The Visual Cultures of Hong Kong VIS 211/GE331 Sem 2 (2008- 09)
Adjusted dates
Course Outline and Assessment Tasks
Lecture: Monday 11:30-1:20 (MBG12) Tutorials: Tuesday 4:00 (ARG05)
Lecturer: Dr Carol Archer Thursday 1:30 (ARG05)
Email: carcher@ln.edu.hk Phone: 2616 7458
Office hours: GE202/21, Tuesday 2:30-4, Thursday 3-5:30
Course Description
This course explores the visual cultures of contemporary Hong Kong. The first two units of the course examine contemporary Hong Kong visual culture from a broadly historical perspective, with special emphasis on the impact of two important events - the 1997 Handover and the 2003 SARS crisis. In the first unit, we look at visual productions from the period immediately before, during and after the Handover, examining
paintings, photographs, video art, sculptures and installation art. The second unit considers the ways that local identity was represented in art that responds to the 2003 SARS outbreak. The third unit turns to the city and urban space in Hong Kong. Diversely interpreted by photographers, filmmakers and other artists, the city may also be seen as keenly contested space. We compare such representations of Hong Kong with parallel developments in neighbouring Macao.
Policy on readings and participation
All students are expected to do the required reading before each week's classes. Required readings may be found on the webct site for our course, along with scans of key works of art. Please bring the relevant readings to both classes each week. Active participation is very important in this course.
Assessment
60% Continuous assessment
25% Mid-term research paper (5-6 double-spaced pages, 1500-1800 words, due by 5pm, Friday March 27 at Philo Dept Office, GE201/23)
20% Individual Presentation (Weeks 3-13 – key images and notes to be uploaded to blog “Visual HK 2009” at http://visualhk09.blogspot.com)
15% Participation
40% Final examination (2 hours duration)
I. Hong Kong Visual Art – from the Handover to the Present
1. Jan 19 Introduction
This class outlines the breadth and topics to be covered in the course, the approach that we will take, and the tasks and practices necessary to successfully complete the course.
2. Feb 9 Handover Art and HK Identity I
We look at the tension between Western and Chinese influence in Hong Kong art, before moving on to examine the variety of ways in which the approaching Handover impacted on local visual production.
Reading for Feb 9 and Feb 16 classes: David Clarke, "Living in the Shadow of the Future", in Hong Kong Art: Culture and Decolonisation, North Carolina: Duke, 2002, 38-69, especially 38-55.
Further reading: Robert Hobbs, “Hong Kong Now” (8-18), “Lucia Cheung” (19-21) and “Wong Shun-kit” (41-43). In Hong Kong Now: Essays by Robert Hobbs. Seattle and London: University of Washington Press, 1997
3. Feb 16 Handover Art and HK identity II
In this class we examine filmic responses to the Handover, and in particular
Mr Cinema (dir. Samson Chui, 2007). We look at the ways that HK history and identity is represented in this film, and consider the criticism that the film omits significant events.
Works for tutorial discussion:
Mr Cinema (dir. Samson Chui, 2007).
Wong Shun-kit, Waiting, 1996 and Basic Space, 1995
Phoebe Man Reunification with China, I am happy…, 1997
Desmond Kum Chi-keung, Transition Space, 1995
Lee Ka-sing, The Hero Playing with a Red Rubber Band, 1995
4. Feb 23 Installation Art
With the advent of new artist-run spaces such as Para/Site, installation art emerged in the second half of the 1990’s as a popular and influential visual medium in Hong Kong. This class focuses on the rise of installation art in Hong Kong.
Reading: David Clarke, "Para/Site Art Space", 70-99
Works for tutorial discussion:
Kith Tsang, Hello! Hong Kong- Part 3, 1996 and Hello! Hong Kong- Part 7, 1997 and The Storage of Amnesia, 2000
Sarah Wong, Site-Seeing I, 1996 and Phoebe Man, Site-Seeing, 1996
Phoebe Man, A Present for her Growth I, 1996
5. March 2 A City in Transition
In this class we examine the impacts of the Handover on architecture, street art and graffiti, window displays, advertising and fashion.
Reading: David Clarke, "The Visual Production of a Transition", 151-202 especially 175-202
Works for tutorial discussion:
Graffiti of Tsang Tsou Choi (King of Kowloon)
Handover period window displays, fashion designs and advertising (see Clarke chapter)
6. March 9 Made in Hong Kong: Contemporary Hong Kong Art Our focus in this class are two exhibitions of contemporary Hong Kong visual art –“Made in Hong Kong” (2007) and “Hong Kong, Hong Kong” (2008). In what ways do the works in this show represent a continuation of (or a departure from) the concerns noted in the works of art discussed in our previous classes?
Reading: “Made in Hong Kong”, Hong Kong: Hong Kong Museum of Art, 2007 (brochure and factsheet) ; Press Release for “Hong Kong, Hong Kong”, HanartTZ Gallery, 1-6.
Works for tutorial discussion:
Luis Chan, Sai Kung X, 1976
Chow Chun Fa, Front Page, ‘Hong Kong will still be a Paradise’ 2008; Repainting “10th Anniversary of Reunification” 2007, Repainting ‘Infernal Affairs’, 2007
Chu Hing Wah, Child Forever, 1992
Frog King Kwok (Kwok Mang-ho), Frog King Mobile Museum, 2007
Kum Chi-keung, Free, Walking 2007, Wandering in Space 2007
Wan Qingli, A Scoop, 2003, In the Middle of the Song, No one is in Sight, 2003
II. SARS AND CONTEMPORARY VISUAL PRODUCTION
7. March 16 Representations of the SARS crisis in visual art and film I
In 2003, the impact of the SARS crisis was felt to some degree by everyone in Hong Kong. How did filmmakers respond? This class focuses on the representation of SARS in Golden Chicken 2 (Samson Chui, 2003)
Work for tutorial discussion: Golden Chicken 2 (Samson Chui, 2003)
8. March 23 Representations of the SARS crisis in visual art and film II
In this class we look at the representation of SARS presented in the short films by the prominent Hong Kong directors who participated in the 1:99 Short films (2003) initiative.
Reading: Yau Wing Kit Vicky, Representing Illness: Patients, Monsters, and Microbes, M. Phil thesis, Department of Comparative Literature, University of Hong Kong, 82-130
Work for tutorial discussion: 1:99 Short Films (2003)
Mid-term research paper due by 5pm Friday March 27
Philosophy Dept Office GE212/23
III. THE CITY AND URBAN SPACE
9. March 30 Branding the city
In this class we look at the ways the city of Hong Kong is represented in popular film, and how these are linked both to local identity and the “branding” of the city as a tourist destination. We look in particular at the ways that Hong Kong is officially represented in current tourism campaigns and in the film “My Life as McDull” (dir. Toe Yuen, 2001).
Reading: Stephanie Donald and John G. Gammack. “Structures of Attention and the City of Life Hong Kong”. In Donald and Gammack, Tourism and the Branded City: film and identity on the Pacific Rim”. London: Ashgate, 2007. 63-86.
Works for tutorial discussion:
Hong Kong Tourism Board website (http://www.hktourismboard.com)
“My Life as McDull” (dir. Toe Yuen, 2001).
10. April 6 Mapping the City – competing visual representations of Hong Kong
The city of Hong Kong has provided a rich source of inspiration for contemporary photographers and filmmakers. This class surveys the diverse ways in which Hong Kong has been visually represented using the mediums of photography and film.
Reading: Guterriez and Portefaix, “Liquid Journey, Central Mid-levels Escalator”, HINGE, 54, 03.1999
Vincent Yu, Our Home: Shek Kip Mei 1954-2006. Hong Kong: MCCM Creations, 2007
Kenneth Lo, Nathan Road, Hong Kong: MCCM Creations, 2007
Works for tutorial discussion:
· Guterriez and Portefaix, Mid-levels Escalator
· Vincent Yu, Shek Kip Mei 1954-2006 series of photographs
· Kenneth Lo, Nathan Road series of photographs
· Mathias Woo, “Hong Kong Style” 2006
11. April 20 Representing Macao
In this class we look at artistic responses to the rapidly changing region of Macao, two of which represented Macao in its first ever entry to the Venice Biennale in 2007. We compare the ways in which Macao and Hong Kong have been visually represented in recent years.
Reading: Carol Archer “Edictum Ridiculum: Konstantin Bessmertny”. In Macau Closer, July/ August, 2007; Carol Archer, “Spaces in Transition: Photographs by Adam Lampton”, Macau Closer, September 2007; Lui Brothers, Macau Closer
Works for tutorial discussion:
Konstantin Bessmertny: Si Monumentum Requiris, Circumspice, 2007
Adam Lampton: Macao photographs
Lui Brothers: Macao’s Gondola, 2007
12. April 27 Review - key themes and visual images
This class reassesses Hong Kong visual culture from the point of view of the themes, issues and visual images encountered in the course.
Assessment
Tutorial presentations
Each week 2 students discuss a particular visual production (eg film, photograph, painting, fashion etc) related to that week’s lecture. These works are listed in the course outline and on the classblog (which may be accessed through webct). The pictures may all be found in “Images” folder on Webct. The maximum duration of each presentation is 5 minutes.
A good presentation will include:
details of the work – artist, title, year, media etc
what the required reading has to say about this work
additional information you have found about it – you may show additional images of the work, or images of one similar work by the same artist, and share one or two key quotes about the work
your own opinion of the work and its significance
a list of the names of authors, titles of articles, books or websites (along with the publication information) that are especially relevant to this work
one thought-provoking question on the topic for your tutorial group
Before or on the day of your presentation please upload the key details of your presentation to the classblog. The link to the blog is on our webct site. Our username is Carolarchersclass and the password is 11112222. This blog will provide a useful and convenient study reference for all class members.
Mid-term Research Paper
Due date: Friday March 27 at Philo dept office GE201/23
Length and format: 1500 - 1800 words/ 5-6 double-spaced pages
Attached to the front of your essay should be:
1) the VS Programme “Anti-plagiarism declaration” (available on our webct site)
2) a title page listing your name, the essay question that you are answering and the course details.
At the end of your essay there should be a reference list, which lists the books and articles and websites that you used in preparing your work.
Note on proper acknowledgement of sources (avoiding plagiarism):
The words and ideas of other writers (whether they have been put into your own words or appear within quotation marks) should be properly acknowledged within the essay and in the reference list at the end of the essay. The Chicago Style Guide has been adopted by the Visual Studies Programme and has been posted on webct for your reference.
Mid-term Essay questions
1. Hong Kong art reveals different attitudes to the Handover. Discuss this statement, supporting your point of view with a detailed discussion of three of the artworks listed for tutorial discussion.
2. “The installation art that appeared at Para/Site during the Handover period reminds us of local Hong Kong culture, and its loss”. Referring to several of the listed installation works, discuss the extent to which you agree with this statement.
3. Compare and contrast the way in which the SARS crisis is presented in two of the Hong Kong films discussed in class. Support your opinion with a detailed discussion of relevant parts of those films, and quotes from relevant sources.
4. Which visual production (eg film, art, fashion, advertisement, etc) from this course impresses you most? What does it communicate? Back up your opinion with a detailed description of the work, and quotes from relevant texts.
Final Examination held during examination period
The examination (two hours in duration) will comprise short answer and essay questions. Questions will be based on the topics and works covered during the entire course.
Monday, 12 January 2009
The Visual Cultures of Hong Kong VIS 211/GE331 Sem 2 (2008- 09)
3. "Mr Cinema" (dir. Samson Chui, 2007) by Lili, Li Hoi Ting 1184061
19 Feb 2009 Visual culture in Hong Kongpresentation on Mr. Cinema by Lili
l The Context of the fim:Title: Mr. CinemaReleased/ Year: 2007/ Director: Samson Chiu Leung Chun
l Similar works by the same artist:金鷄２ Golden Chicken 2(2003)/金鷄 Golden Chicken (2002)
l How the Hong Kong identity being represented in this film:1. Common historical experience2. The Differentiation between Hong Konger and Mainland Chinese3. Materialistism4. The Spirit of Hong Kongnese5. Family relationship
l Further question:How the HK History being represented in the film? Is it a kind of “selective history” as political correct?
References:Kozo. “Mr Cinema”. retrieved from http://www.lovehkfilm.com/reviews_2/mr_cinema.htm [accessed 7 January, 2009]
DEREK ELLEY, “Mr Cinema” , Nov. 21, 2007 retrieved from
http://www.atchinese.com/index.php?option=com_content&task=view&id=35047&Itemid=91
Atchinese.com,老港正傳：揶揄社會主義的虛妄, 2007/06/12 retrieved from http://www.atchinese.com/index.php?option=com_content&task=view&id=35047&Itemid=91
3. Phoebe Man "Reunification with China, I am happy…," 1997 by Mandy So
• Title: Reunification with China, I am happy. Reunification with China, I am happy…
• Artist: Phoebe Man
• Year: 1997
• Media: Plastic (Installation Art)
Issues raised by the work:
- Sincerity of the Business Community
- Uncertainty of the future
- Pretense of Hong Kong People
My opinion towards the work:
- Direct and interesting method (mimicry of the buildings, use of color, arrangment)
- A contrast of the feelings of Hong Kong people(Surface: Happy; Hidden: Anxious of the future)
Another work by Phoebe Man
• Title: 97 Budhisattva
• Year: 1995
• Media: Mixed media (installation art)
• Use a sex toy to pretend to be Budhisattva菩薩
--> Hong Kong people concerned more about sex and money more than the Handover
Reference:
• Davis Clarke, “ Living in the Shadow of the Future”, in Hong Kong Art: Culture and Decolonisation, North Carolina: Duke, 2002
• Pun Sing Lui, “Forward”, in Pre’ 97 Special Arts Zone, Hong Kong : Sun Sai Kei Publisher, 1996
Discussion Question:
Do you have the same feeling with Phone Man (pretense of Hong Kong people, uncertainty of future and insincerity of the business community) during 1997 or now ?
Have your attitude towards Handover been changed over these 12 years? And How?
3. Desmond Kum Chi-keung, "Transition Space", 1995 by Maximilian Yuen
http://www.ajc-art.com/artists/KUMChiKeung/biography/
List of his works:
http://finearts.hku.hk/hkaa/artists.php?artist_id=027
http://www.publicart.org.hk/ch/news_details_eng.php?id=24
http://appledaily.atnext.com/template/apple_sub/art_main.cfm?iss_id=20070511&sec_id=38163&subsec_id=6038907&art_id=7089716
http://www.alliancefrancaise.com.hk/paroles/numeros/207/02.html
http://big5.am765.com/xw/xwfl/ga/200712/t20071221_316626.htm
http://cgi.cnn.com/ASIANOW/asiaweek/magazine/2000/0929/as.art.html
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10
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4. Sarah Wong, Site-Seeing I, 1996 and Phoebe Man, Site-Seeing, 1996 by
5. Handover period window displays, fashion designs and advertising by Candy
Seeing lives through fashion
•1950s
•Event : Rich Chinese merchants came to HK, together
with a upsurge in Chinese Fashion
•Fashion : (1) Women like to wear Cheongsam (旗袍)
(2) Western Fashion appeared but not very
popular at that time
•1960s
•Event : (1) Manufacturing industry started to develop
(2) The First Hong Kong Fashion Week was held,
local fashion designers were springing up
(3) Fast development in film industries
•Fashion : (1) Western Fashion became popular
(2) HK Fashion started to follow the
international trend
•1970s
•Event : (1) HK became a commercialized and an
international city
•Fashion : (1) Working suits dominated the main fashion
market
(2) Blue jeans culture became fashionable for
that time, bringing together with the ideas
of casual and comfortable
•1980s
•Event : (1) HK was titled as “Number 5 middle income
city”
(2) Prosperous living environment made people
to concern more about living quality and
style
•Fashion : (1) Pursue famous brand
•1990s – 2000s
•Event : (1) The Handover of HK to China
(2) HK was a well developed city with good
international network
•Fashion : (1) A Mixtures of different style
(2) Experienced local designers
HK Fashion History
•Mixed cultures rather than local icons
•Western fashion = modern
•Dress in Chinese only in special occasions or events
•Present hidden emotions and identity
Pacino Wan:
•(1) Represents the Chinese and British relations
•(2) Used British flag as a main pattern of the dress
reveals designer’s own attitude
•(3) In born Chinese but represent out in British
•William Tang :
•(1) Represents Hong Kong local culture
•(2) Use Tsang’s calligraphy to arouse consonance
•(3) Represents local in a way to reveal political
independent after the handover
•Facing same event : HK handover
•(1) Not market oriented, larger space to spread out
message
•(2)) Present only personal attitudes not HK general
ideas
•(3) Retreat the subject in personal or private to present
powerless in public affairs
Questions
•Do you think fashion is still a good way to present identity or special event when it comes along with commercials market?
References
•http://www.mihk.hk/forum/thread-721331-1-1.html
•http://fashion.com.hk/events010.htm
•http://www.heritagemuseum.gov.hk/chinese/exhibition_highlight_file/exhibition_sel_current_result.asp?exid=111
5. Graffiti of Tsang Tsou Choi (the King of Kowloon) by COOKIE
1. Tsang Tsou Choi
2. Graffiti done by Tsang- Content
3. Graffiti done by Tsang- Place
4. Transformation into symbol of local
5. Reference
6. Question for discussion
- Tsang Tsou Choi
*The King of Kowloon
*Father of Graffiti in HK
*Age of 35
*Family ancestral book
*his ancestors owned most of the land in Kowloon
*British Crown swallowed up the land without compensation
*∴Inscribes his claim on street furniture
*Uses Chinese brush & ink - Content
*Pedigree of his clan (族譜)
*Achievements
*Titles, names, and living places
*Emphasizing his position: larger characters "國王" (the King)
*Unflattering references to the British Queen
*To accuse British Crown of annexing his family land
*To claim his ownership of the land
*Lau Kin Wai: To express his remembrance of the past social order and of his deceased relatives
Place
*Everywhere
*Everything on the street= canvas
*High pedestrian traffic: ready visibility
*Political sensitive place:
*sites of power or the marginal area
*e.g. surroundings of Vitoria Park, entrance towards the statue of Queen Victoria
*challenge the British Crown authority
*surfaces not too sensitive: avoid the immediate clearance
*Pre-handover: shift to symbol of Chinese – Bank of China
*show the awareness of the changes of power- Transformation into Symbol of Local
*Rising Public Attention aided by artists= key of transformation
*Art critic Lau Kin Wai:
*Wrote articles appreciating Tsang’s calligraphy in 1992
*Arrange an exhibition of Tsang’s work in the art gallery of the Goethe Institut in the (April-May 1997)
*controversy: defacer vs artist
*local press, overseas publications
*HK Fashion designer William Tang: used Tsang’s calligraphy as motif of garments 1997
*Local brand G.O.D: a line of bed-linen 1996
*to present the sense of local
*Pre-handover
*David Clarke: “many in the population at large shared identity concerns”
*ambiguity of their identities àclarify their identities
*Distinguish from Chinese/ Mainlander
*Seek for a symbol of local
*Transformation into Symbol of Local
*everywhere in HK
*Already communed with the city and became part of our daily life
*collective experience
*+Public awareness of the sense of Localness + rising attention
*=symbol of Local - Reference
*九龍皇帝登龍門 第十五期《大學線
http://http://www.com.cuhk.edu.hk/ubeat/9705/15art.htm/ubeat/9705/15art.htm
*「九龍皇帝」曾灶財去世 2007年7月25日明報即時新聞
http://www.mpinews.com/htm/INews/20070725/gb31840c.htm
*David Clark, "The Visual Production of a Transition"
*Lau Kin Wai, The Street calligraphy of Tsang Tsou Choi , Hong Kong: Kin Wai’s Workshop, 1997 - Discussion Time
10 years passed, everything settled down. The anxiety of identity shared by large population seemed to be faded. Although HK Government promised to preserve Tsang's inscription, some/most of them have been cleared.
Is Tsang's graffiti no longer be valuable?
5. Handover period window displays, fashion designs and advertising by Sandy/Cassie
UNION JACK DRESS
-designed by Pacino Wan for his 1997 Spring/Summer collection
-the first half of Wan's collection celebrated Britain and colonial influence; the second half was inspired by China
-main British pop culture seen in the fashion was the Union Jack, face of Queen Elizabeth II, and the crown
1. A qualitative change of Redwhiteblue
1950s-1960s
＊ Protecting the out walls of a building
＊ Weatherboard
1960s-1970s
＊Materialà light, durable, waterproof, carry things
A traveling bag
1970s-1990s
＊Change in the pattern
2004
＊Sam Hui’s concert
RedWhiteBlue represent the“Old-Hong Kong Spirits
2005
＊「建 – 香港精神紅白藍」的展覽
2. RedWhiteBlue and Hong Kong
RedWhiteBlue as a witness…
＊ 1960s-1990s
Common use à traveling bag à carry things back to China
H.K is more prosperous and progressive than China
＊ 1997s-2004s
China is opener than before, rapidly development -->
Hong Kong’s competitiveness is weaker than before -->
RedWhiteBlue is forgone by HK people
3. What is “Old-Hong Kong Spirits”
RedWhiteBlue Old H.K Spirits
Durable Patience
Multipurpose Flexible
Functional Dependable
4. RedWhiteBlue and H.K people
＊ RedWhiteBlue is the best way to represent “Old Hong Kong Spirits”
＊ Vast use --> part of HK people’s life
＊ Vitality of Hong Kong people at 1950s-1990s
＊ Identity
Hong Kong (Chinese) V.S China (Chinese)
Cannot use the economy superiority --> “RedWhiteBlue Spirits”
--> more outstanding than China (Chinese)
5. Reasons for doing visual product of RedWhiteBlue
＊ Part of Hong Kong History
＊ Close related to Hong Kong people’s life ∵Vast used in their life
＊ Represent the spirits of Hong Kong people
＊ Recall Hong Kong people --> strong --> overcome many difficulties
6. Discussion
Nowadays, do “RedWhiteBlue Spirits” disappear in Hong Kong and Hong Kong people’s heart? If not, does it change?
7. Reference
•http://www.geocities.com/mrdragonpower/rwb.htm
•http://www.cul-studies.com/zlzx/Article/Class21/200506/100.htmlstudies.com/zlzx/Article/Class21/200506/100.html
•http://www.hkcorevalues.net/b5_article68.htm
•http://studentreporter.mingpao.com/cfm/com_OldContent2.cfm?Category=activityspecial&Content_ID=436&Year=8.cfm?Category=activityspecial&Content_ID=436&Year=8
•http://entertainment.webshots.com/album/274799272saiFLf?start=48f?start=48
6. Chow Chun Fa, “Front Page, ‘Hong Kong will still be a Paradise’ 2008; Repainting “10th Anniversary of Reunification” 2007 by Ian and Ryan
Made in Hong Kong
Chow Chun-fai
(周俊輝)
Introduction of
“Made in Hong Kong”
"Made in Hong Kong" usually referring to industrial or commercial products
Art is missing from the equation
Hong Kong is frequently branded a "cultural desert"
Hong Kong nurtures and attracts a diversity of artistic talent and creativity
There are seven artists from different backgrounds in this exhibition whose works present Hong Kong in a variety of dimensions and serve as visual evidence of the territory's unique and charismatic culture
Chow Chun-fai
Graduated from the Chinese University of Hong Kong, the department of Fine Arts (BA and MFA)
member of Fotanian Artist Village.
Now working in Hong Kong and Beijing
“Hong Kong Arts Centre 30th Anniversary Award Grand Prize”
“the Sovereign Asian Art Prize”
Topic of Artworks
Painting on movie
Video on painting
Photo installation
Hong Kong street
Hong Kong taxi
Features of Artworks
Repaint images that most Hong Kongers are familiar with
Through repainting to provide a media of imaginative and thinking
example:Crouching Tiger Hidden Dragon, "Escape the Giang Hu world", enamel paint on canvas, 100cm(H) x 150cm(W), 2006
Enamel paint is his painting style
Shaolin Soccer, ”If we don’t have any dream in life, we look like a salted fish”,enamel paint on canvas
Full Alert, "we only have one word in mind, Peace", enamel paint on canvas, 100cm(H) x 150cm(W), 2008
Video on painting(Infernal Affairs)
Repainting "Infernal Affairs", video, 3 minutes, 2007
Repainting "10th Anniversity", video, 1 minute 20 seconds, 2007
Linkage between Artworks and HK identity
“I want my identity back” is a dialogue in the film, but it has a behind meanings.
In the pictures, the sea view of Victoria harbor was blurred-->reflect that Hong Kongers confused about their identity
Conclusion
In his works, repainting is a processes of “reread” art, its meaning is not only the memories, but also is a criticism
It gives us a imagine space to re thinking some issue of HK (such as, identity, Handover, HK government and some ideology of Hong Kongers)
Discussion
In Chow’s works, there are many of works is about local movie, do you think that local movie is the best media to represent the identity of Hong Kongers?
Why?
8. 1:99 Short Films (2003) , by Cheng ka yan, Emma
The outbreak of SARS crisis in 2003
Causing economic downturn
Political instabilities
------> upset Hong Kongers
------> confidence crisis
SAR government supported the
Federation of Hong Kong filmmakers to
shoot the 1:99 film action to cheer HK
people up.
This was a non-profitable action
—11 short films (less than 5 mins) directed by 15 Hong Kong directors
—HK artists were invited to play the film
—Different ways were used to invigorate and cheer Hong Kong people up to bring out the HK spirit ‘Hong Kong people concern about Hong Kong people’
Title
—1:99 = 1set of bleach + 99 sets water. A common way to disinfect
—The action was to disinfect HK people’s unhappiness and encourage them to strengthen themselves
Rhapsody (Johnny To & Wai Ka Fai)
Grassroots and classic medley of Sam Hui
—The hardworking spirit of 70’s workers
—Message: Dream on! The best is yet to come.
My Sow Is Not Feeling Well(Chan Fruit)
A piggy (HK) is not feeling well
—We can’t give up the piggy. Only by being nice to it, piggy will be nice to us
—Message: Be nice to HK! We need an energetic HK which we take pride in
Smile (Teddy Chen)
‘Always look on the bright side of life’
—Look carefully, there are smiles everywhere
—Message: Invigorate HK people to be positive and look on the bright and light side of life.
Hong Kong - A Winner(Stephen Chow)
—Yuen Qiu was infected SARS, staying in the isolation ward.
—Still being very positive and encourage her family
—Besides caring patients, families of patients also re-involve to work and daily life
—Message: Hong Kongers will definitely win!
Who's Miss Hong Kong?(Joe Ma)
—‘HK’ won the Miss HK pageant
—Message: Ask Hkers to cheris and take good care of HK.
Family of Heroes (Alex Law and Mabel Cheung)
—A child describing his family, with whom are all related to ‘fei 飛’
—Message: successes come after setbacks. To be succeed, one has to go through the low point.
Until Then (Gordon Chan and Dante Lam)
—People are so helpless and longing for ‘God help us’ in facing difficulties
—Message: No matter what do we face, good or bad, we have to be strong and take action to solve difficulties
Discussion
How effective are the 1:99 short films in
encouraging and cheering up Hong
Kong people? Comparing to Golden
Chicken 2, which one is more effective?
7. Golden Chicken 2 (Samson Chui, 2003) by Fanny Ng, Yeeman
Intro of Samson Chui 趙良駿
žDirector of Golden Chicken series in 2002-2003
žDirected McDull the Alumni(2006) Mr cinema(2007)
žthe reflection on HK culture and history
Story background of Golden Chicken 2
žShot on the end of 2003
žScreening on Jan,2004
žHong Kong facing the SARS crisis
žDirector describe that 2003 is the toughest year for Hong Kong people
žAfraid of infecting the SARS
žEconomic downturn
žAs this is the story background of GC2
How the filmmaker respond the SARS on film
žAs a record of hk society in SARS
žTreasure people around us
žKum spirit to facing SARS positively
Recording people how to face the SARS
žUse different classes of people to describe the society in SARS,
že.g worker, customer in Cha Chan Tan and doctor, prostitute
žPeople keep distance to other and doctor suffered great pressure
žPeople scared SARS and tried all means to prevent SARS
žE.g traditional Chinese medicine, diluted 1:99 household bleach for cleaning, wearing mask, washing hand 25s, taking temperature continuouslyReflect people live in SARS
SARS crisis remind us treasuring people around us
žRonald Cheng love his wife very much and find her continuously
žEven he found his wife but he cannot recognize her
žRepresenting Hong Kong people work hard to achieve their goal but people ignored that is around us, like family
My view of Golden Chicken 2
žImportant record of SARS crisis and recall many collective memory about 2003
žIt is comedy to give Hong Kong people happiness and relaxing to think about SARS
žHappiness but have tear to me, sad of people dead in SARS and happy of Kum spirit
žIgnored many different issue in 2003, e.g71 parade
Further question
žAs GC2 had not only discussed SARS crisis but also mentioned many issue in hk. Do you remember what it is? What do you think about the director described 2003 in film?
The End
8. Film X (choose your favourite) from 1:99 Short Films (2003) , by Lu Mengjie, Jackie
“Dream on, the best is yet to come. ”8. 1:99 Memory of Spring 2003 , by Ng Yuen Ling, Cat
Title:1:99 Memory of Spring 2003
Director: Peter Chan Ho Sang
Cast: Tony Leung, Sandra Ng, Man-chat To, Christopher Doyle
Year of Production : 2003
Media: short film
SARS
•is a communicable disease
•SARS made us as prisoners
•Jardine House became a symbol of our imprisonment
•Patrolling sound signify a fighting spirit among medical workers, ordinary people and the government
•Love message , slogan in the last scene
•“ Since we have gone through this difficult road together, we love HK more.”
•Who is Miss HK? ( Joe Ma) “ If you don’t love HK, then who else will love HK?”
8. Memories of Spring 2003 from 1:99 Short Films (2003) , by Chan Sung Ki, Kennis
•A project launched by the Hong Kong film industry during the SARS outbreak in 2003
•Included 11 short movies
•Encourage Hong Kong citizen
•Included many famous actors and directors
Memory of Spring 2003
Director, Writer :Chan Ho Sun
Year: 2003
Cast: Tony Leung Chiu Wai
Alfred Cheung Kin Ting
Krystal Tin Yui Nei……etc
Localized view of SARS
-show us the scene of Hong Kong at the beginning
-show us signs of HK that we are familiar with(Victoria Habour, lion outside HSBC...etc)
-show us a HK that we are not familiar with(snowing HK, empty Central...etc)
-let the audience recognize the situtation of HK at the SARS period
Who is Hero?
-"glorioUS dead"----->"US"
-the medical workers and the victims are the heroes
A Turning Point
-people start to hit the freezed groud by different method
(villain hitting, footdrill)
-with the sound effect, show us how strong the people hit the ground
-people are struggling with SARS
-we believe we can overcome
Contrast
-contrast with the begining to show us the recover of HK
(unmasked face, the smiling face of Tony Leung...etc)
-Hong Kong had turned back to a place that we are familiar with
-returning of color give us a strong feeling of resume
Compare with 《28 DAYS LATER》
•Both about infectious disease
•Both of them have “happy ending”
•《28》 have more descriptions on the disease
•《28》 give us a feeling that disease can be re-infect at anytime
•《Memory》give us a feeling that we can overcome everything
My Opinion
•Encouraging film
•Bring Hope
•“We can overcome!”
•Lack of vigilance
Reference
•Yak Wing Kit Vicky, Representing illness: Patients, Monsters, and Microbes, M. Phil thesis, Department of Comparative Literature, University of Hong Kong, 82-130
•《怎麼辦的春天？ 》http://movie.cca.gov.tw/Column/Content.asp?ID=116
•Hong Kong Cinemagic—1:99http://www.hkcinemagic.com/en/movie.asp?id=4394
Question
•Compare with other epidemic films, Do you think HK SARS films(Golden Chicken2, 1:99) are too optimistic that they purpose on encouraging people rather then as an reminder that remind people about the lesson of SARS?
•Do you think Hong Kong also need to have some arts to represent the negative side of SARS?
9. “My Life as McDull” (dir. Toe Yuen, 2001) by Livia
| Tourist Board | Mcdull |
| -Cosmopolitan | -Crowded City |
| -Focus on tourist area | -Focus on resident area |
| -New modern / historical building | -Old and dirty buildings |
| -Western and Chinese food expensive food in restaurants | -Bun, Tart cheap food in Cha Chan Tin, Tai Pai Don |
| -Clean | -Dirty, air pollution |