the cinema often reflects to specific degree the culture, traditions and heritage of a nation, its
historical concerns as well as its societies ' enjoyments, sorrows and hopes throughout history.
Nowadays, many people around the world may watch movies as just a form of entertainment, but it
is certainly more than

Assassin's Creed Chronicles: Summary
The Chinese Brotherhood of Assassins in the game is one of the oldest branches of the global
Assassin's Brotherhood. The Assassins Brotherhood is said to have existed since 456 BCE and been
critically involved in almost every major event throughout history since. From their formation the
Brotherhood has fought for the continuation of humanity's freedom from the rule of the Templars,
who believe that in order to save humanity they must control their free will. The Chinese branch of
the Brotherhood has specifically tried to counter to cruelties of Templars and emperors in China. In
the game the Chinese Brotherhood is responsible for the assassinations of Qin Shi Huangdi 1, Zhu
Di2, and Mongke Khan3. Shao Jun's story, and her involvement with the Chinese Brotherhood of
Assassins, actually begins prior to the setting of Assassin's Creed Chronicles: China.
Shao Jun started her journey toward the Chinese Brotherhood as a favorite concubine of Zhu
Houzhao (1491 – 1521 CE) in the Forbidden City. In Assassin's Creed Chronicles: China, the
depiction of Zhu Houzhao appears to align with his historical reign. In the games the Zhengde
Emperor uses our protagonist as a spy or thief for his childish mischief. When the ... Show more
content on Helpwriting.net ...
In the game, the Great Wall was built through the will of the Templar Order throughout the years,
but mostly constructed in the Ming Dynasty. During the game the protagonist must venture to the
Wall to thwart one of the Tiger's plans to let the Mongols through. Shao Jun eliminates server
Mongol soldiers and Zhang Yong, the Templar behind the plan, halting the attack. The Forbidden
City is used as the Imperial Palace throughout the game and is where Shao Jun was a concubine
before joining the Assassins Brotherhood. Both locations today are very famous tourist spots due to
their long histories and brilliant

John Woo: from Hong Kong to Hollywood, The Killer and...
John Woo: from Hong Kong to Hollywood, The Killer and Face/Off
John Woo and his "heroic bloodshed" have revolutionized and rejuvenated the action genre,
combining melodrama with action to create the male melodrama, in which he explores the codes of
masculinity while redefining them. Robert Hanke says that "explosive pyrotechnics seem to be
privileged over plot, narrative or character" (Hanke 41) and yet notes that Jillian Sandell maintains
the opinion that Woo does not "celebrate this violence, but rather uses it to represent a nostalgia for a
lost code of honor and chivalry" (Hanke 1999: 45). While characterized by violence, Woo's films
define masculinity within a changing world. He does not set out to make violent films, defending A
... Show more content on Helpwriting.net ...
In The Killer, Jeff is a noble, loyal and chivalric, a "twentieth–century version of [a] Chinese knight
with traditional codes of loyalty and friendship yet still relevant to the contemporary world"
(Williams 2000: 148). In this modern interpretation he is a gangster, yet still encompasses all of
these characteristics, a break from the xia figures who were either lawful or operating outside of the
law's influence. Woo gives us a new kind of male protagonist, one that "combines physical violence
and emotional intensity" (Hanke 1999: 39), visible from the start of The Killer. Jeff is introduced to
us as cool and calm, casually shooting a room full of people. This expressionless killing is
contrasted with the following scene which shows his wounds being tended to in a close up of his
face that displays that pain and emotion that he is feeling. This opposition between violence and
sensitivity is clearly demonstrated by the characters of Caster Troy and Sean Archer in Face/Off
when they swap faces, and they must appropriate the characteristics of the other in order to survive,
"the binary logic of either violent or emotionally sensitive is dissolved into both violent and
sensitive" (Hanke 1999: 53). Similarly in The Killer, Li is a mirror image for Jeff, the only
difference being a badge. Woo's films are based on these oppositions, particlularly good/evil, which
is visible in the images he

Jackie Chan Research Paper
" Nothing makes me more determined to succeed than someone telling me something's impossible".
That is one of most Jackie Chan's most famous quotes. His dream was to become an actress and a
martial artist. He has been studying kung fu, acrobatics, and singing his whole life.He has been in a
lot of musical films in his lifetime. Jackie Chan has been in more than one hundred films. He began
studying martial arts, acrobatics, and singing at the age of seven. His parents moved to Australia to
find new jobs, Jackie Chan was left behind to study at the Chinese Opera Research institute, a Hong
Kong boarding school. For the next ten years he studied martial arts, drama, acrobatics, and singing.
He appeared in his first film, the Cantonese feature

The Chinese Martial Arts Film
Most Martial arts films in China generally tend to foreground issues of gender. In addition, these
films portray a fixed line of gender separation. The Chinese Martial arts film culture has always
been more receptive to the general idea of the female character in what Westerners would indeed
consider exclusively male role such as the action hero (Castillo 3). In the martial art films several
actress have even established their entire reputations as action stars. The action heroes were also
held up as the idea of masculinity with all of its inherent characteristics of control, privilege and
agency. This is actually adopted from the western archetypes of male action hero which emphasize
connotations of physical presence and prominent body musculature. The emergence of the Chinese
martial arts has resulted to convergence of social, economic and political pressures that along with
creative talents of producers, writers, actors and directors, have indeed forged a national cinema that
captured attention of the world wide cinematic consciousness. Majority of the Chinese martial arts
movies are distinctively known in cultivating the concept of gender roles. A close analysis of these
movies ultimately portrays that multiple characters from the both genders not only play an immense
role in the martial arts aspect of the films, but indeed symbolize Chinese themes as well as some of
the issues that the country was going through at that particular time. In these regard, in most of the

Crouching Tiger and Hidden Dragon a Movie Directed by Ang Lee
Beyond the boundary of East and West
Crouching Tiger and Hidden Dragon, one of the most successful and popular Chinese–language
movie in the West directed by Ang Lee, was considered as an eastern film for the western audience
and a western film for the east. "I didn't see any tiger or dragon in Crouching Tiger, Hidden Dragon;
then I get it – they all crouched and hid." This joke provoked a wave of laughter during an award
ceremony in the United States, but my response was a satiric sneer. This is because the phrase
"crouching tiger, hidden dragon" in Chinese is an old idiom, which should rather be understood by
its metaphorical meaning instead of interpreting it literally, as the joke teller did. The same joke
created different reactions among audiences of different regions; similarly, the same film –
Crouching Tiger, Hidden Dragon (Crouching Tiger) – received diverse responses in the United
States and China. Compare to its huge popularity in the west, this movie did not strike such success
in Chinese community especially mainland China, where the story takes place. In many mainstream
movie communities like Mtime and Douban in China, Crouching Tiger does not rank even top 30 in
overall film ratings. How does it happen? I think the director and his filming style is a really
important clue for this question. And with the director's unique filming style, Crouching Tiger
succeeds internationally and differs itself from other martial arts genre and Hollywood action movie
for

Bruce Lee
The greatest icon of martial arts cinema, and a key figure of modern popular culture. Had it not been
for the amazing Bruce Lee and his incredible movies in the early 1970s, it's arguable whether or not
the martial arts film genre would have ever penetrated and influenced mainstream western cinema &
audiences the way it has over the past three decades. The influence of Asian martial arts cinema can
be seen today in so many other film genres including comedies, action, drama, science fiction,
horror and animation.....and they all have their roots in the phenomenon that was Bruce Lee Bruce
Lee was born "Lee Juan Fan" in November 1940 in San Francisco, the son of Lee Hoi Chuen, a
singer with the Cantonese Opera. Approximately, one year ... Show more content on Helpwriting.net
...
Chow was keen to utilize Lee's strong popularity amongst young Chinese fans, and offered him the
lead role in _Tang sha da xiong (1971)_ ( aka "Fists of Fury", aka "The Big Boss"). The film was
directed by Wei Lo, shot in Thailand, on a very low budget and in terrible living conditions for cast
and crew. However when it opened in Hong Kong, the film was an enormous hit! Young Chinese
flocked in their thousands to see this ground breaking film starring a tough, athletic Chinese hero
who dispensed justice with his fists and feet. Chow knew he had struck box office gold with Lee,
and quickly assembled another script entitled Jing wu men (1972) (aka "The Chinese Connection",
aka "Fist of Fury"). The second film (with a slightly improved budget) was again directed by Wei Lo
and was set in Shanghai in the year 1900, with Lee returning to his school to find his beloved master
has been poisoned by the local Japanese karate school. Once again, he uncovered the evil doers and
set about seeking revenge on those responsible for murdering his teacher. The film featured several
superb fight sequences, and at the film's conclusion, Lee refuses to surrender to the Japanese law
and seemingly leaps to his death in a hail of police bullets! Once more, Hong Kong streets were
jammed back with thousands of fervent Chinese movie fans who could not get enough of the
fearless Bruce Lee, and his second film went on to break the box

Masculinity In The Killer
Action movie takes a great part of Chinese cinema, and masculinity is the major issue of this genre
which reflected traditional Chinese culture and values. According to Yu's idea of Chinese
masculinity in cinema, it mainly represents male–dominated action genres. However, masculinity
tradition has been changed since the foundation of new wave wuxia films from the 1960s to 1970s.
Yanggang opposites to the traditional view of 'weak male', which means masculinity and macho in
modern Chinese society that indicated by Zhang Che, Ideology of Zhang's yanggang aesthetics
includes the determination to sacrificed for friendships righteousness, bravery to confront with
violence and death, persistence and indefatigability. Indeed, Hong Kong cinema tends ... Show more
content on Helpwriting.net ...
In Chinese society and culture, brotherhood always is a vital part of male bonding and it has a long
history as a core element of masculinity. Zhang Che claimed that Chinese hero is more concentrate
on brotherhood than a relationship with women refers to 'Chinese men's highest ideal' of
brotherhood, Liu, Guan, and Zhang, who are typical Chinese hero from one of the g=four greatest
ancient Chinese novels, The Three Kingdoms. And nobody would believe that Liu, Guan, and
Zhang are gay, same as nonone will think heroes from The Water Margin are gays as long as they
have same moral principles, righteousness and be able to understand each other. In The Killer, Woo
shows how Jeff and Lee became good friends from opposite sides due to their same morality. In the
scene of Lee came to kill Jeff both for his professional ethics and conscientiousness for his
colleague who dead for Jeff's case. Jeff asked Lee why he doesn't shot, and Lee answered his
principle is never show at the back. Jeff said this is same to his morality. Within this scene, the
camera level from Jeff's point of view is equal to Lee's eye level, which shows that Jeff admire Lee's
moral principles and they have same characteristics in terms of masculinity. This seed the following
collaboration of Jeff and Lee to fend Weng's gangsters

Un Chien Andalou
Un Chien Andalou
In Un Chien Andalou (1929), Luis Buñuel uses montage editing to put together a series of surreal
images to create what the audience can interpret as a love story. The theme being expressed in Un
Chien Andalou is that love is something that is irrational, unexplainable, and considering the fact
that it is a surrealist film, love is surreal. Along with the montage technique, I will also discuss
Buñuel's use of camerawork like the long shots used throughout the film, music, acting style,
costume (like having the female character read a book in which the same outfit is seen that the male
character is wearing), editing techniques such as point of view shots, and, finally, dream and fantasy
sequence.
To begin, Buñuel uses montage editing in order to piece together the story he and Salvador Dali
have created. His use of montage is ... Show more content on Helpwriting.net ...
R.L Rutsky and Jeffery Geiger, editors of "Film Analysis: A Norton Reader", stated that, " Buñuel
conflates succession and simultaneity (evolution and continuity) by having images paradoxically
comingle and follow each other in succession." The short film contains a total of five intertitles.
After each intertitle, a new segment ensues. Each segment that follows contains surreal images.
Starting with the first intertitle, which translates to "Once upon a time," the male character is seen
sharpening his razor, then he steps out onto the balcony to look up at the sky where there is a full
moon with sharp like clouds approaching. We then see what the audience can assume is a woman
sitting down on the same balcony, although it is never clearly stated if she is sitting or not. The male
character then grabs his razor and slits her eye just as the sharp like clouds pass in front of the moon.
With this segment, I think what the director is trying to get

Film Review : ' Lust ' Caution
Introduction
The film Lust,Caution was released in 2007 and was written by Hui–Ling Wang and was directed by
Ann Lee. Lust,Caution is a dark, tensed and speculative thriller. As the movie opened in a mahjong–
game in Shanghai in WWII–era, we met Mrs. Mak, who was a undercover role played by Chia–Chi
Wong("Wong")( played by Tang Wei), a serect agent of the puppet government of Japan Mr. Yee
(play by Tony Leung Chiu–Wai) who was the assassinated target of Wong. Wong belonged to a
troupe of drama students("the troupe") from Hong Kong University who plan this assassination.
Lust, Caution, the next creation after Ann Lee had won the Best Director for Brokeback Mountain at
Academy Award, was less known to the western world due to the cultural and language barrier.
However, this is another master piece of Ann Lee which did not only demonstrate his capability in
transforming literature into motion picture, but also deeply discussed the conflict among love and
ambition. Lust, Caution was adapted from a short novel by one of the greatest Chinese authors in
early 20th century, Eileen Chang. Among all the works of her, Ann Lee has considered Lust, Caution
as the one with the most elements and frames for a film. He said, "when I read Eileen Chang's
novels, especially Lust, Caution, I believed she was inspired by movies, and structured the story as a
movie." Even though the movie directed by Ann Lee and the novel written by Eileen Chang
presented their art and message in different forms,

The Mood For Love, Urban Space, And Post Modernity
In The Mood For Love, Urban Space, and Post Modernity Wong Kar Wai's Fa Yeung Nin Wa
(2000), translated to In The Mood For Love, is an opening to the new millennium and homage to
past genres of filmmaking. Deeply rooted in emotion and nostalgia, In The Mood For Love reads as
a waltz throughout the entirety of the film. Set in 1962 Hong Kong, journalist Chow Mo–wan moves
to the city with his wife, who is often away on business. He befriends a woman who lives in his
apartment complex, Su Li–Zhen (referred to Ms. Chan in the film) who mirrors his loneliness and
marital strife. Ironically, Ms. Chan's husband is also often away from business, and both realize their
partners are having an affair with their respective spouses.
Su and Chow begin a fantasy relationship with one another, pretending to be each other's spouse
reenacting how their partners could have gotten together. The protagonists constantly push each
other's boundaries of propriety; their combined desire for affection is an extension of the
abandonment they feel from their spouses. Simultaneously a simulacrum of love and a reflection of
genuine yearning, they imitate a relationship and inevitably fall for one another, but fear that they'll
stoop to the infidelity of their partners. Wong Kar Wai's film is a statement about individual realities
and how people reflect on an unattainable past, as well as an exploration of physical and emotional
confinement that accompany abandonment. In The Mood For Love is a

Suzie Wong Stereotypes
In this film, the protagonist, Asian women who lives in Hong Kong named 'Suzie Wong'. She is a
prostitute that fell in love with white male 'Robert', the painter from America. Who is also fell
deeply in love with her. The movie portrays 'Suzie' as seductive and being an exotic Asian woman.
Her life is not going so well, she left home and become a prostitute when she was eight years old.
Also, has one child with her (but not with Robert). However, Robert seems to be the one that can
help her from miserable life. 'Suzie Wong' is one of many characters in other Hollywood films that
portrays a negative stereotype of Asian women as prostitutes and inferior to white male for some
reasons. Kwan (1998) stated that, "The figure of the Oriental Woman,

Theme Of Honor In The Killer By Hon Wong
Even Death Can't Thread Honor
In 1997, Hong Kong gained sovereignty from Great Britain to China. This determinative event
accompanied by the Tian An Men massacre in 1989 has become a socially and politically national
and international context of actual violence (Hall 36). The phrase "gangsters/assassin" might
originate from the impressive images of the violent action movies and violent extremes of Hong
Kong cinema in the late 1980s. And, "The Killer" of director John Woo was one of the first films
opened a new turning point for the world's action films. It brought feelings about honor, friendship
between two persons who belong to two so–called opposite site.
In the movie, Ah Jong is a professional killer. During his mission, he accidentally hurts the eyes of
Jenny – a nightclub singer. When he knew ... Show more content on Helpwriting.net ...
They gradually developed the "strange" friendship between two people who belong to opposite site
of the discourse. It is strange because Li is a policeman detective, Ah Jong is the killer; Li protects
the law but Ah Jong breaks the law and after that they become friend. We can see this friendship
through sequence of actions that happen in between the time Li chases after Ah Jong. Each of the
following scene: where Li follows Ah Jong to the hospital in which Ah Jong runs for the life of little
girl that is shot in the beach; where Li pretends to be Ah Jong's best friends in Jenny's house (Mike
& Scott) strongly affected Li's thinking about what is "justice, honor and ethics" inside each human
beings. Li finds these three sectors in Ah Jong's character. Li says that: "Ah looked determined...
without being ruthless. There was something heroic about him. He did not look like a killer. He
came across so calm... acted like he had a dream... eyes full of passion". This way of describing
looks like he (Li) understands him (Ah Jong) very well though they are just known each other not
really long

John Woo: from Hong Kong to Hollywood, the Killer and...
John Woo: from Hong Kong to Hollywood, The Killer and Face/Off John Woo and his "heroic
bloodshed" have revolutionized and rejuvenated the action genre, combining melodrama with action
to create the male melodrama, in which he explores the codes of masculinity while redefining them.
Robert Hanke says that "explosive pyrotechnics seem to be privileged over plot, narrative or
character" (Hanke 41) and yet notes that Jillian Sandell maintains the opinion that Woo does not
"celebrate this violence, but rather uses it to represent a nostalgia for a lost code of honor and
chivalry" (Hanke 1999: 45). While characterized by violence, Woo's films define masculinity within
a changing world. He does not set out to make violent films, defending ... Show more content on
Helpwriting.net ...
Woo gives us a new kind of male protagonist, one that "combines physical violence and emotional
intensity" (Hanke 1999: 39), visible from the start of The Killer. Jeff is introduced to us as cool and
calm, casually shooting a room full of people. This expressionless killing is contrasted with the
following scene which shows his wounds being tended to in a close up of his face that displays that
pain and emotion that he is feeling. This opposition between violence and sensitivity is clearly
demonstrated by the characters of Caster Troy and Sean Archer in Face/Off when they swap faces,
and they must appropriate the characteristics of the other in order to survive, "the binary logic of
either violent or emotionally sensitive is dissolved into both violent and sensitive" (Hanke 1999:
53). Similarly in The Killer, Li is a mirror image for Jeff, the only difference being a badge. Woo's
films are based on these oppositions, particlularly good/evil, which is visible in the images he uses
at the end of both films, the shootouts taking place in a church with slow motion action. On a wider
scale he tries to reconcile the gap between past and present, trying to get back what is lost. Woo's
Hong Kong films introduced a new hero, a new masculinity rather than homoeroticism, emphasizing
male bonding and brotherhood, showing us that masculinity is "fluid and open to redefinition"
(Hanke 1999: 56). This hero further evolves in the Hollywood produced Face/Off,

Crazed Fruit Essay
What are the foundations of any film? The foundations of a film are nothing technical, but the time
and thought that goes into them are what makes a film. These foundations are the lights, scenery,
plot, camera techniques, and of course the actors. What really makes a film is the selection of actors
the director picks. Yes, all the other foundations are important, but the character choice is what
makes a film. In Nakahira's film Crazed Fruit, he choice actress Mie Kitahara to play a youthful
young female character named Eri. Eri portrays a character that is a carefree, young, beautiful
female, who does not care who she hurts in order to be happy. In the film Crazed Fruit, Eri is part of
a postwar generation called taiyozoku, meaning Sun Tribe. This generation is described to be young,
rich, with plenty of free time. Eri embodies all the traits that Japan's postwar youth embodied. The
only problem is that Japan's new conservative government feared that parents would be absent. This
allows them access to excess of money, leisure time, and time for sexual activity. Before the war
there were none of these problems, and the reason for them is because of Western habits being
introduced. ... Show more content on Helpwriting.net ...
Eri is married to an older American man who is well off. It may not be her parents, but it gives her
access to money. Also, she is a young Japanese female, who is married to a man who is a work all
the time. This leaves her alone and bored, with a lot of leisure time to do what she pleases. Since
Japan's economic prosperity was sufficient, this allowed for the youth to be carefree just like Eri is.
In the film Eri has all the free time in the world to hang at the beach and go to parties. All these
actives Eri does, and how she acts is all influenced by Westernization, creating a new generation in
Japan. This making Eri a great example of one taking part in careless and young

Duong Thu Huong's Paradise Of The Blind
An Analysis of Duong Thu Huong's Application of Audio in Paradise of the Blind During the
turbulent setting of post–war Vietnam, Duong Thu Huong projects the chaos experienced by her
characters through auditory expression and musical elements. Primarily a bildungsroman, Paradise
of the Blind portrays the protagonist, Hang, guided by her hometown's chants and foreign
influences. Although the timeline of this novel is nonlinear, aspects like the cripple's chant
consistently transform, adapting to Hang's level of maturity and emotional progression. Huong
demonstrates Hang's journey physically and emotionally. Young Hang lives a life of silent
confusion, with a void left by her absent father. Huong therefore fills the void with cacophonies, ...
Show more content on Helpwriting.net ...
Sound dispersing from the workings of her hometown Hanoi are embedded in her memory, as Hang
is capable of recalling them comprehensively in her flashbacks. Her fatherless, turbulent youth was
represented through a physical journey on a train, during which the Russian singer Pugatnova's
voice navigated her away from fear and into a new world. Maturity and growth are encompassed by
Hang's changing discernment of the cripple's song, which followed her from childhood to adulthood.
This reiteration of sound in different forms constructs a support for Hang's growth. Huong's
exploration of sound stays true to the novel's title, Paradise of the Blind, as one does not need vision
to hear what surrounds

Maggie Cheung Man Yuk Essay
Maggie Cheung Man Yuk, as is her complete name, was born in Hong Kong by Shanghainese
parents, who moved to the United Kingdom when she was eight. She returned to Hong Kong at the
age of 18, in 1982 and ended up staying, chiefly due to finding work as a model. In the next year,
she entered the Miss Hong Kong pageant, won the first runner–up and the Miss Photogenic award,
and was a semi–finalist in the Miss World pageant the same year.
She started her career in show business in TV but she quickly made the transition to cinema.
However, her first roles were limited to eye candy roles, with the most famous among them being
that of "May" in the first three "Police Story" films along Jackie Chan. Nevertheless, 1988 signaled
her first collaboration ... Show more content on Helpwriting.net ...
10. As Tears Go By (Wong Kar Wai, 1988)
Wong Kar Wai's directorial debut was where Maggie Cheung truly began her serious acting career,
according to her own words.
Wah is a young triad member who faces a number of problems, with the largest being his protégé
named Fly, an aspiring gangster who seems to constantly making a mess of everything. Things
become more complicated for Wah, when his second cousin Ngor comes to live with him because
she must receive medical treatment for her malfunctioning lung. The two of them end up falling for
each other.
Maggie Cheung gives a strong performance as Ngor, although for the biggest part of the film she
has the role of the "eye–candy." However, after her character falls in love with Wah, her acting
abilities become rather evident, particularly in the scene where the two lovers part and she slowly
starts crying.
9. Green Snake (Tsui Hark,

Movie Review : ' The Rundown '
The Rundown
After viewing the movie, The Rundown, the main stars of the movie are Dwayne Johnson as Beck,
Seann Williams Scott as Travis, Rosario Dawson as Mariana, Christopher Walken as Hatcher,
Edwen Bremner as Declan, Stephen Bishop as Quarterback, and Jeff Chase as Kambui. I would
recommend this movie to people who like action– adventure movies. It was a very good movie with
lots of action and it was a funny. Beck is my favorite character in the movie because he is generous
and an excellent fighter without being armed. However, Hatcher is my least favorite, he's cruel and
greedy.
Beck is a highly paid retriever of vital missing things like jewelry, weapons, and people. Beck
requests to open his own restaurant, because he is in huge debt, he takes the bounty hunter job.
Becks last job is to find a mobster son, Travis Walker, a Stanford failure living in the Amazon. If
Beck transports Travis home, he will receive two hundred–fifty thousand dollars. He could stop
bounty hunting and open his restaurant with the money. Travis went to Brazil to look for El Gato
Diablo, which is a well–known idol, which he could sell for millions if he found it. Beck hires a
small plane which the pilot is named Declan. As Declan is flying in the Amazon he shouts some
verses from the bible. Declan informs Beck about the rebels in the jungle who are cruel. The rebels
hide out in the jungle. A small tavern in the Amazon, Travis ask Mariana a bartender if he could
borrow her uncles

Colonialism in Jackie Chan Films Essay
Colonialism in Jackie Chan Films For over 20 years Jackie Chan has been the biggest action star in
most of the world. First becoming popular in his native Hong Kong in the early 80s, his popularity
slowly spread across the globe, and finally hit the U.S. with the 1996 release of Rumble In The
Bronx (1994.) Since then Chan has made three highly successful films with American studois and
several more with the Hong Kong studio Golden Harvest. He is easily one of the most recognizable
Asian movie stars or all–time. Jackie Chan's movies are famous for their over–the–top stunts and
hilarious–but–amazing fight scenes, so much so that the actual plots of the films are sometimes
forgotten. However, if one looks past the all the fights and ... Show more content on Helpwriting.net
...
Jackie Chan, as the real–life Chinese folk hero Wong Fei–Hung, stops the British along with their
Chinese cohorts from stealing the artifacts, saving the country's heritage for generations to come.
Despite the fact that Wong Fei–Hung is a real person, this sequence of events never happened. It is
no coincidence, however, that the person responsible for stopping the devious British colonials in
the film, as well as many other films that do not feature Jackie Chan, is Fei–Hung. Wong Fei–Hung
is China's greatest hero, so much so that he is China, and to a lesser extent he is Hong Kong,
representing many of Hong Kong's basic beliefs, such as Confucian virtue and Cantonese tradition
(Fore 124.) Hong Kong cinema has had a longstanding affair with Wong Fei–Hung, with over 100
films about him having been made in the past 50 years (Logan 10.) He represents many Chinese
ideals, so his small victory over the British colonials can easily be read as a Chinese victory over the
British. Because of Britain's occupation of Hong Kong at the time, it is easy to see why Hong Kong
citizens would like to see the British be defeated by someone who holds Chinese beliefs so sacred,
and by someone who is held so sacred in Hong Kong.
If Wong Fei–Hung represents the best of China, the villains in the film

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