Fruit Chan's Made in Hong Kong by Esther M. K. Cheung

By Esther M. K. Cheung

The books takes an interdisciplinary method of study Fruit Chan's Made in Hong Kong, utilizing views starting from sociology, heritage, movie experiences, cultural and important theories, and globalization studies.

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There are in fact many modes of realism and Chan’s case illustrates this concept clearly. His so-called “Handover Trilogy” and his later films such as Durian Durian and Hollywood Hong Kong embody certain basic traits: the story of ordinary people, the theme of marginality, on-location shooting, jerky hand-held camerawork, frequent use of objective point of view camera, and the casting of non-professional actors. 7 While Chan’s realism excites critics because of its opposition to mainstream cinematic conventions, the mixed use of documentary realism and illusionism confuses the same cohort.

They continued to organize experimental film exhibitions, with sponsorship from the Urban Council. The Hong Kong International Film Festival, inaugurated in 1977, was organized by the Urban Council with co-operation from Phoenix Cine Club and Film Guard. In 1978, the Film Culture Centre of Hong Kong was founded by a group of up-and-coming figures in television. It offered production courses and also functioned as a film club. From the mid-1970s to early 80s, Phoenix Cine Club AUTHENTICITY AND INDEPENDENCE 23 ● also co-organized Hong Kong Independent Short Film Exhibition regularly with the Urban Council.

In 1978, the Film Culture Centre of Hong Kong was founded by a group of up-and-coming figures in television. It offered production courses and also functioned as a film club. From the mid-1970s to early 80s, Phoenix Cine Club AUTHENTICITY AND INDEPENDENCE 23 ● also co-organized Hong Kong Independent Short Film Exhibition regularly with the Urban Council. The 1970s saw a flourishing era of work in Super 8. 5 Emerging from these film exhibitions were Neco Lo, a significant figure in Hong Kong independent filmmaking for animation since the mid-1970s, and Lawrence Lau, Alex Cheung, as well as Eddie Fong who later entered the cinema industry and became recognizable figures of the Hong Kong New Wave.

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