- Tom Cunliffe
- Email address:
- Thesis title:
- Lung Kong and Hong Kong Film History 1966-1979
I will study the films directed by Lung Kong (1934-2014) as a means to rethink the industrial conditions, stylistic traits, political concerns, and reception of Hong Kong Cantonese cinema in the transitional period (1966 – 1979) between the classical period of Hong Kong Cantonese cinema (1949-1962) and the New Wave (1976/7-1982). My project will demonstrate how Hong Kong cinema in this overlooked historical period can be redefined as an autonomous public sphere that actively negotiates contesting social, political, and cultural values between the regional, national, and the global.
“Lung Kong’s Yesterday, Today, Tomorrow: The 1967 Riots and the Politics of Cultural Production in the Hong Kong Film Industry.” Screen (2020) (forthcoming)
“Money Makes the World Go Round: Trivisa.” Hong Kong Academy for Performing Arts Film and TV Journal Vol. 2 (2019) (forthcoming)
“The Grandmaster: Socio-Political Plurality in Contemporary Hong Kong.” Framework 59.2 (Fall 2018), 101-120
Book Reviews and Short Essays
“Hong Kong Film History: Retrospectives, Archives and Films.” Hong Kong Studies Vol 1, No.2 (Fall 2018), 171-178.
Hong Kong Neo Noir, Asian Cinema Vol. 28 No.2 (2017), 243-248.
Chinese to English
“The Prometheus and his Film Practice Along the Way: Interview with Hou Hsiao-hsien on the Formation of his Personal Style and Other Subjects” by Chen Peiguang, Chen Jiuhui, Meng Shangyong, Zhuang Huimin (from Imagekeeper Monthly, aka Yingxiang [Taiwan] No. 1, November 20, 1989), Nang 5 (October 2018), 37-49. (Co-translated with Timmy Chih-Ting Chen).
“Allusions to the 1967 Riots in Lung Kong’s Yesterday, Today, Tomorrow (1970): Reality and Imagination Entwine,” Backreading Hong Kong: An Annual Symposium, Hong Kong Baptist University, Hong Kong. 5 May 2018.
“The Relationship between “Auteurism” and Genre in the Commercial Film Industries of Hong Kong and Taiwan in the 1960s – 1970s: The Case of King Hu,” The Third International Conference on the Film Histories of Taiwan and Asia: The Exchange (of Personnel) between Taiwan and Hong Kong Cinemas between 1950s and 1970s, Taipei National University of the Arts, Taipei, Taiwan. 6-8 October 2017.
“Mandarin vs Cantonese in 1970s Hong Kong Cinema: Auditory Ruptures in Kuei Chih-hung’s Early Shaw Brothers Films,” The Poetics of Asian Cinemas: 12th ACSS Conference, Lancaster University, UK, 10-12 July 2017.