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Filming Margins

Tang Shu Shuen, A Forgotten Hong Kong Woman Director

Ching Yau

Publication Year: 2004

This book studies the work of filmmaker Tang Shu Shuen in Hong Kong in the 1960s and 1970s. It raises issues regarding the applicability of paradigms of Western auteurism and feminist authorship in studying Tang's work and also examines the reasons why Tang Shu Shuen's work has been so underrecognised and underdiscussed historically.

Published by: Hong Kong University Press, HKU

Filming Margins

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pp. i-iv

CONTENTS

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pp. v-vi

FIGURES AND TABLE

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pp. vii-x

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NOTE ON ROMANISATION AND TRANSLATION

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pp. xi-xii

"ALL CHINESE NAMES and words from mainland China and Taiwan have been rendered according to the Pinyin system of romanisation. Since there is no universal standard for romanising Cantonese, all Cantonese names from Hong Kong have been rendered according to the..."

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ACKNOWLEDGEMENTS

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pp. xiii-xiv

"A thank-you list is always boring for the readers. In my case, it is essential for the writer. This project began as a PhD dissertation which has undergone major transformation. Before I finished the manuscript, I was already excited at the thought of finally being able to thank the following..."

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INTRODUCTION: FRAMING A HONG KONG CHINESE FEMALE AUTHORSHIP IN HISTORY

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pp. 1-28

"THIS BOOK SEEKS to fill a gap in the development of international cinema studies by producing a critical discussion of a key woman director working in the Hong Kong cinema of the 1960s and 1970s, on whom scholarship has been, until now, respectful but limited. My study incorporates theories of authorship, feminist film criticism, and cultural studies to interrogate..."

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1 TO BE A CHINESE FEMALE SUBJECT:THE ARCH

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pp. 29-66

"Mayne uses a reading of 'lesbian irony' to discuss the ways that Arzner's work, especially her representation of irresolvable contradictions, has been undermined. According to Mayne, Dance, Girl, Dance (Dorothy Arzner, 1940), for example, embodies a dualism that enables the cinema to function both as 'an arena of patriarchal exploitation and female self-representation'..."

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2 THE (IM)POSSIBILITY OF AN INSTITUTIONAL CRITIQUE: CHINA BEHIND

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pp. 67-100

"BEVERLE HOUSTON (1994, 271) asks about the 'problem of Dorothy Arzner': How can the female auteur be 'positioned in a history of film that is the history of the structure and development of its institutions and practices'? The ambitions of..."

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3 A BREAK FROM HER AUTHORSHIP? THE CONTEXT OF MAKING SUP SAP BUP DAP ANDTHE HONG KONG TYCOON

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pp. 101-128

"THE FOLLOWING THREE chapters examine the significance and problematics of authorship that Tang's last two films, Sup Sap Bup Dap and The Hong Kong Tycoon, further raised. These two films particularly challenge our patriarchal and individualistic assumptions of Western auteurism and seek to redefine her body of work in other terms."

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4 REVISITING HER CINEMA ASCOUNTER-CINEMA: SUP SAP BUP DAP

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pp. 129-178

"IN THIS CHAPTER, I examine the ways that Tang's shifts in style, aesthetics, and genre in Sup Sap Bup Dap, which puzzled a lot of critics, are closely related to ideological, socio-cultural and historical changes and should be seen as strategic and necessary. I would argue that..."

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5 MASQUERADING THE STEREOTYPING:THE HONG KONG TYCOON

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pp. 179-234

"IN THIS CHAPTER, I continue to investigate how female authorship is constructed in and through discourse, inseparable from the desires that circulate within the texts but also simultaneously informed by desires of other discourses historically and socially. When authorship could be read..."

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6 AFTERWORD:TO CONTINUE, TO REMEMBER

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pp. 235-240

"THIS PUBLICATION IS one of the first attempts to more thoroughly examine Tang Shu Shuen's authorship in Hong Kong cinema in the 1960s and 1970s. It is undertaken in contrast to the overwhelming attention given to male auteurs in the action genre of Hong Kong cinema, actively..."

NOTES

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pp. 241-242

FILMOGRAPHY

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pp. 243-248

BIBLIOGRAPHY

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pp. 249-278

INDEX

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pp. 279-290


E-ISBN-13: 9789882201323
Print-ISBN-13: 9789622096899

Page Count: 304
Publication Year: 2004