香港電影導論
Introduction to Hong Kong Cinema
| 節 | 週一 |
|---|---|
9 17:30–18:20 | 香港電影導論 YX501 2 節連堂 |
A 18:30–19:20 |
* 根據陽明交大上課時間表所列
This course explores the historical development, filmic language, and societal-cultural significance of Hong Kong cinema. “Hong Kong cinema” is one of the only two film genres in the world that are named after a city/district instead of a state nation. Films were traditionally the domains of aesthetic appreciation, entertainment, and arts and capital production. Yet the historical development and the evolving landscape of Hong Kong films and the overall film industry have brought intertwining factors such as political-economic trends and various cultural agendas upfront to traditional film studies. Hence, in this course, we not only appreciate, analyze, and critique films, but also investigate how Hong Kong films and the overall film industry has played a significant part in and has mirrored the kaleidoscope of the society, home and abroad. In addition, classic film studies theories will be introduced and applied to cases in Hong Kong cinema. 本課程藉由閱讀相關文獻、觀賞影片、課外參訪和嘉賓講座帶領學生進入被譽為「東方好萊塢」 - 香港的百年光影世界。認識並研究香港電影離不開香港獨特的歷史和社會文化的維度 – 香港 作為移民港口、冷戰中的特殊地緣政治地位、於大中華文化圈的樞紐地位、在當代中國政治經濟 發展的獨特角色,等等。本課程也因此將教學重心側重於此。另外,經典的電影文化研究理論框 架也會在本課程介紹,並且將其和香港電影文化的案例緊密結合進行分析。
Upon completing this course, students will understand the general history of Hong Kong cinema and will acknowledge the historical and social significance of Hong Kong cinema in the global scale. Through applying fundamental film studies theories to different cases, students will appreciate and critically assess films. In addition, students will have a more comprehensive and critical understanding of the relationship between Hong Kong cinema and different aspects in the Hong Kong society. 通過修讀本課程,學生會對香港電影以及和這個媒介產生和發展息息相關的社會政治經濟文化脈 絡有深刻、全面的認識,並且可以通過課程作業將知識融會貫通,對香港電影這個文化媒介有其 獨特並具有批判性的解讀。此外,通過修讀本課程,學生對香港電影的更深刻的理解將幫助學生 用新的角度認識他們目前所面對的媒體影像、社會經濟與時代。
課堂討論參與(participation):20% *期中個人書面報告(Mid-term individual report):20% **期末小組口頭報告及書面報告(Final group presentation and report):60% *選擇一部香港電影(劇情片或紀錄片皆可)撰寫劇情簡介。設想你是該影片的創作團隊,撰 寫的劇情簡介(synopsis)將會用以在華語地區作影片宣傳。原有的影片簡介僅能作為有限 度的參考。同學撰寫的劇情簡介必須有創意,有吸引觀眾的魅力,並能反映影片的主旨和精神。 字數不超過300字(中文)。(本課堂的香港電影的定義為:出品公司中最少有一間須為香港 註冊公司;同時,監製(或出品人)、導演、編劇、男主角或女主角此五個崗位中有一半以上 為香港永久居民;以及影片長度須為六十分鐘或以上,並有正式上映或作公開售票)
| 週次 | 主題 |
|---|---|
| 第 1 週 | 彈性補充教學 (Flexible teaching schedule) |
| 第 2 週 | 課程介紹:香港電影歷史概觀 (Course introduction; An overview of Hong Kong film history) 閱讀: ‧ (2012) Forward, in Hong Kong Memories in Cinema, Hong Kong Film Archive. (前言,《百年光影覓香江》(2012),香港電影資料館) ‧ 【指定閱讀 Textbook】Wang (2020), pp.1-24. |
| 第 3 週 | 和平紀念日 Holiday |
| 第 4 週 | 早期香港電影:電影技術在香港,戰前香港電影 (Early Hong Kong films: Film technology development in Hong Kong; Pre-war films) 閱讀: ‧ 【指定閱讀 Textbook】 Wang (2020), pp.33-49. ‧ 【指定閱讀 Textbook】 Law & Bren (2004), Chapter 4. 觀影: ‧ 早期香港影像 (1898-1938) [香港電影資料館] ‧ Segments of documentary 香港電影之父黎民偉 (2001) |
| 第 5 週 | 戰時香港電影;戰後香港電影工業復甦;香港電影與冷戰 (Hong Kong films and WWII, post-war, and Cold War) 閱讀: ‧ 【指定閱讀 Textbook】 Wang (2020),pp.51-67; pp.128-136; ‧ 【指定閱讀 Textbook】 Teo (1997), Chapter Five; 觀影: ‧ 選段 Ten Thousand Li Ahead 前程萬里(1941) [Dir: Cai Chusheng 蔡楚生] ‧ 選段 In the Face of Demolition 危樓春曉 (1953) [Dir: Lee Tit 李鐵] ‧ 選段 The Legend of Purple Hairpin 紫釵記 (1959) [Dir: Lee Tit 李鐵] |
| 第 6 週 | 絢爛六七十年代 – 舞動青春,新興階級,影業大亨 (The Exuberant Sixties: Sing-song film, new class, entertainment tycoon) 閱讀: ‧ 【指定閱讀 Textbook】 Teo (1997), Chapter Ten; ‧ Chung, S. P. (2007). Moguls of the Chinese cinema: The story of the Shaw Brothers in Shanghai, Hong Kong and Singapore 1924–2002, Modern Asian Studies, 41(4), pp.665-682. 觀影: ‧ 選段 The Love Eterne 梁山伯與祝英台 (1963) [Dir: Li Han-hsiang 李翰祥] ‧ 選段 Colorful Youth 彩色青春 (1966) [Dir: Chan Wan 陳雲] ‧ 選段 The Private Eyes 半斤八兩 (1976) [Dir: Michael Hui 許冠文] |
| 第 7 週 | 香港電影與功夫 (Hong Kong film and Kung Fu) 閱讀: ‧ Law, K., Ng, C., & Ho, S. (2018). On the eve of the golden age: 1970s Hong Kong cinema, in When the wind was blowing wild: Hong Kong cinema of the 1970s (pp.10-39). Hong Kong: Hong Kong Film Archive. 觀影: Iron Fist and Kung Fu Kicks (2019) [Dir: Serge Ou] |
| 第 8 週 | 兒童節 Holiday |
| 第 9 週 | 香港電影新浪潮 (Hong Kong New Wave) 閱讀: ‧ (CM) Cheuk, P.T. (2008) Hong Kong New Wave Cinema (1978-2000), Chapter 1 & 2 ‧ 【指定閱讀 Textbook】 Wang (2020), pp.73-76; ‧ 【指定閱讀 Textbook】Teo (1997), Chapter Eleven; 觀影: ‧ 選段 China Behind 再見中國 (1974) [Dir: Tong Shu-shuen 唐書璇] ‧ 選段 The Butterfly Murders 蝶變 (1979) [Dir: Tsui Hark 徐克] ‧ Below the Lion Rock: The boy from Vietnam 獅子山下:來客 (1978) [Dir: Ann Hui 許鞍華] |
| 第 10 週 | 香港電影「黃金時代」;九七前最後的花火 (The “Golden Age”: Last sparks before 1997) 閱讀: ‧ Lai, L. C. (1997). Nostalgia and nonsense: Two instances of commemorative practices, in Hong Kong cinema in the early 1990s, in The 21st Hong Kong International Film Festival – Fifty years of electric shadows (pp.95-99). Hong Kong: Hong Kong Urban Council. ‧ Wong, B. K. (2012). Fireworks before the handover, in Hong Kong memories in Cinema (pp.128-149). Hong Kong: Hong Kong Film Archive. 觀影: ‧ 選段 It''s a Mad, Mad, Mad World 富貴逼人 (1987) [Dir: Clifton Ko 高志森] ‧ 選段 Long Arm of The Law 省港旗兵 (1984) [Dir: Johnny Mak 麥當雄] ‧ 選段 Her Fatal Ways III 表姐你好?III (1992) [Dir: Alfred Cheung 張堅庭] ‧ 選段 The Longest Summer 去年煙花特別多 (1998) [Dir: Fruit Chan 陳果] |
| 第 11 週 | 後CEPA香港電影 (CEPA and Hong Kong Films) 閱讀: ‧ Wang, K. J. (2021). China’s influence on Hong Kong’s entertainment industry: Lessons from film production, in Fong, B., Wu, J., and Nathan, A. (eds.) China’s influence and the center-periphery tug of war in Hong Kong, Taiwan and Indo-Pacific, London & CA: Routledge. ‧ Chu, Y. W. (2015). Toward a New Hong Kong Cinema: beyond Mainland–Hong Kong co-productions, Journal of Chinese Cinemas, 9:2, 111-124 觀影: ‧ 選段 Echoes of the Rainbow 歲月神偷 (2010) [Dir: Alex Law 羅啟銳] ‧ 選段 Better Days 少年的你 (2019) [Dir: Derek Tsang 曾國祥] ‧ 選段 My Prince Edward 金都 (2020) [Dir: Wong Yee-Lam 黃綺琳] |
| 第 12 週 | 閱讀週:期中報告諮詢與書寫;期末報告諮詢 (Reading week: Mid-term assignment and final assignment consultation) 同學必須完成期末報告的分組,並且與教授預約關於期末報告選題的諮詢討論,期中報告於5/9之前遞交。 (Students in groups should arrange a consultation with the instructor regarding their final project) (Mid-term report must be handed in on or before May 9) |
| 第 13 週 | 香港電影無國界 – 華人移民史,傳統戲劇,與影人流徙 (一)(Border crossing I – Migration history, traditional Cantonese opera, and film stars) 閱讀: ‧ 【指定閱讀 Textbook】Law & Bren (2004). Chapter 11; ‧ Fan, V. (2010). New York Chinatown theatres under Hong Kong circuit system, Film History, 22, pp. 108–126. 觀影: ‧ 選段 History of Chinese migration 華人移民史 (RTHK production) ‧ 選段 A Hundred-Year Dream Factory –Hong Kong cinema without borders 百年夢工廠 – 香港電影無國界 [RTHK production] |
| 第 14 週 | 香港電影無國界 - 華人移民史,傳統戲劇,與影人流徙 (二)(Border crossing II – Migration history, traditional Cantonese opera, and film stars) 閱讀: ‧ Staden, C. V. (2016). Watching Hong Kong martial arts film under apartheid, Journal of African Cultural Studies, DOI: 10.1080/13696815.2016.1236720 ‧ Ng, W. C. (2015). The rise of Cantonese opera. Urbana, Chicago, & Springfield, IL: University of Illinois Press. (Chapter Seven). 觀影: ‧ 選段 Havana Divas 古巴花旦 (2018) [Dir: Louisa Wei] 嘉賓對談: Prof. Louisa Wei 魏?煜 Associate Professor, School of Creative Media, City University of Hong Kong |
| 第 15 週 | 類型電影與香港電影 (Film genre and Hong Kong film) 閱讀: ‧ 【指定閱讀 Textbook】 Turner (2006). Chapter 4, focus on sections of “The Function of Narrative”, “Structuralism and Narrative”, and “Genre” ‧ Bordwell, D. (2000). Planet Hong Kong: Popular cinema and the art of entertainment. Cambridge, MA & London: Harvard University Press. (Chapter 1) 觀影: ‧ 選段 The Teahouse 成記茶樓 (1974) [Dir: Kuei Chih Hung桂治洪] ‧ 選段 Gallants 打擂台 (2010) [Dir: Derek Kwok & Clement Cheng 鄭思傑, 郭子健] ‧ 選段 Lee Rock 五億探長雷洛傳 (1991) [Dir: Lau Kwok-cheung 劉國昌] ‧ 選段 Infernal Affairs 無間道 (2002) [Dir: Andrew Lau & Alan Mak 劉偉強, 麥兆輝] |
| 第 16 週 | 作者論與香港電影 (Auteur and Hong Kong film) 閱讀: ‧ 【指定閱讀 Textbook】 Turner (2006). Chapter 2, focus on sections of “Bazin”, “Auteurs and Genres”, and “Film as Social Practice” ‧ Teo, S. (2005). Wong Kar-wai: Auteur of time. London: British Film Institute. (Chapter 1: Introduction) 觀影: ‧ 選段 A Better Tomorrow 英雄本色 (1986) [Dir: John Woo 吳宇森] ‧ 選段 Days of Being Wild 阿飛正傳 (1991) [Dir: Wong Kar-wai 王家衛] ‧ 選段 A Simple Life 桃姐 (2012) [Dir: Ann Hui 許鞍華] |
| 第 17 週 | 期末小組報告 |
| 第 18 週 | 彈性補充教學 (Flexible teaching schedule) Final report submission 期末報告遞交 |
一、指定閱讀書籍 (Textbook): ‧ Wang, K. J. (2020). Hong Kong popular culture: Worlding film, Television, and pop music. Singapore: Palgrave Macmillan. ‧ Turner, G. (2006). Film as social practice. London & New York: Routledge. ‧ Law, K. & Bren, F. (2004). Hong Kong cinema: A cross-cultural view. Lanham, MD: Scarecrow Press. ‧ Teo, S. (1997). Hong Kong cinema: The extra dimensions. London, UK: British Film Institute. [Or the latest Chinese translation version 香港電影:額外的維度 (2018). 香港中和出版社]