Education, Science, Technology, Innovation and Life
Open Access
Sign In
  1. Home
  2. Journals
  3. Art and Performance Letters
  4. Vol 5, Issue 2, 2024

The Return of the Golden Age: A Study of "New Hong Kong Films" in the New Era

Download as PDF

DOI: 10.23977/artpl.2024.050208 | Downloads: 13 | Views: 372

Author(s)

Gao Weichen 1

Affiliation(s)

1 Xi'an International University, Xi'an, Shaanxi, 710000, China

Corresponding Author

Gao Weichen

ABSTRACT

With the release of movies like Legal Maverick and The Storm Riders, as well as Hong Kong actor Tony Leung Chiu-Wai winning the Best Actor award at the 16th Asian Film Awards for his role in The Storm Riders, Hong Kong cinema, which has been in a slump for a while, has once again become a hot topic in the media. In recent years, the concept of "New Hong Kong Cinema" has been widely discussed in various online media platforms. But how is "New Hong Kong Cinema" defined, and what makes it new? This paper aims to analyze and interpret the concept of "New Hong Kong Cinema" by examining the historical development and current situation of Hong Kong cinema, drawing upon the research experiences and findings of scholars in the field. Through the use of literature analysis and comparative analysis, this study approaches the topic from a film criticism perspective, with the hope of providing a comprehensive understanding of "New Hong Kong Cinema" and offering additional insights into the subject matter.

KEYWORDS

Hong Kong cinema; New Hong Kong Cinema; Legal Maverick; The Storm Riders

CITE THIS PAPER

Gao Weichen, The Return of the Golden Age: A Study of "New Hong Kong Films" in the New Era. Art and Performance Letters (2024) Vol. 5: 46-53. DOI: http://dx.doi.org/10.23977/artpl.2024.050208.

REFERENCES

[1] Lie, F. "Vulgaria": Is the Record-Breaking Box Office Due to the "Hong Kong Flavor" or Hong Kong-Style "Fairy Tale"?[J]. Film Art, 2023(03): 100-102.
[2] Bordwell, D. The Secrets of Hong Kong Cinema [M]. Hainan: Hainan Publishing House, 2003.
[3] Lie, F. Overview of Hong Kong Cinema in the 1990s [J]. Contemporary Cinema, 2002(02): 59-68.
[4] Law, K. T. Hong Kong New Wave Cinema [M]. Hong Kong: Tiandi Publishing Limited, 2003.
[5] Hu, K., & Liu, H. Globalization, Hong Kongness, and Greater China: A Decade of Reflection on Hong Kong Cinema [J]. Film Art, 2007(04): 5-10.
[6] Zhang, J., & Zhang, Y. CEPA Promotes the Great Development of Film in Both Places [N]. China Film News, 2007-6-28(009).
[7] Liu, C. K. Hong Kong’s Return and Cultural Identity [J]. Hebei Journal, 1998(02): 84-88.
[8] Zhou, B. The Aesthetic Pursuit and Theoretical Construction of Chinese Film Schools [J]. Future Communication, 2021, 28(04): 97-104.
[9] Chen, J. Main Melody Films: Visual Representations of Mainstream Ideology [J]. Film Literature, 2005(11): 35-36.
[10] Liu, H. The Game between Ideology and Commercial Interests: A Study of Hong Kong-Mainland Co-produced Films [J]. Literary and Artistic Research, 2014(02): 105-114.
[11] Song, D., Kang, N., & Zhang, J. Ready to Set Sail Again: An Interview with Song Dai [J]. Contemporary Cinema, 2011(01): 28-33.

All published work is licensed under a Creative Commons Attribution 4.0 International License.

Copyright © 2016 - 2031 Clausius Scientific Press Inc. All Rights Reserved.