The Hong Kong New Wave is a film movement in Chinese-language Hong Kong cinema that emerged in the late 1970s and lasted through the early 2000s until the present time.
 New Wave actor Tony Leung Chiu-wai | |
| Years active | late 1970s to present |
|---|---|
| Location | Hong Kong |
| Influences | Golden Age Chinese Cinema, French New Wave |
| Influenced | virtually all subsequent cinemas[1][2][3] such as South Korean New Wave,[4] American Independent cinema,[5][6] Hollywood,[7] and many others |
Origins of the movement
editThe Hong Kong New Wave started in 1979 with the release of numerous notable films. During the 1980s, the Hong Kong film industry began to flourish. Film emerged as the most popular form of entertainment in Hong Kong, in part due to the fact that many Chinese households did not have a TV at the time.[8] Many of the New Wave directors had a Western-style education and were influenced by western filmmaking and culture.[9] The films of the Hong Kong New Wave were not stylistically homogenous, rather the term was used to mark the distinction of a new generation of filmmakers.[10] Films of the Hong Kong New Wave utilized new technology and techniques such as synchronous sound, new editing techniques, and filming movies on location.[11]
First Wave and Second Wave
editThe Hong Kong New Wave is considered to have two distinct periods. The first period, also called the "Hong Kong New Wave" or alternatively called the "First Wave",[12] began in the late 1970s and lasted into the mid to late 1980s. The second period, called the "Second New Wave", is considered to have begun in 1984, after the New Wave began to gain attention from international audiences.[13] Directors of the Second New Wave include Stanley Kwan, Wong Kar-wai, Mabel Cheung, Alex Law, Fruit Chan, Peter Chan, and Tammy Cheung.[11]
First Wave
edit- Cops and Robbers (Alex Cheung Kwok-ming, 1979)
- The Secret (Ann Hui, 1979)
- The Butterfly Murders (Tsui Hark, 1979)
- The Spooky Bunch (Ann Hui, 1980)
- We're Going to Eat You (Tsui Hark, 1980)
- Dangerous Encounters of the First Kind (Tsui Hark, 1980)
- The Sword (Patrick Tam, 1980)
- Father and Son (Allen Fong, 1981)
- Love Massacre (Patrick Tam, 1981)
- The Club (Kirk Wong, 1981)
- All the Wrong Clues for the Right Solution (Tsui Hark, 1981)
- The Story of Woo Viet (Ann Hui, 1981)
- The Imp (Dennis Yu, 1981)
- Boat People (Ann Hui, 1982)
- Lonely Fifteen (David Lai, 1982)
- Nomad (Patrick Tam, 1982)
- Zu Warriors from the Magic Mountain (Tsui Hark, 1983)
- Health Warning (Kirk Wong, 1983)
- Ah Ying (Allen Fong, 1983)
- Hong Kong, Hong Kong (Clifford Choi, 1983)
- Homecoming (Yim Ho, 1984)
- Love in a Fallen City (Ann Hui, 1984)
- Shanghai Blues (Tsui Hark, 1984)
Second Wave
edit- The Illegal Immigrant (Mabel Cheung, 1985)
- A Better Tomorrow (John Woo, 1986)
- Love Unto Waste (Stanley Kwan, 1986)
- An Autumn's Tale (Mabel Cheung, 1987)
- Rouge (Stanley Kwan, 1987)
- Cageman (Jacob Cheung, 1992)
- As Tears Go By (Wong Kar Wai, 1988)
- Days of Being Wild (Wong Kar Wai, 1990)
- Chungking Express (Wong Kar Wai, 1994)
- Fallen Angels (Wong Kar-wai, 1995)
- Happy Together (Wong Kar-wai, 1997)
- Made in Hong Kong (Fruit Chan, 1997)
- Infernal Affairs (Andrew Lau and Alan Mak, 2002)
Notable directors
editReferences
edit- ^ Yu, Helen (2020-07-29). "10 Hong Kong Film Directors You Should Know".
- ^ Crossland, Anthony (2015-04-06). "18 Important Film Movements Every Movie Buff Should Know".
- ^ Parkes, Douglas (2021-04-21). "Why didn't Johnnie To ever get an Oscar nod? Bruce Lee and Wong Kar-wai put Hong Kong cinema on the map, but the Election director made the city's best post-handover movies".
- ^ Lee, Hyung-Sook (2006). "Peripherals Encounter: The Hong Kong Film Syndrome in South Korea". Discourse. 28 (2/3): 98–113. doi:10.1353/dis.2006.a250372. JSTOR 41389754.
- ^ Saperstein, Pat (2018-12-29). "Hong Kong Director Ringo Lam Dies at 63".
- ^ Shaw, Tristan (2019-03-22). "'City on Fire': Behind the story and influence of Ringo Lam's classic".
- ^ "How Wong Kar-wai – Hong Kong director of In the Mood for Love, Chungking Express and Happy Together – inspired filmmakers like Sofia Coppola and Barry Jenkins". 2020-07-16.
- ^ Zhang, Yingjin (2004). Chinese national cinema. New York: Routledge. pp. 156–178. ISBN 9780415172899.
- ^ Desser, David; Fu, Poshek (2000). The Cinema of Hong Kong : history, arts, identity. Cambridge, UK ; New York, NY: Cambridge University Press. p. 104. ISBN 9780521772358.
- ^ Curtin, Michael (2007). Playing to the world's biggest audience : the globalization of Chinese film and TV. Berkeley: University of California Press. p. 60. ISBN 9780520940734.
- ^ a b Zhang, Yingjin (23 April 2012). A companion to Chinese cinema. Malden, Mass: Wiley-Blackwell, 2012. p. 97. ISBN 9781444355994. Retrieved 23 December 2015.
- ^ a b c d e f g Harries, Samuel (21 April 2019). "Hong Kong New Wave Films: The First Wave (1979 - 1989)". Movements in Film. Retrieved 14 April 2021.
- ^ Dhruv Bose, Swapnil (28 November 2020). "The 10 essential films from the Hong Kong New Wave". Far Out Magazine. Retrieved 14 April 2021.
- ^ a b c d e f Gao, Sally (31 December 2016). "A History Of Hong Kong's New Wave Cinema". Culture Trip. Retrieved 14 April 2021.
External links
edit- The rise of Hong Kong New Wave cinema on GB Times
- Screening the Past article about a HK New Wave book
- The 30 Best Hong Kong Movies of All Time on Taste of Cinema (featuring HK New Wave titles by John Woo and Wong Kar Wai)