Planet Hong Kong: Popular Cinema and the Art of Entertainment (2011)

49, 50. ale 52. 53. 54. no: 56. Search (1989); Rolanda Chu, “On the Lam: An Interview with Ringo,” Hong Kong Film Magazine no. 4 (1995): 17. Jayne Caeneddi, “Hong Kong Gender Benders: Drag and Transvestitism in Tsui Hark’s Movies,” Asian Trash Cinema no. 6 (1994): 37. I’m grateful to Athena Tsui, who suggested several points developed in this paragraph. Howard Hampton, “Once upon a Time in Hong Kong: Tsui Hark and Ching Siu-tung,” Film Comment 33, no. 4 (July/August 1997): 18. J. Hoberman, Vulgar Modernism: Writing on Movies and Other Media (Philadelphia: Temple University Press, 1991), pp. 32-40. For a survey of this subcultural cinema, see Pete Tombs, Mondo Macabro: Weird and Wonderful Cinema around the World (New York: St. Martin’s, 1998). Richard Morgan, “The Internet is the New Jet Propeller,’ Variety, 20-26 July 1998, p. 4. Hammond and Wilkins, Sex and Zen, p. 11. See John Fiske, Understanding Popular Culture (Boston: Unwin Hyman, 1989), p. 25. Fora critical discussion of this position, see Noél Carroll, A Philosophy of Mass Art (Oxford: Clarendon Press, 1998), pp. 236-241. Enough to Make Strong Men Weep 1. 2 3. 4. Bérénice Reynaud, “The Killer Insider,’ Village Voice, 12 May 1991, p. 60. Quoted in Mel Tobias, Flashbacks: Hong Kong Cinema after Bruce Lee (Hong Kong: Gulliver, 1979), p. 177. See Athena Tsui, “John Woo and Bullet in the Head” (manuscript), pp. 1-2. Quoted in Rolanda Chu, “On the Lam: An Interview with Ringo,” Hong Kong Film magazine no. 4 (1995): 23. Planet Hong Kong D: 8. 10. 11. DP, 13; 14. 15. Law Kar, “Hero on Fire: A Comparative Study of Jon Woo’s ‘Hero’ Series and Ringo Lam’s ‘On Fire’ Series,” in Fifty Years of Electric Shadows (Hong Kong: HKIFF/Urban Council, 1997), p. 72; Li Cheuk-to, “Tsui Hark and Western Interest in Hong Kong Cinema,” Cinemaya no. 21 (Autumn 1993): 51. Stephen Teo speaks of The Killer as pushed “to the point of excess”; Hong Kong Cinema: The Extra Dimensions (London: British Film Institute, 1997), p. 178. . Interview with Peter Tsi, 8 April 1997. Richard James Havis, “A Better Today: Hong Kong’s John Woo Finally Does It His Way in Hollywood,” Cinemaya nos. 39-40 (Winter-Spring 1998): 13. Quoted in “John Woo on His Career,” in New Hong Kong Films ’86/’87, ed. Leong Mo-ling (Hong Kong: Urban Council, 1987), p. 35. Martin Wong, “Number One with a Bullet,’ Giant Robot no. 5 (1996): 20. Julien Fonfrede and Michael Gilson, “Biting the Bullet with John Woo,’ Asian Eye no. 1 (Spring 1993): 7; Wade Major, “Harder Target,” Boxoffice 132, no. 2 (February 1996): 29. Quoted in Aljean Harmetz, “Toning Down, John Woo Earns His Hollywood R,” New York Times, 15 August 1993, p. H11. Major, “Harder Target”; 29; “Woo’s ‘Hard’ Introduction to Hollywood,” USA Today, 20 August 1993, p. 5D. Beth Accomando, “Terence Chang,” Giant Robot no. 4 (1996): 65. See Mary Hardesty, “Nike Woos the World Cup,” American Cinematographer 79, no. 8 (August 1998): 82-87; “Mission Impossible: 2,” Cinescape 4, no. 4 (September/October 1998): 70. Bérénice Reynaud, “Woo in Interview,” Sight and Sound 3, no. 5 (May 1993): 25. 16. See, for example, John Woo, “About John Woo,” Asian Cult Cinema no. 20 (July 1998): 54. 17. Voice-over commentary for the Criterion 18. Le. 20. PAR 22, 25. 24. 25: laserdisc release of The Killer. Reynaud, “Woo in Interview.” See Barbara Scharres, “The Hard Road to Hard Target,” American Cinematographer 74, no. 9 (September 1993): 70. He would push this tendency to wild limits in Face/Off, which sometimes used more than ten cameras at once; Bérénice Reynaud, “Entretien avec John Woo,” Cahiers du cinéma no. 516 (September 1997): 28. Commentary for laserdisc edition of The Killer. Ibid. Ibid. For a suggestive analysis of motifs clustered around character relationships, see Maitland McDonagh, “Action Painter: John Woo,” Film Comment 29, no. 5 (SeptemberOctober 1993): 46-49, Teo, Hong Kong Cinema, pp. 176, 181. Reynaud, “Entretien,” 26-27; quoted in Antoine de Baecque, “Dans la peau de l’autre: Face/Off de John Woo,” Cahiers du cinéma no. 516 (September 1997): 26. 5 | Made In Hong Kong ds ve o: Much of the information in this chapter comes from interviews with Shu Kei and Peter Tsi. I am grateful to them for their patient assistance. The standard reference here is Robert C. Allen, Vaudeville and Film, 1895-1915: A Study in Media Interaction (New York: Arno Press, 1980). The great exceptions are those countries that have vertically integrated systems but where censorship intervenes so stringently that Notes | 276