Film and Media Studies Commons^™

To Live Is Better Than To Die = 好死不如賴活著, Wai Man Chan, Wan Yu Chau

Nine must-see Chinese documentaries: worksheets for secondary schools

Film Director: Chen Weijun (陳為軍)

Film Release Year: 2003

Senior Year = 高三, King Yu Chan, Ka Man Choi, Sin Yi Wong

Nine must-see Chinese documentaries: worksheets for secondary schools

Film Director: Zhou Hao (周浩)

Film Release Year: 2005

Petition = 上訪, Camilla Solkaer Buskov, Sara Marie Hollingshead, Michelle Adobea Ntow, Yetunde Jacqueline Apeke Olagbaju, Yi Chun, Aston Law, Shota Okada

Nine must-see Chinese documentaries: worksheets for secondary schools

Film Director: Zhao Liang (趙亮)

Film Release Year: 2009

We Are The ... Of Communism = 我們是共產主義省略號, Mei Yee, June Lau, Hung Sheng, Tai Lun Suen, Ching In Yan

Nine must-see Chinese documentaries: worksheets for secondary schools

Film Director: Cui Zi’en (崔子恩)

Film Release Year: 2007

Please Vote For Me = 請投我一票, Haitian, Elisabeth Wang, Xiaotang, Music Yin

Nine must-see Chinese documentaries: worksheets for secondary schools

Film Director: Chen Weijun (陳為軍)

Film Release Year: 2007

Secondary School = 中學, Yuen Shan, Stephanie Choi, Sin Yu Wan, Yan Ping Wong

Nine must-see Chinese documentaries: worksheets for secondary schools

Film Director: Cheung Tammy (張虹)

Film Release Year: 2003

Chronotope And Regional Chinese Independent Films, Jingya Liu

Lingnan Theses

This thesis aims to re-categorize Chinese independent films from a region-based perspective as a critical response to existing literature on Chinese independent films. This thesis analyzes three independent films made in three different regions of China in order to investigate regional Chinese independent cinema as a recently rising phenomenon: respectively, Jia Zhangke’s Xiaowu (1997) made in Shanxi Province, Ying Liang’s Taking Father Home (Bei yazi de nanhai, 2006) in Sichuan Province, and Robin Weng’s Fujian Blue (Jinbi huihuang, 2007) in Fujian Province.

By using Bakhtin’s concept of chronotope (literally time-space) as the fundamental framework and exploring the many aspects of …

Works From Lingnan, Kevin White

Artists-in-Residence Programme : Exhibition Catalogues

The 7 porcelain vessels on display were all created in the Visual Studies studio during the artist’s residence at Lingnan. Each vessel was made in porcelain, with underglaze cobalt brushwork and onglaze pigments and decals.

That Moment Now = 此時．那刻, Tin Yan, Celia Ko

Artists-in-Residence Programme : Exhibition Catalogues

Art Exhibition by Celia Ko

In a new exhibition ‘Th at Moment Now’ on show at Lingnan University, Hong Kong artist Celia Ko presents three bodies of work that take as their subject the artist’s relationship to her maternal Chinese ancestry. In pursuing her subject Ko has created a trilogy of images through which the interior life of her family is approached from diff erent vantage points. Using large-scale images and hand made garments and jewellery Ko explores the pervasive power of familial myths and narratives.

The first part of the exhibition are large-scale portraits of her mother’s parents: grandfather …

Studio Practice Course, Visual Studies Programme, Department Of Philosophy, Lingnan University

Visual Studies Programme : Students’ Monographs

Wordings from Klaus

The word document (from Latin "docere", to teach) first describes something that holds clues or provides proof, usually as written evidence. Much of the document remained in the realm of words until the mid-19th century invention of photography. Daguerre's contemporaries' amazement over the fact that the camera would depict reality quasi automatically made photography and film the quintessential documentary media throughout the 20th and early 21 st century.

Learning to question this automatic trust the technological media have been invested with from early implementations to the time of digital manipulation was a trip the students of Lingnan …

Floating World Projects : Two Views, Delicacies, Inside Out = 浮世, Klaus Peter Knoll, Cella

Artists-in-Residence Programme : Exhibition Catalogues

Floating World Projects photographs and exhibition were realized through the Visual Studies Artist-in-Residence Programm and the generous support of the Department of Philosophy.

Words For Pictures, Jayne Dyer

Artists-in-Residence Programme : Exhibition Catalogues

WORDSFORPICTURES intersects with the Lingnan Library site and collection.

The exhibition represents a culmination of a series of discrete interventions that occurred over the residency. The installation operates as a linguistic production offering oblique narratives to explore the notion of the Library as a storehouse of accumulated facts, hypotheses, conjectures and fictions.

"文字圖像" 這項裝置藝術, 結合了嶺南圖書館的埸地和藏書。展覽是藝術家在她駐校期間, 在圖書館內所作的一連串抽象的藝術介入的高潮。這項裝置啟動了語言學上非直截了當的敍述, 來探討圖書館作為存放一個事實, 理論, 推理和小說的寶庫的意圖。

Bridging The 'Generation Gap' : Understanding Cross-Generations' Views Through The Visual Media Of The 1960s, Kit Ling Luk

APIAS Working Paper 工作論文

This working paper is based on the findings of the 2002 film screening cum focus group discussions amongst the young and the old organized by APIAS. Using the visual media: Hong Kong film in the 1960s as a media, the present project intends to explore the family as the social arena in addressing parent and children’s contrasting views on love, marriage and its impact on their parent-child relationships. The project also aims to shed light on ways in promoting intergenerational communications via structured intergenerational programmes.

Project Objectives

1. To explore the ‘gap’ between the young (born in the 1980s) and …

中国大陆九十年代以来独立电影文化的构成与城市青年文化实践, Xiaodao Liang

Lingnan Theses

本论文主要考察中国大陆九十年代出现的独立电影的特性，首先从一批年轻的独立电影导演及其作品出发，将它们放在当代大陆城市青年文化的历史脉络中，着重考察独立电影的特殊生产机制以及对“青年”的再现，与“青年”在社会建构中出现的变化之间的关系。然后通过使用民族誌的研究方法，重点考察大陆本土年轻观众对独立电影的接受情况，试图解释为何“边缘”成为当下论述大陆独立电影文化特性的重要话语。本文的主要立论是，“边缘”是由独立电影与城市青年文化在不同层面上互构而成的。

这种互构关系的建立，表现在几个方面：首先，大陆进入商品经济时代，具有整合性的建构青年身份的国家意识形态话语失效，导致了年轻人的迷茫和失落，他们断裂和破碎的身份，通过独立电影在国家制片体系之外的生产和制作模式中被再现出来，被称为“边缘”的特殊个体。其次，大陆独立电影被部分青年影迷用来对抗互联网上出现的话语资源垄断和话语权威，从而确立“业余爱好 者”、“草根”等被称为“边缘”的身份。最后一个方面，即是作为影迷的城市青年对不同观影场所和对独立电影不同消费方式的选择，建立了在电影院线、个人在家庭观看影碟等主流渠道以外的，被称为“边缘”的观影方式，但这种方式又不可避免的会引起影迷的身份焦虑。

Inaugural Catalogue : Lam Tung-Pang's Work, Tung Pang Lam

Artists-in-Residence Programme : Exhibition Catalogues

The First Artist-in-Residence 首位駐校藝術家

香港文學電影片目, Ping Kwan Leung, Shuk Han, Mary Wong

嶺南大學人文學科研究中心叢書 Centre for Humanities Research : Book Publications

《香港文學電影片目》收錄1913至2000年改編自文學作品的香港電影，及文人作家參與編製的電影。我們希望可以編一個齊全的片目，以方便日後的硏究者和有興趣的同學，但目前香港文學及電影的資料散佚仍多，我們盡力而為，工作了多年，但相信仍 有不少可以補充的地方。就算是拋磚引玉好了，希望前輩高明和有識讀者能給我們提供寶貴意見。片目雖説是涵蓋九十年的文學電影資料，但側重是在五、六〇年代的文藝電影資料。這兩個年代改編文學作品的電影較多，文人參與電影製作亦較活躍，香港文學跟香港電影的關係最密切，這個情況似乎不復見了。編出這片目，不知對今天的電影工作者會不會有一點參考作用?

文人武俠 : 張徹與胡金銓, Lan Xu

Lingnan Theses (MPhil & PhD)

武俠電影在中國電影誕生之初便佔有一席之地， 二十世紀六十年代，由邵 氏電影公司開創的武俠新世紀，給武俠電影注入了新的活力，打開了新的局面。

胡金銓追求製作精良、藝術至上的優質電影。而張徹作品中的務實、娛樂大眾、堅韌求生和香港起飛的每一個時代的精神相吻合。後世香港導演繼承他們的優良特質，充滿活力動感的香港電影時至今日方成為對世界影壇的一大特殊貢獻。

本文立足 "文人武俠"，分別探討張徹、胡金銓武俠片的個人特色、思想內容、藝術表現手法，特別是中國人文傳統、文學藝術在其作品中的表現，並比較他們之間的異同， 以及各自對香港電影發展的貢獻。

縱橫交錯的目光 : 後89大陸藝術電影中的多重認同, Jinhua Dai

文學與翻譯研究中心 論文叢刊 Centre for Literature and Translation Occasional Paper Series

No abstract provided.