DAVID BORDWELL PLANET HONG KONG PDF

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Shelves: hong-kong-cinema Exhilarating survey of Hong Kong movies by a noted film scholar and an ardent fan. Originally published in , right after the handover of Hong Kong to mainland China, this is a second edition that was updated in Bordwell is not interested solely in the hermeneutics--the philosophy and Exhilarating survey of Hong Kong movies by a noted film scholar and an ardent fan.

Bordwell is not interested solely in the hermeneutics--the philosophy and science of interpretation--of Hong Kong movies. Instead, he focuses on the poetics. He writes, "I ask about the principles that govern the making of the films. This frame of reference has many advantages, not least among them that it permits film criticism to mesh to some degree with the craft practices of filmmaking. He talks about the different techniques that Hong Kong movies employed that resulted in many experimental, stylish, and emotionally powerful movies that are not only popular but artistic.

Action movies, for sure. He fell in love with kung-fu movies in the 70s after seeing a double-feature of Five Fingers of Death and The Chinese Connection in a rundown theater in Madison, Wisconsin. Crime dramas also fascinate him. He provides lengthy analyses of the Infernal Affairs movies, the absurdly violent "gun-fu" films of John Woo, and the sophisticated triad movies of Johnny To.

Perhaps more space could have been dedicated to a woman or two, such as Ann Hui and Clara Law. Many Hong Kong movies of the 80s and 90s are simply better than anything that came out of Hollywood.

The book frequently celebrates vulgar, absurd, and grotesque Hong Kong movies thus the lengthy profile of director Wong Jing. Bordwell writes, "Hong Kong film celebrates voluptuousness and grotesquerie it savors cleavage and penile bulges, comic warts and farts, mold-blotched vampires, greedy faces smeared with sauce and fat, and creatures with gigantic tongues.

Nothing gorgeous or hideous is alien to this cinema. Unlike many other books on Hong Kong movies, Bordwell examines box office receipts, taking a serious look at the business of Hong Kong cinema. The state of the business is not good. After the handover to China, the Hong Kong movie industry went into a tailspin. Production decreased dramatically, financing vanished, budgets shrunk, regional export markets such as Taiwan vanished, China imposed strict import quotas on Hong Kong movies, video piracy surged, and Hollywood i.

The glory days of Hong Kong movies, the 80s and 90s, are long gone. This is a large format book, and there are dozens of color still photos from the movies. If you enjoy Hong Kong movies, you will certainly enjoy this book. For my reviews of other Hong Kong cinema books and documentaries, see my blog:.

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Planet Hong Kong: Popular Cinema and the Art of Entertainment

Shelves: hong-kong-cinema Exhilarating survey of Hong Kong movies by a noted film scholar and an ardent fan. Originally published in , right after the handover of Hong Kong to mainland China, this is a second edition that was updated in Bordwell is not interested solely in the hermeneutics--the philosophy and Exhilarating survey of Hong Kong movies by a noted film scholar and an ardent fan. Bordwell is not interested solely in the hermeneutics--the philosophy and science of interpretation--of Hong Kong movies. Instead, he focuses on the poetics. He writes, "I ask about the principles that govern the making of the films. This frame of reference has many advantages, not least among them that it permits film criticism to mesh to some degree with the craft practices of filmmaking.

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David Bordwell

Index Reviews of this book: One of our most inventive film scholars, Bordwell takes on one of the most over-the-top cinemas. Recently Western critics have begun to recognize it as possessing a level of creativity almost equal to its financial success--despite its deep roots in genre traditions aimed at a mass audience, Bordwell examines how these elements interact in Hong Kong films to produce an art that is at the same time both popular and significant. He outlines the history, economics, and production techniques of the Hong Kong studios, particularly focussing on the genres that are most closely associated with their success the kung-fu film, the swordplay epic, the gangster film, and the urban comedy By rooting his analyses in detailed readings of the film texts, he is able to convey--as much as mere words can--how this audaciously visceral cinema works

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Planet Hong Kong by David Bordwell

Career[ edit ] Drawing inspiration from earlier film theorists such as Noel Burch as well as from art historian Ernst Gombrich , Bordwell has contributed books and articles on classical film theory, the history of art cinema, classical and contemporary Hollywood cinema, and East Asian film style. However, his more influential and controversial works have dealt with cognitive film theory Narration in the Fiction Film being one of the first volumes on this subject , historical poetics of film style, and critiques of contemporary film theory and analysis Making Meaning and Post-Theory being his two major gestures on this subject. Neoformalism[ edit ] Bordwell has also been associated with a methodological approach known as neoformalism, although this approach has been more extensively written about by his wife, Kristin Thompson. One scholar has commented that the cognitivist perspective is the central reason why neoformalism earns its prefix neo and is not "traditional" formalism. Neoformalists reject many assumptions and methodologies made by other schools of film study, particularly hermeneutic interpretive approaches, among which he counts Lacanian psychoanalysis and certain variations of poststructuralism.

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PLANET HONG KONG

Recently Western critics have begun to recognize it as possessing a level of creativity almost equal to its financial success—despite its deep roots in genre traditions aimed at a mass audience. Bordwell examines how these elements interact in Hong Kong films to produce an art that is at the same time both popular and significant. He outlines the history, economics, and production techniques of the Hong Kong studios, particularly focussing on the genres that are most closely associated with their success the kungfu film, the swordplay epic, the gangster film, and the urban comedy. These historical chapters alternate with analyses of specific directors, with particular attention paid not only to such wellknown filmmakers as John Woo and Wong KarWai but also to some figures worthy of greater attention in the West such as King Hu. By rooting his analyses detailed readings of the film texts, he is able to convey—as much as mere words can—how this audaciously visceral cinema works. Bordwell is not well known outside academic film circles, but he should be; perhaps this volume will give him the exposure he deserves.

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