[Marxism] On Kung Fu Hustle
hooverm at scc-fl.edu
Fri May 13 13:19:36 MDT 2005
>>> furuhashi.1 at osu.edu 05/12/05 7:18 PM >>>
According to Roger Ebert, "Miramax bought it, and shelved it for two
years, apparently so Harvey Weinstein could cut it by 30 minutes, get
rid of the English dubbing, restore the subtitles, and open it one
week after his own 'Kill Bill Vol. 2'"
23 Apr. 2004). :-0
HK action cinema has translated far better in the international
market than Bollywood (Bride and Prejudice, for instance, sucked).
Global production probably won't destroy HM cinema, as long as there
continues to be a strong local market for it in HK. Threats to
national cinemas, I think, are mainly imports, rather than exports or
transnational investments (e.g., there would be little to no African
cinema without French money), especially if imports are backed by
powerful distributors who can hog available screens.
at one point, miramax was going to release shaolin soccer in u.s. as
_kung fu soccer_, aarrgghh...
miramax essentially did same thing with _infernal affairs_, stylish
hitman flick directed by andrew lau (in contrast to actor and canto
popper andy lau) who made name with _young and dangerous_ 'triad boyz'
films in mid-90s, then shifted direction dramatically in helming _storm
riders_, state-of-the-art special effects, martial arts fantasy that
pushed post-production work in hk cinema to new standard...
_if_ became second highest box office film in hk behind shaolin soccer,
miramax kept it on shelf in u.s. for almost 2 years, then allowed it to
open in 5 theatres nationwide (well, actually, only in nyc), couldn't
have anything to do with fact that martin scorcese is making hollywood
version of film to be released next year (scorcese's film is
unofficially and somewhat jokingly being called 'gangs of hong kong'
hollywood films have already come to dominate hk screens that used to
show mostly hk films, whereas box office top ten was once comprised of 8
hk films and 2 hollywood, circumtance is now other way around most of
the time, with some south korean
films thrown in from time to time (btw: guy named anthony leong has
written book entitled _korean cinema: the new hong kong_)
transnationals, mostly - if not exclusively - u.s., are changing face of
hk cinematic political economy, new relations (deepening relations is,
perhaps, more accurate) portend transformation from 'national' cinema -
to extent that hk had a national cinema - to 'post-national' one, a
'global/world' cinema under hollywood hegemony (btw 2: koreans are
selling film rights to hollywood at rapid pace)... michael hoover
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