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Hong Kong Cinema: The Extra Dimensions
Covering a period from 1909 to the "end of Hong Kong cinema" in the present day, this book features information about the films, the studios and the personalities that have shaped this kind of cinema. It includes studies of the films of King Hu, Bruce Lee and Jackie Chan.
- GenresFilmNonfictionArtChina
319 pages, Paperback
First published September 26, 1997
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About the author
Stephen Teo
22 books7 followersStephen Teo is currently associate professor at the Wee Kim Wee School of Communication and Information, Nanyang Technological University, Singapore.
He has done significant research work in the field of the Hong Kong cinema, and his research areas include other Asian cinemas, revolving around subjects of genre theory, film history, auteur studies, cultural studies, national cinema, and investigations into the literary and visual aspects of film theory.
He has done significant research work in the field of the Hong Kong cinema, and his research areas include other Asian cinemas, revolving around subjects of genre theory, film history, auteur studies, cultural studies, national cinema, and investigations into the literary and visual aspects of film theory.
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Displaying 1 - 4 of 4 reviews
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April 19, 2023Essential.
The first third is entirely devoted to pre Come Drink With Me / One-Armed Swordsman Chinese/HK cinema, a fascinating time period and one still largely inaccessible to English language viewers, and within several pages one is reminded just how wonderful actual film criticism is.
The chapter ostensibly dedicated to Bruce Lee focused more on the concept of 'abstract nationalism' and the ways in which this was and is practiced by the Chinese, and ends up being one of the most informative discussions on HK cinema I've read.
The first third is entirely devoted to pre Come Drink With Me / One-Armed Swordsman Chinese/HK cinema, a fascinating time period and one still largely inaccessible to English language viewers, and within several pages one is reminded just how wonderful actual film criticism is.
The chapter ostensibly dedicated to Bruce Lee focused more on the concept of 'abstract nationalism' and the ways in which this was and is practiced by the Chinese, and ends up being one of the most informative discussions on HK cinema I've read.
March 21, 2020
Wonderfully comprehensive critical analysis of Hong Kong cinema, from 1909 through 1997, although the book focuses primarily on the postwar period. Teo addresses the general lack of proper critical and historical perspective of Hong Kong cinema, and he succeeds wonderfully. His book is impressive in scope, diligently researched, savvy in its cultural and historical perspectives, eminently fair and lively in its criticism, and enthusiastic about many postwar Hong Kong filmmakers who are likely unfamiliar to those outside of Hong Kong. Of course, Teo also provides ample coverage of famous Kong Kong filmmakers such as King Hu, Chang Cheh (or Zhang Che), Bruce Lee, Lau Kar-leung, Jackie Chan, Stephen Chow, and Tsui Hark.
Teo’s book provides more historical depth than David Bordwell’s Planet Hong Kong, and devotes far more space to several genres Bordwell wasn’t interested in, such as melodramas, musicals, horror and fantasy movies, and nonsense comedies. In the Fifties, the left-wing cause in Hong Kong advanced under the works of Li Pingqian and Zhu Shilin, the right had its cultural-nationalists in directors Ma-Xu Weibang and Tang Huang, and ideologically ambivalent producers such as Zhang Shankun thrived by making emotionally charged pictures. Teo’s critical analysis of the work of King Hu, Chang Cheh, and Lau Kar-leung in the Sixties and Seventies is the best and most cogent I’ve found, highlighting both their strengths and weaknesses. For the Eighties, Teo’s coverage of the “new wave” is exceptional, highlighting the work of Clifford Choi, Shu Kei, Stephen Shin, David Lai, and Patrick Tam, directors barely mentioned elsewhere. Action auteurs like Tsui Hark and John Woo get their due. In his essay on the “second wave,” Teo covers other stylish directors that came in the late Eighties, such as Allen Fong, Stanley Kwan, Wong Kar-wai, Ann Hui, and Clara Law. In terms of gender, time periods, and genres, Teo’s book is a well-balanced survey of Hong Kong cinema, avoiding the masculine obsessions of other books. The book also provides plenty of cultural and historical insight into trends in Hong Kong movies, including the impact of the Chinese transition.
Although Teo’s approach is more academic in tone and auteurist in methodology than Bordwell’s, his book is equally accessible to film scholars and general fans of Hong Kong cinema; the two books complement one another nicely. Surprisingly, Teo’s book has no movie stills—other than those on the front and back cover—to give the book much needed visual appeal and browsability.
The book ends with a section called “Bio-filmographies,” which provides short capsule biographies and filmographies of prominent actors, directors, producers, and writers.
For my reviews of other Hong Kong cinema books and documentaries, see my blog:
https://coollimabean.wordpress.com/20...
Teo’s book provides more historical depth than David Bordwell’s Planet Hong Kong, and devotes far more space to several genres Bordwell wasn’t interested in, such as melodramas, musicals, horror and fantasy movies, and nonsense comedies. In the Fifties, the left-wing cause in Hong Kong advanced under the works of Li Pingqian and Zhu Shilin, the right had its cultural-nationalists in directors Ma-Xu Weibang and Tang Huang, and ideologically ambivalent producers such as Zhang Shankun thrived by making emotionally charged pictures. Teo’s critical analysis of the work of King Hu, Chang Cheh, and Lau Kar-leung in the Sixties and Seventies is the best and most cogent I’ve found, highlighting both their strengths and weaknesses. For the Eighties, Teo’s coverage of the “new wave” is exceptional, highlighting the work of Clifford Choi, Shu Kei, Stephen Shin, David Lai, and Patrick Tam, directors barely mentioned elsewhere. Action auteurs like Tsui Hark and John Woo get their due. In his essay on the “second wave,” Teo covers other stylish directors that came in the late Eighties, such as Allen Fong, Stanley Kwan, Wong Kar-wai, Ann Hui, and Clara Law. In terms of gender, time periods, and genres, Teo’s book is a well-balanced survey of Hong Kong cinema, avoiding the masculine obsessions of other books. The book also provides plenty of cultural and historical insight into trends in Hong Kong movies, including the impact of the Chinese transition.
Although Teo’s approach is more academic in tone and auteurist in methodology than Bordwell’s, his book is equally accessible to film scholars and general fans of Hong Kong cinema; the two books complement one another nicely. Surprisingly, Teo’s book has no movie stills—other than those on the front and back cover—to give the book much needed visual appeal and browsability.
The book ends with a section called “Bio-filmographies,” which provides short capsule biographies and filmographies of prominent actors, directors, producers, and writers.
For my reviews of other Hong Kong cinema books and documentaries, see my blog:
https://coollimabean.wordpress.com/20...
July 30, 2018
Unlike many film reference books concerning countries, author Stephen Teo doesn't hesitate to criticize films that he thinks aren't very good, which I found refreshing. The book is written so that experience of Hong Kong life and history is helpful but no so that it is hard for someone with no knowledge will feel overwhelmed. There are parts where Teo can get kind a bit too scholarly - Bruce Lee's nationalism and the psychology behind John Woo's films for example but that is a minor complaint. For the uninitiated (like myself), the explanation of Mandarin and Cantonese films and their place in history was very interesting.
Since this book was written in 1997, there is a lot about the handover and the 'China syndrome' and how will it affect Hong Kong film-making in the future. Twenty years later this is comes off as a bit of unnecessary hand-wringing but one wouldn't have known that back then.
Since this book was written in 1997, there is a lot about the handover and the 'China syndrome' and how will it affect Hong Kong film-making in the future. Twenty years later this is comes off as a bit of unnecessary hand-wringing but one wouldn't have known that back then.
reference
October 4, 2008I like Teo's quiet passion, straightforward chronological history with concise analyses.
Displaying 1 - 4 of 4 reviews