포스트97 홍콩영화 금상장과 ‘뉴웨이브’
Hong Kong Film Awards and New Wave in Post-1997 Hong Kong
0
조회
0
다운로드
2
인용
0
참고문헌
키워드
초록
‘Ten Years’ won the Hong Kong Film Awards(金像獎) for Best Film in 2016. It can be supposed as an 'event' in Deleuzian concepts. While the mainlandization is becoming more irreversible in Hong Kong, A low-budget independent film made by young filmmakers, which depicted the dystopian future of Hong Kong in 2025, won the Grand Prize at the Hong Kong's most prestigious film awards. It served as an important reflection of the Umbrella Revolution of 2014, and also influenced the series of events that followed and the recent anti-extradition bill protest. So it is can be called as an 'event' at the social aspect, and also at the field of Hong Kong film. In the first place, this paper examines a series of changes surrounding the Hong Kong film industry after the Handover of Hong Kong to mainland China, and then look into the reality of the Hong Kong film world as a cultural field which complex conflicts and articulation between China and Hong Kong, and between political, economical and cultural agents is going on. Lastly, This paper investigates the recent trend of the ‘SAR new wave’ and the possibility of the change in Hong Kong film world.
Abstract
‘Ten Years’ won the Hong Kong Film Awards(金像獎) for Best Film in 2016. It can be supposed as an 'event' in Deleuzian concepts. While the mainlandization is becoming more irreversible in Hong Kong, A low-budget independent film made by young filmmakers, which depicted the dystopian future of Hong Kong in 2025, won the Grand Prize at the Hong Kong's most prestigious film awards. It served as an important reflection of the Umbrella Revolution of 2014, and also influenced the series of events that followed and the recent anti-extradition bill protest. So it is can be called as an 'event' at the social aspect, and also at the field of Hong Kong film. In the first place, this paper examines a series of changes surrounding the Hong Kong film industry after the Handover of Hong Kong to mainland China, and then look into the reality of the Hong Kong film world as a cultural field which complex conflicts and articulation between China and Hong Kong, and between political, economical and cultural agents is going on. Lastly, This paper investigates the recent trend of the ‘SAR new wave’ and the possibility of the change in Hong Kong film world.
참고문헌 (16)
- 들뢰즈, 질, "의미의 논리" (1999), 한길사
- 안영은, "사건으로서의 「十年」 ― 홍콩영화 「十年」에 대한 고찰", 중국현대문학, (81), pp.135~171 (2017), 한국중국현대문학학회
- 윤영도, "홍콩 영상매체 속 ‘내지 신이민’ 재현과 문화정치학의 변천", 중국현대문학, (63), pp.211~245 (2012), 한국중국현대문학학회
- 윤영도, "옴니버스영화 <10년>을 통해 살펴보는 ‘우산 혁명’ 이후의 홍콩", 씨네21, (1215) (2019)
- 이상길, "국제 영화제 공간의 역사적 형성과 구조적 특성 연구", 문화와 사회, 21, pp.65~120 (2016), 한국문화사회학회[DOI]
- 장정아, "타자로서의 이주민:홍콩의 중국본토 이주민(新移民)", 비교문화연구, 8(2), pp.37~78 (2002), 비교문화연구소
- 종보현, "홍콩 영화 100년사: 홍콩 영화·TV 산업의 영광과 쇠락" (2014), 그린비출판사
- "Why so sensitive? A closer look at Trivisa, the Hong Kong Film Awards best picture banned in China – just like Ten Years" (2017)[URL]
- Purcell, Mark, "Recapturing democracy : neoliberalization and the struggle for alternative urban futures" (2008), Routledge
- Szeto, Mirana M, "Mainlandization or Sinophone translocality? Challenges for Hong Kong SAR New Wave Cinema", Journal of Chinese Cinema (2012)
- "To work or not to work: the dilemma of Hong Kong film labor in the age of mainlandization" (2013)[URL]
- "《十年》贏最佳電影監製:多謝金像獎夠膽頒這個獎給我們" (2016)[URL]
- 褚婉婷, "从电影《树大招风》看香港电影新势力", 戏剧之家, (05) (2018)
- "香港大學民意研究計劃"[URL]
- "香港電影市道整體情況" (2018)[URL]
- "香港電影金像獎協會"[URL]