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watch three movies and write for two questions (6 pages)
1. Dream, Journey, Identity (minimum 5 full pages)
Hong Kong cinema is more than martial arts and action. The second part of the course examines dramas of love, fantasy, journey, and self-discovery in Hong Kong cinema. Characters in these films seem to harbor a big dream: a “Hong Kong dream,” a “California dream,” or a “New York dream.” With the passage of time, they attempt to create new identities for themselves: be a different person, go to a new place, enter a relationship, or feel nostalgic for the past. Discuss the ways in which these characters change, pursue dreams, cherish old relationships, or search for new identities. Please feel free to consult relevant discussions in Planet Hong Kong by Professor David Bordwell and in the anthology A Companion to Hong Kong Cinema.
*** In your analysis, you should refer to at least three films by different directors. Please also briefly comment on the stylistic features of each of the directors
2. Looking back at the entire course, what films do you like better? What are the films that you don’t like as much? Explain why.(1-2 pages for this question)
*** both what you write and how you write are important. Avoid simple generalization. You need to refer to specific elements in the films. Coherence, organization, and elegance are important criteria for good writing.
Films screened or discussed in class since midterm
An Autumns Tale (Dir. Mabel Cheung, starring Chow Yun-fat, 1987)
Rouge (Dir. Stanley Kwan, 1987)
Full Moon in New York (Dir. Stanley Kwan, 1989)
Her Fatal Ways (Dir. Alfred Cheung, 1990)
Farewell China (Dir. Clara Law, 1990)
Comrades, Almost a Lover Story (Dir. Peter Chan, 1997)
Durian Durian (Dir. Fruit Chan, 2001)
A Simple Life (Dir. Ann Hui, 2012)
Shaolin Soccer (Dir. Stephen Chow, 2001)
Kungfu Hustle (Dir. Stephen Chow, 2005)
The Mermaid (Dir. Stephen Chow, 2016)
Films of Wong Kar-wai:
Chungking Express (Dir. Wong Kar wai, 1994)
Happy Together (Dir. Wong Kar-wai, 1997)
In the Mood for Love (Dir. Wong Kar-wai, 2000)
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