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Full Description
Described as the 'lost genre', the tradition of documentary film making in Hong Kong is far less known than its martial arts films. However documentary film has always existed in Hong Kong and often trenchantly represents its troubled relationship to itself, China and the west.
Including the period of colonial film-making, the high points of television documentary and the tradition of independent documentary film-making, this book is the first to present a comprehensive study of this lost genre. It explores the role of public-service television (including representations of the massacre at Tiananmen Square) and presents critical analysis of key films. Based on original archival research, it will be an invaluable resource for students and academics who work in the fields if film studies, colonial studies and Hong Kong cinema.
Contents
Introduction; 1. Hong Kong, Britain China; the documentary film (1896-1941), A Page of History (1941) and The Battle of Shanghai (1937); 2. Hong Kong, Britain China; the documentary film (1947-69), the 'picturesque' committed film and Water comes over the Hills from the East (1965); 3. Colonial film: The development of official film-making in Hong Kong (1945-73), the Hong Kong Film Unit (1959-73) and This is Hong Kong (1961); 4. 'Under Siege'. Public-service broadcasting in an authoritarian setting: The case of Radio Television Hong Kong, and the development of television documentary film in Hong Kong; 5. The documentary films of Radio Television Hong Kong and The Hong Kong Case (1989); 6. Aesthetics and radicalism: An overview of independent documentary film in Hong Kong (1973-2013); 7. A critical analysis of significant independent documentary films of the past three decades: Ed Kong's Rising Sun (1980); Evans Chan's Journey to Beijing (1998); Tammy Cheung's Rice Distribution (2003); Anson Mak's One Way Street on a Turntable (2007); Cheung King-wai's KJ: Life and Music (2008) and Louisa Wei's Storm under the Sun (2011); Conclusions; Bibliography; Index