Hong Kong Cinemagic
Version française English version
 Capsule Reviews   English Board   Facebook  
 Movie Studios
 Your Settings

HKCine Search
Switch to Google Search
>> Help

 Film directors

 Drama & Opera

 Shaw Brothers
 Film Industry
 Cultural & Societal

 DVD Tests
 HK Cinema Books
 Where to buy?

 OST & Music
 PDF & E-books
 VIP Guestbook

 Site Map
 Editos Archives
 Site History
 Visitor guestbook
 HKCinemagic 2

Statistics :
11630 Movies
19215 People
1448 Studios
29 Articles
73 Interviews
12 DVD Reviews
32452 Screenshots
3722 Videos
Missing in Action: Hong Kong Films in European Film Festivals 2009-10
Pusan favors HK films 1/1 - Page 5
Author(s) : Gina Marchetti
Yiping Lin
Date : 24/8/2010
Type(s) : Report
 Intext Links  
People :
Fruit Chan Gor
Ann Hui On Wah
Stanley Kwan Kam Pang
Edmond Pang Ho Cheung
Movies :
At The End Of Daybreak
Made In Hong Kong
Night And Fog
Prince Of Tears
< Previous
Page 4 : A tour of European festivals
Next >
Page 6 : Missing in action at Locarno and Karlovy-Vary

Pusan, whose strength lies in promoting Asian film cultures, favors Hong Kong films. The South Korean festival seeks to develop and promote young talents in the New Current section. Every year a few films from Hong Kong are selected on a par with titles from other Asian countries and regions, covering a variety of categories of films from glamorous productions that have traveled to big festivals to low-budget independent or avant-garde films. In 2009, apart from the Venice picks Prince of Tears and Accident, Ann Hui’s Night and Fog and Ho Yuhang’s Malaysian-Hong Kong-Korean coproduction At the End of Daybreak were shown in A Window on Asian Cinema section. In addition, Rita Hui’s first experimental feature Dead Slowly was selected in New Currents, its only competition section "featuring the first or the second feature films by the future leading directors of Asian cinema’ and where all films ‘are restricted to world/international premieres." (1)


Night and Fog. Photo courtesy of Golden Scene.


Pusan has showcased works by the independent filmmaker Fruit Chan and Edmond Pang Ho Cheung, as well as some of the New Wave production titles by filmmakers such as Stanley Kwan and Ann Hui, but it is rare for a Hong Kong title to win a prize in competition. No Hong Kong films have ever won the New Currents Award, while Chinese titles, including Xiao Wu, have won three times; the only Fipresci Award from the International Federation of Film Critics given to Hong Kong cinema was for Fruit Chan’s Made in Hong Kong in 1997. Taking into consideration Pusan’s significance in capturing, recognizing and promoting regional identity through the venue of innovative cinema, we may want to ask: why are fewer daring, innovative and challenging works from Hong Kong being made/shown? What kind of interlocking power dynamics between geopolitics, culture, financial situation, film institution, filmmaker and audience are at play?

(1) http://www.piff.org/Template/Builder/00000001/page.asp?page_num=2318
Page :  1  2  3  4  5   6  7  8  Top
Previous :
Page 4 : A tour of European festivals
Next :
Page 6 : Missing in action at Locarno and Karlovy-Vary

 Advertise with Google AdSense   Submit a review   Contact   FAQ   Terms of use   Disclaimer   Error Report  
copyright ©1998-2013 hkcinemagic.com