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{{Infobox film movement
{{Infobox film movement
| name = Hong Kong New Wave
| name = Hong Kong New Wave
| image =
| image = Leslie Cheung kwok wing.jpg
| image_size =
| image_size = 300 px
| caption =
| caption = New Wave screen legend [[Leslie Cheung]]
| yearsactive = late 1970s to early 2000s
| yearsactive = late 1970s to present
| country = Hong Kong
| country = Hong Kong
| influences = [[French New Wave]]
| influences = [[French New Wave]]
| influenced = | influenced = virtually all subsequent cinema<ref>{{Cite web|last=Yu|first=Helen|title=10 Hong Kong Film Directors You Should Know|url=https://hk.asiatatler.com/life/hong-kong-film-directors|date=2020-07-29}}</ref><ref>{{Cite web|last=Crossland|first=Anthony|title=18 Important Film Movements Every Movie Buff Should Know|url=http://www.tasteofcinema.com/2015/18-important-film-movements-every-movie-buff-should-know/2/|date=2015-04-06}}</ref><ref>{{Cite web|last=Parkes|first=Douglas|title=Why didn’t Johnnie To ever get an Oscar nod? Bruce Lee and Wong Kar-wai put Hong Kong cinema on the map, but the Election director made the city’s best post-handover movies|url=https://www.scmp.com/magazines/style/celebrity/article/3130417/why-didnt-johnnie-ever-get-oscar-nod-bruce-lee-and-wong|date=2021-04-21}}</ref> such as [[Korean Wave|South Korean New Wave]],<ref>{{Cite web|last=Lee|first=Hyung-Sook|title=Peripherals Encounter: The Hong Kong Film Syndrome in South Korea|url=https://www.jstor.org/stable/41389754?seq=1|date=2006}}</ref> [[Sundance Institute|American Independent cinema]],<ref>{{Cite web|last=Saperstein|first=Pat|title=Hong Kong Director Ringo Lam Dies at 63|url=https://variety.com/2018/film/news/ringo-lam-dead-dies-city-on-fire-1203096650/|date=2018-12-29}}</ref><ref>{{Cite web|last=Shaw|first=Tristan|title=‘City on Fire’: Behind the story and influence of Ringo Lam’s classic|url=https://supchina.com/2019/03/22/city-on-fire-behind-the-story-and-influence-of-ringo-lams-classic/|date=2019-03-22}}</ref> [[Hollywood]],<ref>{{Cite web|title=How Wong Kar-wai – Hong Kong director of In the Mood for Love, Chungking Express and Happy Together – inspired filmmakers like Sofia Coppola and Barry Jenkins|url=https://www.scmp.com/magazines/style/celebrity/article/3093301/how-wong-kar-wai-hong-kong-director-mood-love-chungking|date=2020-07-16}}</ref> and many others
}}
}}
The '''Hong Kong New Wave''' is a film movement in [[Chinese language|Chinese-language]] [[Cinema of Hong Kong|Hong Kong cinema]] that emerged in the late 1970s and lasted into the early 2000s.
The '''Hong Kong New Wave''' is a film movement in [[Chinese language|Chinese-language]] [[Cinema of Hong Kong|Hong Kong cinema]] that emerged in the late 1970s and has lasted dramatically into the present, changing the culture of cinema in the process.

==Origins of the movement==
==Origins of the movement==
[[File:Director Ann Hui @ Broadway Cinematheque.JPG|thumb|200px|[[Ann Hui]] was among the Hong Kong New Wave]]
[[File:Director Ann Hui @ Broadway Cinematheque.JPG|thumb|200px|[[Ann Hui]] was among the Hong Kong New Wave]]
The Hong Kong New Wave started in 1979 with the release of numerous notable films. During the 1980s, the Hong Kong film industry began to flourish. Film emerged as the most popular form of entertainment in Hong Kong, in part due to the fact that many Chinese households did not have a TV at the time.<ref name=Yingjin>{{cite book|last1=Zhang|first1=Yingjin|title=Chinese national cinema|date=2004|publisher=Routledge|location=New York|isbn=9780415172899|pages=156-178}}</ref> Many of the New Wave directors had a Western-style education and were influenced by western filmmaking and culture.<ref>{{cite book|last1=Desser|first1=David|last2=Fu|first2=Poshek|title=The Cinema of Hong Kong : history, arts, identity|date=2000|publisher=Cambridge University Press|location=Cambridge, UK ; New York, NY|isbn=9780521772358|page=104}}</ref> The films of the Hong Kong New Wave were not stylistically homogenous, rather the term was used to mark the distinction of a new generation of filmmakers.<ref name=Curtin>{{cite book|last1=Curtin|first1=Michael|title=Playing to the world's biggest audience : the globalization of Chinese film and TV|date=2007|publisher=University of California Press|location=Berkeley|isbn=9780520940734|page=60}}</ref> Films of the Hong Kong New Wave utilized new technology and techniques such as synchronous sound, new editing techniques, and filming movies on location.<ref name=Zhang>{{cite book|last1=Zhang|first1=Yingjin|title=A companion to Chinese cinema|publisher=Wiley-Blackwell, 2012.|location=Malden, Mass|isbn=9781444355994|page=97|url=https://books.google.com/books?id=HW9nMGuYtGkC&pg=PA97|access-date=23 December 2015}}</ref>
The Hong Kong New Wave started in 1979 with the release of numerous notable films. During the 1980s, the Hong Kong film industry began to flourish. Film emerged as the most popular form of entertainment in Hong Kong, in part due to the fact that many Chinese households did not have a TV at the time.<ref name=Yingjin>{{cite book|last1=Zhang|first1=Yingjin|title=Chinese national cinema|date=2004|publisher=Routledge|location=New York|isbn=9780415172899|pages=156-178}}</ref> Many of the New Wave directors had a Western-style education and were influenced by western filmmaking and culture.<ref>{{cite book|last1=Desser|first1=David|last2=Fu|first2=Poshek|title=The Cinema of Hong Kong : history, arts, identity|date=2000|publisher=Cambridge University Press|location=Cambridge, UK ; New York, NY|isbn=9780521772358|page=104}}</ref> The films of the Hong Kong New Wave were not stylistically homogenous, rather the term was used to mark the distinction of a new generation of filmmakers.<ref name=Curtin>{{cite book|last1=Curtin|first1=Michael|title=Playing to the world's biggest audience : the globalization of Chinese film and TV|date=2007|publisher=University of California Press|location=Berkeley|isbn=9780520940734|page=60}}</ref> Films of the Hong Kong New Wave utilized new technology and techniques such as synchronous sound, new editing techniques, and filming movies on location.<ref name=Zhang>{{cite book|last1=Zhang|first1=Yingjin|title=A companion to Chinese cinema|publisher=Wiley-Blackwell, 2012.|location=Malden, Mass|isbn=9781444355994|page=97|url=https://books.google.com/books?id=HW9nMGuYtGkC&pg=PA97|access-date=23 December 2015}}</ref>


==First Wave and Second Wave==
==Characteristics and development==
[[File:Tsui Hark.jpg|thumb|left|Producer and director [[Tsui Hark]] was part of the first wave and later helped produce films in the second wave of [[Hong Kong cinema]].<ref>{{Cite web|title=HONG KONG New Wave|url=https://www.movementsinfilm.com/hong-kong-new-wave}}</ref>]]
Although most cite the Hong Kong New Wave to have started in 1978<ref>{{Cite web|last=Collier|first=Joelle|title=A Review of “Hong Kong New Wave Cinema (1978–2000)”|url=https://www.tandfonine.com/doi/abs/10.1080/10509200802371212?needAccess=true&journalCode=gqrf20|date=2010-06-28}}</ref> or 1979<ref>{{Cite web|last=Rodriguez|first=Hector|title=At Full Speed: Hong Kong Cinema in a Borderless World|url=https://concept-script.com/essays/HectorRodriguezNewWave.pdf|publisher=[[University of Minnesota|University of Minnesota Press]]|year=2001}}</ref> with the release of numerous notable films, the recognition of the Hong Kong new wave actually began as early as 1976.{{sfn|Cheuk|Zhuo|pp. 9-10}} In an article issued that year, it was stated that a new wave of television directors would soon take over the Hong Kong cultural scene.{{sfn|Cheuk|Zhuo|p. 10}} Before the mid to late 1970s, most of these young directors were still studying in film schools or were starting out as television directors.{{sfn|Cheuk|Zhuo|pp. 10-11}} During the 1980s, the Hong Kong film industry, which was already globally renowned for [[martial arts film|kung fu]], began to flourish in all other genres. Film emerged as the most popular form of entertainment in Hong Kong, partly due to the fact that many Chinese households did not have television sets with cable at the time.<ref name=Yingjin>{{cite book|last1=Zhang|first1=Yingjin|title=Chinese national cinema|date=2004|publisher=Routledge|location=New York|isbn=9780415172899|pages=156-178}}</ref>

Many of the New Wave directors had a European-style education and were influenced by European filmmaking and culture.<ref>{{cite book|last1=Desser|first1=David|last2=Fu|first2=Poshek|title=The Cinema of Hong Kong : history, arts, identity|date=2000|publisher=Cambridge University Press|location=Cambridge, UK ; New York, NY|isbn=9780521772358|page=104}}</ref> The films of the Hong Kong New Wave were not stylistically homogenous, however, and did not necessarily have to be influenced by foreign films. Instead the term was used to mark the distinction of a new generation of filmmakers from the traditional studio-based filmmakers, who mostly worked for the [[Shaw Brothers]] conglomerate.<ref name=Curtin>{{cite book|last1=Curtin|first1=Michael|title=Playing to the world's biggest audience : the globalization of Chinese film and TV|date=2007|publisher=University of California Press|location=Berkeley|isbn=9780520940734|page=60}}</ref> The Hong Kong New Wave films were unique for its time and did not focus on drama, romance, or any particular genre. Instead, the movement varied from all sorts of themes and genres such as comedy, including [[mo lei tau]], as well as drama, horror, romance, action, epics, and many others.<ref>{{Cite web|last=Pang|first=Laikwan|title=New Asian Cinema and Its Circulation of Violence|url=https://www.jstor.org/stable/41490936?seq=1|date=2005}}</ref> Films of the Hong Kong New Wave utilized trending technology and techniques such as synchronous sound, radical editing techniques, and improvised filming, ie., shooting on location with any available props.<ref name=Zhang>{{cite book|last1=Zhang|first1=Yingjin|title=A companion to Chinese cinema|publisher=Wiley-Blackwell, 2012.|location=Malden, Mass|isbn=9781444355994|page=97|url=https://books.google.com/books?id=HW9nMGuYtGkC&pg=PA97|access-date=23 December 2015}}</ref> Some of the clear similarities between the films were the frenetic energy and minimalist style that were inspired from older Hong Kong films as well as the decision to film outside the studio, which was unlike any preceding movement.<ref>{{Cite web|last=Ferguson|first=Laura|title=Hong Kong: Communicating 1997 and beyond through Film|url=https://www.gla.ac.uk/media/Media_141049_smxx.pdf|date=2010}}</ref> It was these factors that allowed the Hong Kong New Wave to succeed and bring Hong Kong cinema into the world stage. This also coincided with the rise in popularity of Chinese cinema in general, as fellow Mainland Chinese [[Cinema of China#Rise of the Fifth Generation|fifth generation]] and [[Cinema of Taiwan#New Taiwanese Cinema|Taiwanese New Wave]] cinema were simultaneously booming since the early 1980s.<ref>{{Cite web|last=Hui|first=Luo|title=Theatricality and Cultural Critique in Chinese Cinema|url=https://www.jstor.org/stable/27568438?seq=1|year=2008|publisher=[[University of Hawaii|University of Hawaii Press]]}}</ref>
The Hong Kong New Wave is considered to have two distinct periods. The first period, also called the "Hong Kong New Wave" or alternatively called the "First Wave",<ref name="Harries">{{cite web |last1=Harries |first1=Samuel |title=Hong Kong New Wave Films: The First Wave (1979 - 1989) |url=https://www.movementsinfilm.com/blog/hong-kong-new-wave-films-first-wave-1979-1989 |website=Movements in Film |access-date=14 April 2021}}</ref> began in the late 1970s and lasted into the mid to late 1980s. The second period, called the "Second New Wave", is considered to have begun in 1984, after the New Wave began to gain attention from international audiences.<ref>{{cite web |last1=Dhruv Bose |first1=Swapnil |title=The 10 essential films from the Hong Kong New Wave |url=https://faroutmagazine.co.uk/hong-kong-new-wave-10-best-films/ |website=Far Out Magazine |access-date=14 April 2021}}</ref> Directors of the Second New Wave include [[Stanley Kwan]], [[Wong Kar-wai]], [[Mabel Cheung]], [[Alex Law]], [[Fruit Chan]], [[Peter Chan]], and [[Tammy Cheung]].<ref name=Zhang></ref>
The Hong Kong New Wave is considered to have two distinct periods. The first period, also called the "Hong Kong New Wave" or alternatively called the "First Wave",<ref name="Harries">{{cite web |last1=Harries |first1=Samuel |title=Hong Kong New Wave Films: The First Wave (1979 - 1989) |url=https://www.movementsinfilm.com/blog/hong-kong-new-wave-films-first-wave-1979-1989 |website=Movements in Film |access-date=14 April 2021}}</ref> began in the late 1970s and lasted into the mid to late 1980s. The second period, called the "Second New Wave", is considered to have begun in 1984, after the New Wave began to gain attention from international audiences.<ref>{{cite web |last1=Dhruv Bose |first1=Swapnil |title=The 10 essential films from the Hong Kong New Wave |url=https://faroutmagazine.co.uk/hong-kong-new-wave-10-best-films/ |website=Far Out Magazine |access-date=14 April 2021}}</ref> Directors of the Second New Wave include [[Stanley Kwan]], [[Wong Kar-wai]], [[Mabel Cheung]], [[Alex Law]], [[Fruit Chan]], [[Peter Chan]], and [[Tammy Cheung]].<ref name=Zhang></ref>
==History==
===First Wave===
[[File:Chow Yun Fat for wiki.jpg|thumb|left|Actor [[Chow Yun-Fat]] starred in the first and latest new wave.]]
The Hong Kong New Wave is considered to have two distinct periods. The first period, also called the "Hong Kong New Wave" or alternatively called the "First Wave",<ref name="Harries">{{cite web |last1=Harries |first1=Samuel |title=Hong Kong New Wave Films: The First Wave (1979 - 1989) |url=https://www.movementsinfilm.com/blog/hong-kong-new-wave-films-first-wave-1979-1989 |website=Movements in Film |access-date=14 April 2021}}</ref> began in the late 1970s and lasted into the mid to late 1980s, with some dates being from 1979 to 1989.<ref name="Harries"/> At this point Hong Kong cinema developed a global audience beyond martial arts and wuxia films and started to transcend into critically acclaimed films for all other genres. The films of the new wave had no common genre, and all different types of genres were being explored, thereby creating a new identity for the region and the film industry. As the films varied in genre, it became clear that there was no single fixed definition on the zeitgeist of the New Wave, but the personalities of these directors and their simultaneous global success provided indication that the new wave was significant for the next generation of filmmakers around the world. Some of the earlier films that achieved global success were Ann Hui's drama on [[Vietnamese refugees]] called [[Boat People]], as well as Tsui Hark's [[Peking Opera Blues]] and [[Zu Warriors from the Magic Mountain]], which was a newfangled wuxia film that merged with the comedy genre and used innovative special effects.<ref>{{Cite web|last=Kwok Wah Lau|first=Jenny|title=Besides Fists and Blood: Hong Kong Comedy and Its Master of the Eighties|url=https://www.jstor.org/stable/1225640?seq=1|date=1998}}</ref><ref>{{Cite web|last=Tan|first=See Kam|title=Tsui Hark's Peking Opera Blues|url=https://www.universitypressscholarship.com/view/10.5790/hongkong/9789888208852.001.0001/upso-9789888208852|date=2016|publisher=[[Oxford University|Oxford University Press]]}}</ref> Stars of this period moved on from their collaborations with older directors in the 1970s and became regular casting fixtures for the New Wave directors. Other stars emerged from this period working in tv shows and eventually become some of the early screen legends of the first wave. Some of these stars, such as [[Leslie Cheung]] were renowned for their reputations in other artistic fields such as in music and other performing arts.<ref>{{Cite web|last=Lim|first=Ruey Yan|title=HK singer-actor Leslie Cheung remembered on his 18th death anniversary|url=https://www.straitstimes.com/life/entertainment/hk-singer-actor-leslie-cheung-remembered-on-his-18th-death-anniversary|date=2021-04-02}}</ref>
===Second Wave===
[[File:Central-Mid-Levels escalators at night IMG 5228.JPG|thumb|right|Real-life setting used in the film [[Chungking Express]]]]
The second period, called the "Second New Wave", is considered to have begun in 1984 and coincided with the first wave of seasoned directors, after which the New Wave established its position as the dominant film movement among international audiences.<ref name=sally>{{Cite web|last=Gao|first=Sally|title=A History Of Hong Kong’s New Wave Cinema|url=https://theculturetrip.com/asia/china/hong-kong/articles/a-history-hong-kongs-new-wave-cinema/}}</ref><ref>{{cite web |last1=Dhruv Bose |first1=Swapnil |title=The 10 essential films from the Hong Kong New Wave |url=https://faroutmagazine.co.uk/hong-kong-new-wave-10-best-films/ |website=Far Out Magazine |access-date=14 April 2021}}</ref> Directors of the Second New Wave include [[Stanley Kwan]], [[Wong Kar-wai]], [[Mabel Cheung]], [[Alex Law]], [[Johnnie To]], [[Jeffrey Lau]], [[Fruit Chan]], [[Peter Chan]], and [[Tammy Cheung]].<ref name=Zhang/> Some of the popular films during the early years of the second wave from the mid to late 1980s include ''[[Rouge (film)|Rouge]]'',<ref>{{Cite web|last=Cook|first=David A.|title=Hong Kong|url=https://www.britannica.com/art/history-of-the-motion-picture/Transition-to-the-21st-century|date=2021-02-16}}</ref> [[A Better Tomorrow]],<ref>{{Cite web|last=Hanke|first=Robert|title=John Woo's Cinema of Hyperkinetic Violence: From "A Better Tomorrow to Face/Off"|url=https://www.jstor.org/stable/44018960?seq=1|date=1999}}</ref> [[A Chinese Ghost Story]]{{sfn|Morton|p. 72}} and Wong Kar-wai's debut film ''[[As Tears Go By (film)|As Tears Go By]]''<ref>{{Cite web|title=AS TEARS GO BY|url=https://www.trylon.org/film/as-tears-go-by/2021-04-19/|date=2021-04-20}}</ref>.<ref>{{Cite web|last=Hoberman|first=J.|title=As Tears Go By: Wong Kar-wai’s First Moody Move|url=https://www.villagevoice.com/2008/04/29/as-tears-go-by-wong-kar-wais-first-moody-move/|date=2008-04-29}}</ref><ref>{{Cite web|title=The Hong Kong Second Wave and their Fascination with the 1960s [DCCFF 2017]|url=http://www.vcinemashow.com/the-hong-kong-second-wave-and-their-fascination-with-the-1960s-dccff-2017/}}</ref>{{sfn|Lim|pp. 150}}
Many of the second wave directors also tended to use a familiar set of actors. In the case of [[Wong Kar-Wai]], he frequently used [[Leslie Cheung]] and [[Maggie Cheung]] before shifting to [[Tony Leung Chiu-wai|Tony Leung]] in the mid-1990s and [[Zhang Ziyi]] in his film [[2046 (film)|''2046'']]. The director [[John Woo]], who was originally one of the famous first wave directors, frequently employed [[Chow Yun Fat]] as well as [[Leslie Cheung]] in his films. Others such as [[Jeffrey Lau]] often had [[Stephen Chow]] as his lead actor before Chow would go on to direct and produce his own films as an auteur beginning the late 1990s.<ref name=Lau>{{Cite web|last=Hendrix|first=Gracy|title=Kaiju Shakedown: Jeff Lau|url=https://www.filmcomment.com/blog/kaiju-shakedown-jeff-lau-stephen-chow-wong-kar-wai/|date=2014-03-07}}</ref> It was also common for directors who were friends to help produce each other's films. As was the case for Jeffrey Lau and Wong Kar Wai, they both created Jet Tone films and worked to produce the classic [[wuxia]] [[Ashes of Time]]. Due to a record amount of financial resources spent on the film, Wong took over the project and Lau used his earnings from recent films, as well as make a parody of Ashes of Time instead to help provide Wong potential legal indemnity. This was accomplished while using the exact same actors doing a parody of their own characters from Ashes of Time, with both films released almost simultaneously.<ref name=Lau/> Such scenarios were unique only to the Hong Kong New Wave scene, and the usage of such shared actors among directors gave opportunities for the reputations of these actors to grow and the movement to be centered around familiar names on screen.<ref>{{Cite web|last=Blackmon|first=Alyssa|title=HONG KONG NEW WAVE|url=https://mubi.com/lists/hong-kong-new-wave-cinema}}</ref> It can be argued that as of the present, the Hong Kong new wave might still be in its second wave, as many of these filmmakers are still producing plenty of award-winning films, or that the film industry is going through a third wave yet to be denominated.<ref name=sally/><ref>{{Cite web|last=Chow|first=Vivienne|title=
Do Young Generation Awards Contenders Hail a Hong Kong New Wave?|url=https://variety.com/2017/film/asia/young-awards-contenders-hong-kong-new-wave-1202024674/|date=2017-04-06}}</ref>
==Cultural influence==
Beyond its impact on filmmakers, the Hong Kong New Wave also became very popular in music, fashion, and other aspects of popular culture. For a long time, many of the biggest names in acting were also very much the biggest names in [[Cantopop]], with [[Leslie Cheung]], [[Andy Lau]], [[Anita Mui]], and the other [[Cantopop#1990s: Four Heavenly Kings era|four heavenly kings]] were often chosen to star in films under the new wave directors and gain credentials in acting as well as in songwriting.<ref>{{Cite web|last=Parkes|first=Douglas|title=Before BTS and K-drama, Andy Lau, Leslie Cheung, Chow Yun-fat and Tony Leung were Asia’s hottest stars – who were the leading men of Hong Kong cinema’s golden age?|url=https://www.scmp.com/magazines/style/celebrity/article/3104306/bts-and-k-drama-andy-lau-leslie-cheung-chow-yun-fat-and|date=2020-10-06}}</ref> Even stars from [[People's Republic of China|China]] such as [[Faye Wong]] tried to enter the Cantonese music scene via her roles in some Hong Kong films such as Wong Kar-Wai's [[Chungking Express]].<ref>{{Cite web|title=6 significant Hong Kong New Wave films|url=https://www.timeout.com/hong-kong/film/6-significant-hong-kong-new-wave-films|date=2020-07-03}}</ref><ref>{{Cite web|last=Wang|first=Oliver|title=A Cantopop Dream Girl’s First Film Reverie|url=https://www.criterion.com/current/posts/6640-a-cantopop-dream-girl-s-first-film-reverie|date=2019-10-21}}</ref>


==Notable actors==
{{Incomplete list|date=June 2021}}
[[File:Avenue of Stars, Anita Mui (Ank Kumar) 03.jpg|thumb|right|Statue of [[Anita Mui]]]]
[[File:Stephen Chow, 2008 (cropped).JPG|thumb|right|[[Stephen Chow]] promoting a film in 2008]]
* [[Chang Chen]] (張震)<ref name=Feinberg>{{Cite web|last=Feinberg|first=Scott|title=Wong Kar-wai, Master of Hong Kong Cinema, on His Journey to ‘The Grandmaster’ (Video)|url=https://mubi.com/notebook/posts/the-wacky-existentialism-of-jeffrey-lau-s-a-chinese-odyssey|date=2013-08-24}}</ref>
*[[Sylvia Chang]] (張艾嘉)<ref name=Mok/>
* [[Jacky Cheung]] (張學友)<ref name=Reynaud/>
* [[Leslie Cheung]] (張國榮)<ref name=Reynaud>{{Cite web|last=Reynaud|first=Berenice|title=FILM; China's Shadow Falls Across Hong Kong's Films|url=https://www.nytimes.com/1990/05/13/movies/film-china-s-shadow-falls-across-hong-kong-s-films.html|date=1990-05-13}}</ref>
* [[Maggie Cheung]] (張曼玉)<ref name=Reynaud/>
* [[Cherie Chung]] (鍾楚紅)<ref name=Mok>{{Cite web|last=Mok|first=Laramie|title=Hong Kong movie quiz: how many of these 80s and New Wave classics can you name, starring Chow Yun-fat, Leslie Cheung, Anita Mui, Maggie Cheung and Cherie Chung?|url=https://www.scmp.com/magazines/style/celebrity/article/3095264/hong-kong-movie-quiz-how-many-these-80s-new-wave-classics|date=2020-07-30}}</ref>
* [[Stephen Chow]] (周星馳)<ref name=Gilman>{{Cite web|last=Gilman|first=Sean|title=The Wacky Existentialism of Jeffrey Lau's "A Chinese Odyssey"|url=https://mubi.com/notebook/posts/the-wacky-existentialism-of-jeffrey-lau-s-a-chinese-odyssey|date=2019-08-12}}</ref>
* [[Chow Yun Fat]] (周潤發)<ref name=Gil>{{Cite web|last=Gilman|first=Sean|title=The Incendiary Cinema of Ringo Lam|url=https://mubi.com/notebook/posts/the-incendiary-cinema-of-ringo-lam|date=2019-01-10}}</ref>
* [[Sammo Hung]] (洪金寶)<ref name=Tsui>{{Cite web|title=Where to begin with Tsui Hark|url=https://www.bfi.org.uk/features/where-begin-with-tsui-hark|date=2021-02-15}}</ref>
* [[Deanie Ip]] (葉德嫻)<ref>{{Cite web|last=Lo|first=Zabrina|title=Hong Kong Director Ann Hui Talks Winning The Golden Lion Award And Her Filmmaking Journey|url=https://hk.asiatatler.com/society/ann-hui-hong-kong-interview|date=November 2020}}</ref>
* [[Leon Lai]] (黎明)<ref name=Wong>{{Cite web|last=Kraicer|first=Shelley|title=One Horizontal, One Vertical: Some Preliminary Observations on Wong Kar-wai’s The Grandmaster|url=https://cinema-scope.com/features/one-horizontal-one-vertical-some-preliminary-observations-on-wong-kar-wais-the-grandmaster/}}</ref>
* [[George Lam]] (林子祥)<ref>{{Cite web|title=Boat People|url=https://www.timeout.com/movies/boat-people}}</ref>
* [[Andy Lau]] (劉德華)<ref name=Wong/>
* [[Carina Lau]] (劉嘉玲)<ref name=Wong/>
* [[Sean Lau]] (劉青雲)<ref>{{Cite web|title=Tsui Hark|url=https://www.sensesofcinema.com/2003/great-directors/tsui/}}</ref>
* [[Danny Lee (actor)|Danny Lee]] (李修賢)<ref>{{Cite web|last=Cwik|first=Greg|title=Here’s the Movie That Gave Us Quentin Tarantino’s Career|url=https://www.indiewire.com/2015/06/heres-the-movie-that-gave-us-quentin-tarantinos-career-248039/|date=2015-06-26}}</ref>
* [[Tony Leung Chiu-wai|Tony Leung]] (梁朝偉)<ref name=Reynaud/>
* [[Tony Leung Ka-fai]] (梁家輝)<ref name=Gil/>
* [[Jet Li]] (李連杰)<ref name=Tsui/>
* [[Brigitte Lin]] (林青霞)<ref name=Tsui/>
* [[Anita Mui]] (梅艷芳)<ref name=Reynaud/>
* [[Ng Man-tat]] (吳孟達)<ref name=Gilman/>
* [[Josephine Siao]] (萧芳芳)<ref name=Mok/>
* [[Alan Tam]] (譚詠麟)<ref name=Mok/>
* [[Ti Lung]] (狄龍)<ref>{{Cite web|last=Havis|first=Richard James|title=Gu Long’s martial arts stories on the big screen: how Chor Yuen adapted 17 of his magical novels, and our pick of the movies|url=https://www.scmp.com/lifestyle/entertainment/article/3128770/gu-longs-martial-arts-stories-big-screen-how-chor-yuen|date=2021-04-11}}</ref>
* [[Bill Tung]] (朱文彪)<ref name=Mok/>
* [[Anthony Wong Chau-sang|Anthony Wong]] (黃秋生)<ref>{{Cite web|last=Xu|first=Gary G.|title=Children Caught in Crossfire: John Woo and a Global Affective Cinema|url=https://www.jstor.org/stable/23462333?seq=1|date=2010}}</ref>
* [[Joey Wong]] (王祖賢)<ref>{{Cite web|last=Zandbergs|first=Simon|title=“Let’s drink to 1997”|url=https://www.diva-portal.org/smash/get/diva2:790137/FULLTEXT01.pdf|date=2015-01-12}}</ref>
* [[Sally Yeh]] (葉蒨文)<ref name=Mok/>
* [[Donnie Yen]] (甄子丹)<ref name=Tsui/>
* [[Cecilia Yip]] (李思思)<ref name=Mok/>
* [[Zhang Ziyi]] (章子怡)<ref name=Wong/>
==Notable directors==
==Notable directors==
{{Incomplete list|date=June 2021}}
[[File:Wong Kar-Wai (Berlin Film Festival 2013).jpg|thumb|right|Legendary director [[Wong Kar-wai]]]]
[[File:HKAvenueOfStar.jpg|thumb|right|Hand prints of [[John Woo]] at the [[Avenue of Stars, Hong Kong]]]]
* [[Fruit Chan]] (陳果)<ref name="Harries" /><ref>{{Cite web|last=Chung|first=Esther M.K.|title=The Representation of Hong Kong Identity in Fruit Chan's Films|url=https://www.researchgate.net/publication/29834995_The_Representation_of_Hong_Kong_Identity_in_Fruit_Chan's_Films|date=January 2004}}</ref>
* Alex Cheung Kwok Ming (章國明)<ref name="Gao">{{cite web |last1=Gao |first1=Sally |title=A History Of Hong Kong’s New Wave Cinema |url=https://theculturetrip.com/asia/china/hong-kong/articles/a-history-hong-kongs-new-wave-cinema/ |website=Culture Trip |publisher=Culture Trip |access-date=14 April 2021}}</ref>
* Alex Cheung Kwok Ming (章國明)<ref name="Gao">{{cite web |last1=Gao |first1=Sally |title=A History Of Hong Kong’s New Wave Cinema |url=https://theculturetrip.com/asia/china/hong-kong/articles/a-history-hong-kongs-new-wave-cinema/ |website=Culture Trip |publisher=Culture Trip |access-date=14 April 2021}}</ref>
* [[Ching Siu-tung]] (程小東)<ref>{{Cite web|last1=Bettinson|first1=Gary|last2=Martin|first2=Daniel|title=Hong Kong Horror Cinema|url=https://www.jstor.org/stable/10.3366/j.ctt1tqx9js|publisher=Edinburgh University Press|date=2018}}</ref>
* Clifford Choi (蔡繼光)<ref name="Harries" />
* [[Stephen Chow]] (周星馳)<ref name="Gao" />
* [[Allen Fong]] (方育平)<ref name="Gao" />
* [[Allen Fong]] (方育平)<ref name="Gao" />
* [[Sammo Hung]] (洪金寶)<ref name=Tsui/>
* [[Andrew Lau]] (劉偉強)<ref name=Marchetti/>
* [[Ann Hui]] (許鞍華)<ref name="Gao" />
* [[Ann Hui]] (許鞍華)<ref name="Gao" />
* Clifford Choi (蔡繼光) <ref name="Harries" />
* Clifford Choi (蔡繼光) <ref name="Harries" />
* [[Ringo Lam]] (林嶺東)<ref>{{Cite web|title=Ringo Lam channelled his anger into film|url=https://www.straitstimes.com/lifestyle/entertainment/ringo-lam-channelled-his-anger-into-film}}</ref>
* [[Dennis Yu]] (余允抗)<ref name="Harries" />
* [[Dennis Yu]] (余允抗)<ref name="Harries" />
* [[Jeffrey Lau]] (劉鎮偉)<ref name="Gao" /><ref>{{Cite web|last=Loong|first=Wai Ting|title=Movie Review: A Chinese Odyssey 3 is a '3-ller'|url=https://www.nst.com.my/news/2016/09/175213/movie-review-chinese-odyssey-3-3-ller|date=2016-09-22}}</ref>
* [[Fruit Chan]] (陳果)<ref name="Harries" />
* [[Alan Mak (director)|Alan Mak]] (麥兆輝陳果)<ref name="Harries" />
* [[John Woo]] (吳宇森)<ref name="Harries" />
* [[John Woo]] (吳宇森)<ref name="Harries" />
* [[Kirk Wong]] (黃志強)<ref name="Harries" />
* [[Kirk Wong]] (黃志強)<ref name="Harries" />
* [[Patrick Tam (film director)|Patrick Tam]] (譚家明)<ref name="Gao" />
* [[Patrick Tam (film director)|Patrick Tam]] (譚家明)<ref name="Gao" />
* [[Johnnie To]] (杜琪峯)<ref>{{Cite web|title=The Belated Auteurism of Johnnie To|
url=https://www.sensesofcinema.com/2001/contemporary-asian-cinema/to/|date=2001}}</ref>
* [[Tsui Hark]] (徐克)<ref name="Gao" />
* [[Tsui Hark]] (徐克)<ref name="Gao" />
* [[Wong Jing]] (王晶)<ref name=Jing/>
* [[Wong Kar-wai]] (王家衛)<ref name="Harries" />
* [[Wong Kar-wai]] (王家衛)<ref name="Harries" />
* [[Kirk Wong]] (黃志強)<ref name="Harries" />
* [[John Woo]] (吳宇森)<ref name="Harries" />
* [[Yim Ho]] (嚴浩)<ref name="Gao" />
* [[Yim Ho]] (嚴浩)<ref name="Gao" />
* [[Dennis Yu]] (余允抗)<ref name="Harries" />
==Notable films==
{{Incomplete list|date=June 2021}}
[[File:林青霞.jpg|thumb|right|[[Brigitte Lin]] at the [[Hong Kong International Film Festival]]]]
[[File:Tony Leung Chiu Wai and Zhang Ziyi (Berlin Film Festival 2013) 2.jpg|thumb|right|Cast of [[The Grandmaster (film)|the Grandmaster]] featuring [[Tony Leung Chiu-wai|Tony Leung]] and [[Zhang Ziyi]]]]
* ''[[The Butterfly Murders]]'' (蝶变, 1979)<ref>{{Cite web|last=Havis|first=Richard James|title=How Tsui Hark refreshed wuxia films with supernatural detective mystery The Butterfly Murders, his 1979 debut|url=https://www.scmp.com/lifestyle/entertainment/article/3099240/how-tsui-hark-refreshed-wuxia-films-supernatural-detective|date=2020-08-30}}</ref>
* ''[[Encounters of the Spooky Kind]]'' (鬼打鬼, 1980)<ref name=Hung/>
* ''[[The Prodigal Son (1981 film)|The Prodigal Son]]'' (敗家仔, 1981)<ref name=Hung>{{Cite web|title=Kung Fu Films - Sammo Hung|url=http://www.china-expats.com/FilmsKungFu_SammoHung_iF.htm}}</ref>
* ''[[Boat People (film)|Boat People]]'' (投奔怒海, 1982)<ref name=Hui>{{Cite web|last=Parkes|first=Douglas|title=Ann Hui’s best films ranked – from Boat People to A Simple Life, 5 must-see movies by the critically revered Hong Kong movie director|url=https://www.scmp.com/magazines/style/celebrity/article/3085667/ann-huis-best-films-ranked-boat-people-simple-life-5|date=2020-05-23}}</ref>
* ''[[Zu Warriors from the Magic Mountain]]'' (新蜀山劍俠, 1983)<ref name=Hark>{{Cite web|last=Lee|first=Vivian P.Y.|title=The Hong Kong New Wave|url=https://www.researchgate.net/publication/309561136_The_Hong_Kong_New_Wave|date=January 2011}}</ref>
* ''[[Shanghai Blues]]'' (上海之夜, 1984)<ref name=Hark/>
* ''[[Peking Opera Blues]]'' (刀馬旦, 1986)<ref name=Hark/>
* ''[[A Better Tomorrow]]'' (英雄本色, 1986){{sfn|Fang|pp. 2}}
* ''[[A Better Tomorrow 2]]'' (英雄本色2, 1987)<ref name=Cieko/>
* ''[[A Chinese Ghost Story]]'' (倩女幽魂, 1987)<ref name=Liz>{{Cite web|last=Shackleton|first=Liz|title=Nansun Shi looks back at four decades of taking Chinese films overseas|url=https://www.screendaily.com/news/nansun-shi-looks-back-at-four-decades-of-taking-chinese-films-overseas/5143998.article}}|date=2019-10-21}}</ref>
* ''[[Rouge (film)|Rouge]]'' (胭脂扣, 1987)<ref name=Liz/>
* ''[[As Tears Go By (film)|As Tears Go By]]'' (旺角卡門, 1988)<ref name =WKW>{{Cite web|last=Gregersen|first=Erik|title=Wong Kar-Wai|url=https://www.britannica.com/biography/Wong-Kar-Wai|date=2020-07-13}}</ref>
* ''[[The Killer (1989 film)|The Killer]]'' (喋血雙雄, 1989)<ref name=Cieko>{{Cite web|last=Cieko|first=Anne|title=Transnational Action: John Woo, Hong Kong, Hollywood|url=https://www.degruyter.com/document/doi/10.1515/9780824865290-011/html|date=1997|publisher=[[University of Hawaii|University of Hawaii Press]]}}</ref>
* ''[[All About Ah-Long]]'' (阿郎的故事, 1989)<ref name =To>{{Cite web|last=Yi|first=Sun|title=In Defense of Hong Kong|url=https://www.jstor.org/stable/26895748?seq=1|date=2018}}</ref>
* ''[[God of Gamblers]]'' (賭神, 1989)<ref name=Jing>{{Cite web|title=Qian wang dou qian ba (1981)|url=https://www.imdb.com/title/tt0082155/}}</ref>
* ''[[A Chinese Ghost Story II]]'' (倩女幽魂 II：人間道, 1990)<ref name=Cieko/>
* ''[[All for the Winner]]'' (賭聖, 1990)<ref name="Jeffrey Lau"/>
* ''[[Days of Being Wild]]'' (阿飛正傳, 1990)<ref name =WKW/>
* ''[[Center Stage (1991 film)|Center Stage]]'' (阮玲玉, 1991)<ref name=Liz/>
* ''[[Once Upon a Time in China]]'' (黃飛鴻, 1991)<ref name=Hark/>
* ''[[Hard Boiled]]'' (辣手神探, 1992)<ref name=Cieko/>
* ''[[Once Upon a Time in China II]]'' (黃飛鴻之二男兒當自強, 1992)<ref name=Hark/>
* ''[[Ashes of Time]]'' (東邪西毒, 1994)<ref name =WKW/>
* ''[[Chungking Express]]'' (重慶森林, 1994)<ref name =WKW/>
* ''[[A Chinese Odyssey|A Chinese Odyssey Part One: Pandora's Box]]'' (西遊記第壹佰零壹回之月光寶盒, 1995)<ref name="Jeffrey Lau">{{Cite web|title=JEFF LAU CHUN WAI|url=http://www.hkcinemagic.com/en/people.asp?id=83|date=2013}}</ref>
* ''[[A Chinese Odyssey|A Chinese Odyssey Part Two: Cinderella]]'' (西遊記大結局之仙履奇緣, 1995)<ref name="Jeffrey Lau"/>
* ''[[Happy Together (1997 film)|Happy Together]]'' (春光乍洩, 1997)<ref name =WKW/>
* ''[[The Mission (1999 film)|The Mission]]'' (鎗火, 1999)<ref name =To/>
* ''[[King of Comedy (film)|King of Comedy]]'' (喜劇之王, 1999)<ref name=Chow>{{Cite web|title=The 100 best Hong Kong movies|url=https://www.timeout.com/hong-kong/film/best-hong-kong-movies|date=2021-02-15}}</ref>
* ''[[In the Mood for Love]]'' (花樣年華, 2000)<ref name =WKW/>
* ''[[Shaolin Soccer]]'' (少林足球, 2001)<ref name=Chow/>
* ''[[Infernal Affairs]]'' (無間道, 2002)<ref name=Marchetti>{{Cite web|last=Marchetti|first=Gina|title=Introduction: The New Wave and the Generic Abyss|url=https://hongkong.universitypressscholarship.com/view/10.5790/hongkong/9789622098015.001.0001/upso-9789622098015-chapter-1|date=2007}}</ref>
* ''[[Infernal Affairs II]]'' (無間道II, 2003)<ref name=Marchetti/>
* ''[[Infernal Affairs III]]'' (無間道III：終極無間, 2003)<ref name=Marchetti/>
* ''[[Kung Fu Hustle]]'' (功夫, 2004)<ref name=Chow/>
* ''[[2046 (film)|2046]] (2004)<ref name =WKW/>
* ''[[Red Cliff (film)|Red Cliff: Parts I and II]]'' (赤壁, 2008-2009)<ref name=Cieko/>
* ''[[A Simple Life]]'' (桃姐, 2011)<ref name=Hui/>
* ''[[Journey to the West: Conquering the Demons]]'' (西遊·降魔篇, 2013)<ref name =WKW/>
* ''[[The Grandmaster (film)|The Grandmaster]]'' (一代宗師, 2013)<ref name =WKW/>
* ''[[Our Time Will Come (film)|Our Time Will Come]]'' (明月幾時有, 2017)<ref name=Hui/>


==References==
==References==
{{Reflist}}
{{Reflist}}

==Further reading==
* {{Cite book|last1=Cheuk|first1=Pak Tong|last2=Zhuo|first2=Botang|title=Hong Kong New Wave Cinema (1978-2000)|url=https://books.google.com.ph/books?id=tezz-YTGJ00C&dq=hong+kong+new+wave&source=gbs_navlinks_s|year=2008|publisher=Intellect Books|location=[[Hong Kong]]|ISBN=978-1-8415-0148-2}}
* {{Cite book|last=Fang|first=Karen|title=John Woo's A Better Tomorrow|url=|year=2004|publisher=[[Hong Kong University|Hong Kong University Press]]|location=Hong Kong|ISBN=978-962-209-652-3}}
* {{Cite book|last=Lim|first=Bliss Cua|title=Translating Time: Cinema, the Fantastic, and Temporal Critique|url=https://books.google.com.ph/books?id=t0Dhmm50HicC&dq=rouge+hong+kong+new+wave+film&source=gbs_navlinks_s|year=2009|publisher=[[Duke University|Duke University Press]]|location=[[North Carolina|North Carolina, USA]]|ISBN=978-0-8223-9099-2}}
* {{Cite book|last=Morton|first=Lisa|title=The Cinema of Tsui Hark|publisher=[[McFarland & Company|McFarland]]|year=2001|isbn=0-7864-4460-6 |url=https://books.google.com/books?id=MiulRecfarcC|access-date=6 May 2010}}
==External links==
==External links==
* [https://gbtimes.com/rise-hong-kong-new-wave-cinema The rise of Hong Kong New Wave cinema on GB Times]
* [http://www.screeningthepast.com/2015/01/hong-kong-new-wave-cinema-1978-2000/ Screening the Past article about a HK New Wave book]
* [http://www.screeningthepast.com/2015/01/hong-kong-new-wave-cinema-1978-2000/ Screening the Past article about a HK New Wave book]
* [http://www.tasteofcinema.com/2016/the-30-best-hong-kong-movies-of-all-time/ The 30 Best Hong Kong Movies of All Time on Taste of Cinema] (featuring HK New Wave titles by John Woo and Wong Kar Wai)
* [http://www.tasteofcinema.com/2016/the-30-best-hong-kong-movies-of-all-time/ The 30 Best Hong Kong Movies of All Time on Taste of Cinema] (featuring HK New Wave titles by John Woo and Wong Kar Wai)
* [https://www.slideshare.net/MikeGunn/hong-kong-new-wave-cinema A New Direction in Hong Kong Cinema]
* [https://www.edx.org/course/hong-kong-cinema-through-a-global-lens Hong Kong Cinema through a Global Lens]
* [https://elc.polyu.edu.hk/inscribe/?p=105 The Cinema of Hong Kong: History, Arts and Identity Hong Kong Cinema and Its Interaction with Global Culture]
* [https://mubi.com/lists/the-hong-kong-new-wave The Hong Kong New Wave]
* [https://www.info.gov.hk/gia/general/201702/24/P2017022400600.htm Revisiting the New Wave]
* [https://asianmoviepulse.com/2021/05/hong-kong-new-wave-a-debate/ Hong Kong New Wave: A Debate]
* [https://www.britannica.com/art/history-of-the-motion-picture/Transition-to-the-21st-century#ref284144 Transition to the 21st Century: Hong Kong]
{{New Wave in cinema |state=collapsed}}
{{film genres}}
[[Category:1990s in film]]
[[Category:2000s in film]]
[[Category:2010s in film]]


{{New Wave in cinema |state=collapsed}}
{{New Wave in cinema |state=collapsed}}

Revision as of 17:14, 2 August 2021

Hong Kong New Wave
File:Leslie Cheung kwok wing.jpg
New Wave screen legend Leslie Cheung
Years activelate 1970s to present
LocationHong Kong
InfluencesFrench New Wave
Influencedvirtually all subsequent cinema[1][2][3] such as South Korean New Wave,[4] American Independent cinema,[5][6] Hollywood,[7] and many others

The Hong Kong New Wave is a film movement in Chinese-language Hong Kong cinema that emerged in the late 1970s and has lasted dramatically into the present, changing the culture of cinema in the process.

Origins of the movement

Ann Hui was among the Hong Kong New Wave

The Hong Kong New Wave started in 1979 with the release of numerous notable films. During the 1980s, the Hong Kong film industry began to flourish. Film emerged as the most popular form of entertainment in Hong Kong, in part due to the fact that many Chinese households did not have a TV at the time.[8] Many of the New Wave directors had a Western-style education and were influenced by western filmmaking and culture.[9] The films of the Hong Kong New Wave were not stylistically homogenous, rather the term was used to mark the distinction of a new generation of filmmakers.[10] Films of the Hong Kong New Wave utilized new technology and techniques such as synchronous sound, new editing techniques, and filming movies on location.[11]

Characteristics and development

Producer and director Tsui Hark was part of the first wave and later helped produce films in the second wave of Hong Kong cinema.[12]

Although most cite the Hong Kong New Wave to have started in 1978[13] or 1979[14] with the release of numerous notable films, the recognition of the Hong Kong new wave actually began as early as 1976.[15] In an article issued that year, it was stated that a new wave of television directors would soon take over the Hong Kong cultural scene.[16] Before the mid to late 1970s, most of these young directors were still studying in film schools or were starting out as television directors.[17] During the 1980s, the Hong Kong film industry, which was already globally renowned for kung fu, began to flourish in all other genres. Film emerged as the most popular form of entertainment in Hong Kong, partly due to the fact that many Chinese households did not have television sets with cable at the time.[8]

Many of the New Wave directors had a European-style education and were influenced by European filmmaking and culture.[18] The films of the Hong Kong New Wave were not stylistically homogenous, however, and did not necessarily have to be influenced by foreign films. Instead the term was used to mark the distinction of a new generation of filmmakers from the traditional studio-based filmmakers, who mostly worked for the Shaw Brothers conglomerate.[10] The Hong Kong New Wave films were unique for its time and did not focus on drama, romance, or any particular genre. Instead, the movement varied from all sorts of themes and genres such as comedy, including mo lei tau, as well as drama, horror, romance, action, epics, and many others.[19] Films of the Hong Kong New Wave utilized trending technology and techniques such as synchronous sound, radical editing techniques, and improvised filming, ie., shooting on location with any available props.[11] Some of the clear similarities between the films were the frenetic energy and minimalist style that were inspired from older Hong Kong films as well as the decision to film outside the studio, which was unlike any preceding movement.[20] It was these factors that allowed the Hong Kong New Wave to succeed and bring Hong Kong cinema into the world stage. This also coincided with the rise in popularity of Chinese cinema in general, as fellow Mainland Chinese fifth generation and Taiwanese New Wave cinema were simultaneously booming since the early 1980s.[21] The Hong Kong New Wave is considered to have two distinct periods. The first period, also called the "Hong Kong New Wave" or alternatively called the "First Wave",[22] began in the late 1970s and lasted into the mid to late 1980s. The second period, called the "Second New Wave", is considered to have begun in 1984, after the New Wave began to gain attention from international audiences.[23] Directors of the Second New Wave include Stanley Kwan, Wong Kar-wai, Mabel Cheung, Alex Law, Fruit Chan, Peter Chan, and Tammy Cheung.[11]

History

First Wave

Actor Chow Yun-Fat starred in the first and latest new wave.

The Hong Kong New Wave is considered to have two distinct periods. The first period, also called the "Hong Kong New Wave" or alternatively called the "First Wave",[22] began in the late 1970s and lasted into the mid to late 1980s, with some dates being from 1979 to 1989.[22] At this point Hong Kong cinema developed a global audience beyond martial arts and wuxia films and started to transcend into critically acclaimed films for all other genres. The films of the new wave had no common genre, and all different types of genres were being explored, thereby creating a new identity for the region and the film industry. As the films varied in genre, it became clear that there was no single fixed definition on the zeitgeist of the New Wave, but the personalities of these directors and their simultaneous global success provided indication that the new wave was significant for the next generation of filmmakers around the world. Some of the earlier films that achieved global success were Ann Hui's drama on Vietnamese refugees called Boat People, as well as Tsui Hark's Peking Opera Blues and Zu Warriors from the Magic Mountain, which was a newfangled wuxia film that merged with the comedy genre and used innovative special effects.[24][25] Stars of this period moved on from their collaborations with older directors in the 1970s and became regular casting fixtures for the New Wave directors. Other stars emerged from this period working in tv shows and eventually become some of the early screen legends of the first wave. Some of these stars, such as Leslie Cheung were renowned for their reputations in other artistic fields such as in music and other performing arts.[26]

Second Wave

Real-life setting used in the film Chungking Express

The second period, called the "Second New Wave", is considered to have begun in 1984 and coincided with the first wave of seasoned directors, after which the New Wave established its position as the dominant film movement among international audiences.[27][28] Directors of the Second New Wave include Stanley Kwan, Wong Kar-wai, Mabel Cheung, Alex Law, Johnnie To, Jeffrey Lau, Fruit Chan, Peter Chan, and Tammy Cheung.[11] Some of the popular films during the early years of the second wave from the mid to late 1980s include Rouge,[29] A Better Tomorrow,[30] A Chinese Ghost Story[31] and Wong Kar-wai's debut film As Tears Go By[32].[33][34][35]

Many of the second wave directors also tended to use a familiar set of actors. In the case of Wong Kar-Wai, he frequently used Leslie Cheung and Maggie Cheung before shifting to Tony Leung in the mid-1990s and Zhang Ziyi in his film 2046. The director John Woo, who was originally one of the famous first wave directors, frequently employed Chow Yun Fat as well as Leslie Cheung in his films. Others such as Jeffrey Lau often had Stephen Chow as his lead actor before Chow would go on to direct and produce his own films as an auteur beginning the late 1990s.[36] It was also common for directors who were friends to help produce each other's films. As was the case for Jeffrey Lau and Wong Kar Wai, they both created Jet Tone films and worked to produce the classic wuxia Ashes of Time. Due to a record amount of financial resources spent on the film, Wong took over the project and Lau used his earnings from recent films, as well as make a parody of Ashes of Time instead to help provide Wong potential legal indemnity. This was accomplished while using the exact same actors doing a parody of their own characters from Ashes of Time, with both films released almost simultaneously.[36] Such scenarios were unique only to the Hong Kong New Wave scene, and the usage of such shared actors among directors gave opportunities for the reputations of these actors to grow and the movement to be centered around familiar names on screen.[37] It can be argued that as of the present, the Hong Kong new wave might still be in its second wave, as many of these filmmakers are still producing plenty of award-winning films, or that the film industry is going through a third wave yet to be denominated.[27][38]

Cultural influence

Beyond its impact on filmmakers, the Hong Kong New Wave also became very popular in music, fashion, and other aspects of popular culture. For a long time, many of the biggest names in acting were also very much the biggest names in Cantopop, with Leslie Cheung, Andy Lau, Anita Mui, and the other four heavenly kings were often chosen to star in films under the new wave directors and gain credentials in acting as well as in songwriting.[39] Even stars from China such as Faye Wong tried to enter the Cantonese music scene via her roles in some Hong Kong films such as Wong Kar-Wai's Chungking Express.[40][41]

Notable actors

Statue of Anita Mui
Stephen Chow promoting a film in 2008

Notable directors

Legendary director Wong Kar-wai
Hand prints of John Woo at the Avenue of Stars, Hong Kong

Notable films

Brigitte Lin at the Hong Kong International Film Festival
Cast of the Grandmaster featuring Tony Leung and Zhang Ziyi

References

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Further reading

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