Asian film, media, and culture

The Power of Zhang Yimou’s Metaphors and Colour Symbolism in Raise the Red Lantern (1991) [DCCFF 2017]

When we speak of Zhang Yimou, a leading light of China’s so-called Fifth Generation of filmmakers, many people immediately conjure up sumptuous imagery from the director’s more commercially successful titles like Red Sorghum (1987), Hero […]

Posted by
on Sep, 21 · in Features

The Hong Kong Second Wave and their Fascination with the 1960s [DCCFF 2017]

During the mid-1980s, there was a subtle handover between the first and second Hong Kong new cinemas. After the first wavers spent the late 1970s and beyond reshaping the landscape of their national cinema, the second […]

Posted by
on Sep, 19 · in Features

A Short Meditation on “Whatever”: Fruit Chan’s Made in Hong Kong (1997) [DCCFF 2017]

When Wu Jing’s Wolf Warrior 2 (2017) has brought itself on par with the best of Hong Kong cinema’s kung-fu, shoot-outs, car chases, and romance in peril, would it be a hyperbole to proclaim the […]

Posted by
on Sep, 12

Critiquing the Post Isolationist Chinese Youth Film [DCCFF 2017]

As China adjusted to post-isolationism in the 1980s, radical new societal narratives emerged and the role of youth during this metamorphosis became prominent in mainstream culture and academic debate. In tandem, the last two decades […]

Posted by
on Sep, 10

Preview – Bhutanese cinema at the 11th Five Flavours Asian Film Festival, November 15-22

Bhutan is a country without a long-standing film tradition, but it is bravely looking for its own voice and a way to combine tradition with new means of expression. This year, the Five Flavours Film […]

Posted by
on Sep, 07

The Sophisticated Shocks of Red to Kill (1994) [DCCFF 2017]

CAT III films are important part of Hong Kong cinema. CAT refers to the rating category and number three to the highest rating possible.[1] The discussion about these exploitation films is often built on hermeneutics. […]

Posted by
on Sep, 01

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