1,720,995 research outputs found
The Cinema of Stephen Chow
No full textAn in-depth exploration of the stardom and authorship of Stephen Chow Sing-chi, one of Hong Kong cinema's most enduringly popular stars and among its most commercially successful directors. In the West, Stephen Chow is renowned as the ground-breaking director and star of global blockbusters such as Kung Fu Hustle (2004) and Shaolin Soccer (2001). Among Hong Kong audiences, Chow is celebrated as the leading purveyor of local comedy, popularising the so-called mo-lei-tau (“gibberish”) brand of Cantonese vernacular humour, and cultivating a style of madcap comedy that often masks a trenchant social commentary. This volume approaches Chow from a diverse range of critical perspectives. Each of the essays, written by a host of renowned international scholars, offers compelling new interpretations of familiar hits such as From Beijing with Love (1994) and Journey to the West (2013). The detailed case studies of seminal local and global movies provide overdue critical attention to Chow's filmmaking, highlighting the aesthetic power, economic significance, and cultural impact of his films in both domestic and global markets
Hong Kong comedy : Stephen Chow and Kung Fu movies
No full textStephen Chow is arguably the most important and distinctive actor and director of the 1990s and 2000s cinema of Hong Kong comedy, with an indigenous moleitau style, mass local audiences and also international acclaim. Whereas the belated success of A Chinese Odyssey (1995) in China makes him widely recognized as a cultural icon with a personal myth holding sway in a bigger China film culture, he is better known, probably, to the first time transnational audience as the actor and director of the worldwide hit Shaolin Soccer (2001). Kung Fu Hustle (2004) is another box-office success of his. After a local moleitau craze in the 1990s in particular, the 2000s transnational trajectory emphasizes physical humor and spatial relationships calling into question the notion of space for Hong Kong discourse and politics. Hong Kong comedy is foregrounded on a cultural plane by Stephen Chow. This is a culturally and historically based analysis of a comic cinema, farcically inept and having an obvious vulgarity in the comedy movies but conversely discerned to be of abundant cultural significance by both critics and audience. A study of the comic work encounters issues of style, tradition, mainstream, and pop culture. Ludicrous cinema challenges viewers to rethink the nonsensicality of nonsense, superficial plausibility of pop culture, and cultural specificity in the age of modernity.</p
Analisis Unsur-Unsur Kebudayaan Tiongkok Dalam Film 功夫 Gōngfū Kung Fu Hustle Karya Stephen Chow
No full textPenelitian yang berjudul "Analisis Unsur-unsur Kebudayaan Tiongkok Dalam Film 功夫 Gōngfū Kung Fu Hustle Karya Stephen Chow" ini bertujuan untuk mendeskripsikan unsur-unsur kebudayaan yang terkandung dalam film 功夫 Gōngfū Kung Fu Hustle Karya Stephen Chow. Film ini bercerita tentang beberapa pahlawan Kungfu yang berusaha melawan anggota geng kapak merah untuk melindungi penghuni rusun pig sty alley. Penelitian film ini menggunakan teori Clyde Kluckhon. Metode penelitian yang digunakan adalah deskriptif kualitatif. Pada hasil dari analisis ini ditemukan data dengan total 22 data unsur-unsur kebudayaan yang terbagi pada 7 sistem, yaitu 3 sistem pengetahuan, 1 sistem bahasa, 1 sistem organisasi sosial, 7 peralatan hidup dan teknologi, 2 sistem ekonomi dan mata pencaharian hidup, 3 sistem kepercayaan, dan 6 sistem kesenian
Analisis Semiotika Pesan Moral Dalam Film功夫 Gōngfū Kungfu Hustle Karya Stephen Chow
No full textFilm dapat digunakan sebagai sarana penyampaian pesan-pesan tertentu dibalik pemikiran yang ada sehingga masyarakat bisa melihat dan menyaring pesan yang disampaikan, salah satunya pesan moral yang dibahas dalam penelitian ini. Tujuan dari penelitian adalah untuk mendeskripsikan pesan moral yang terkandung dalam film功夫 Gōngfū Kungfu Hustle karya Stephen Chow menurut teori Semiotika Roland Barthes. Penelitian ini menggunakan metode penelitian deskriptif kualitatif. Ditemukan sebanyak 27 data semiotika yang menggambarkan 3 pesan moral , yaitu : Hubungan manusia dengan Tuhan, Hubungan manusia dengan diri sendiri, dan Hubungan manusia dengan manusia lainnya atau lingkungan sosial
Analisis Struktural Film Journey To The West: Conquering The Demons/ 西遊•降魔篇 XῙyóu Jiàngmó Piān Karya Sutradara Stephen Chow
No full textStruktural dalam sastra merupakan sebuah teori pendekatan terhadap teksteks sastra yang menekankan keseluruhan relasi antara berbagai unsur teks.
Sebuah unsur teks sastra terdiri atas komponen-komponen seperti
penokohan (perwatakan), latar, dan tema. Untuk dapat memahami makna suatu
karya sastra, maka perlu dilakukan analisis struktural. Penelitian ini
mengkaji analisis struktural dalam film bahasa mandarin berjudul Journey to the
West: Conquering the Demons/西遊·降魔篇 xīyóu jiàngmó piān Karya
Stephen Chow. Penelitian ini menggunakan metode deskriptif kualitatif dengan
tujuan untuk meneliti wujud unsur-unsur intrinsik dalam film Journey to the
West: Conquering the Demons/西遊·降魔篇 xīyóu jiàngmó piān Karya
Stephen Chow. Hasil temuan penelitian ini menunjukkan bahwa terdapat 28
data yang terdiri atas 13 data penokohan, 14 data latar, dan 1 data tema
PENGGUNAAN KATA MAKIAN DALAM FILM KUNGFU HUSTLE 《功夫》 KARYA STEPHEN CHOW DAN MR. SIX 《老炮儿》KARYA GUAN HU《管虎》
Full text linkAbstrak Penelitian ini mengkaji jenis kata makian, fungsi kata makian dan motif penggunaan kata makian yang digunakan oleh tokoh dalam film Kungfu Hustle 《功夫》(2004) karya Stephen Chow dan Mr. Six 《老炮儿》(2015) karya Guan Hu 《管虎》. Tujuan dari penelitian ini adalah untuk mengidentifikasi dan mengklasifikasikan jenis kata makian dan untuk menganalisis fungsi dan motif makian yang berlandaskan pada teori Liao De Ming《廖德明》(2009) dan Wijana (2004), Shi Wei《石翀》dan Luo Xiao Nan《罗晓南》(2009) serta Andersson (1985). Penelitian ini menggunakan metode analisis deskriptif kualitatif dengan teknik simak bebas libat cakap. Sumber data penelitian ini film Kungfu Hustle 《功夫》karya Stephen Chow dan film Mr.Six《老炮儿》karya Guan Hu《管虎》. Data penelitian ini berupa tuturan kata makian yang digunakan oleh tokoh dalam film Kungfu Hustle 《功夫》karya Stephen Chow dan film Mr.Six《老炮儿》karya Guan Hu《管虎》.Hasil penelitian menunjukkan data penelitian sebanyak 64 tuturan yang mengandung makian. Temuan menunjukkan bahwa (1) jenis makian dalam film Kungfu Hustle 《功夫》dan Mr. Six 《老炮儿》terdiri atas sembilan jenis yaitu organ seksual, istilah keluarga, istilah hewan, istilah kotoran, istilah agama, bentuk tubuh, aktivitas seksual, keadaan dan julukan (2) fungsi makian ditemukan sebanyak empat macam yaitu fungsi mengekspresikan emosi, sikap, peringatan dan sosial (3) motif makian ditemukan sebanyak tiga macam yaitu motif psikologi, linguistik dan sosial. Kata Kunci: kata makian, jenis, fungsi, motif Abstract This research was conducted to investigate the types of swearing words, function and motive of those swearing words employed by the characters in the film entilted Kung Fu Hustle 《功夫》 (2004) by Stephen Chow and Mr. Six 《老 炮 儿》 (2015) by Guan Hu 《管 虎》. The purpose of this study is to identify and classify types of swear words and to analyze the functions and motives of swear words based on Liao De Mings《廖德明》(2009) and Wijana’s (2004) theory, Shi Wei 《石 翀》 and Luo Xiao Nan 《罗晓南》(2009) and Andersson (1985). This research is a descriptive qualitative analysis method with uninvolved conversation observation technique and writing technique. The sources of the data is obtained from the dialogue script of the movie. This data are taken from utterances containing swear words employed by the characters in the Kung Fu Hustle《功夫》 movie by Stephen Chow and Mr.Six《老 炮 儿》 movie by Guan Hu 《管 虎》. There are 64 dialogoues containing swear words. The findings show that (1) types of swear words in the film entitled Kung Fu Hustle《功夫》 and Mr. Six 《老 炮 儿》consists of nine types that is sexual organs, family, animal, dirty things, religion, body shape, sexual activities, conditions and ephitet; (2) functions of swear words there are four types that is express emotions, attitudes, warnings and social; (3) motives of swear word are found in three types, that is psychological, linguistic and social motives. Keywords: swear words, types, functions, motive
From "a-xing" to "stephen chow" : the king of comedy and globalization
No full text碩士2004年周星馳自導自演，由美國好萊塢支持的電影《功夫》在香港和世界各地獲得巨大成功，周星馳也因此從充滿在地特色的演員成為全球知名的功夫喜劇大師。周星馳的改變，是全球化時代文化與經濟變遷過程的縮影。本文企圖透過對周星馳前、後期電影的比較文本分析，從其電影中的武功元素、無厘頭喜劇特徵，以及電影與在地社會之間的連結等三個面向切入，瞭解周星馳的電影發生了什麼變化？又延續了什麼？而這些變與不變又有什麼樣的文化意涵？
研究發現，為了迎合全球通俗電影市場，周星馳的功夫電影雖然保留武俠電影的基本元素，但明顯地依賴將武功招式具體化的電腦特效；在著名的無厘頭喜劇元素方面，大量減少了揉雜語言特色的對白，增加以視覺元素為主的笑料；他的近期作品也很少觸及香港社會的具體樣貌，而轉向一個比較模糊的時空。周星馳與他的無厘頭電影，確實因全球電影市場的考量而有所調整。這個過程顯然並非是隨心所欲的才華發揮，也不是自由平等的交流互惠，其間充滿著權力的鬥爭與妥協。In 2004, “Kung Fu Hustle”, a kung-fu film financed by Hollywood major Columbia and directed by Hong Kong comedian Stephen Chow, hit Hong Kong and overseas market remarkablely. He also played the main role in the film. Therefore, Stephen Chow changed himself from a locally characterized actor to the celebrated king of kung-fu comedy master in global arena. The shift of Stephen Chow is an epitome of the transformations of culture and economy in the global era. The research takes a comparative analysis of Chow’s latest work that is oriented to the global market and his previous work. By examining three aspects, the elements of martial arts, the features of nonsense comedy, and the nexus between the films and Hong Kong society, of the sample films, the research aims to depict the changes and continuities of Chow’s works and its cultural significance.
The research concludes that in order to cater to the global popular film market, despite maintaining the core features of ‘traditional’ Chinese kung-fu films, Stephen Chow’s latest kung-fu films rely much more on computer special effects in presenting martial art actions. In the features of nonsense comedy, the local-language dialogue of the drama have to be deferred and there are more visual humor. In addition, the stories of his recent films do not closely connect with Hong Kong society but are set in a more vague time and space background. Stephen Chow and his nonsense comedy films, in order to satisfy both the West and East markets simultaneously, have changed substantially. Chow sacrificed his own inclinations and the ‘local’ cultures have to be transformed and adjusted in some way. There are power struggles and compromises in the process.從「阿星」到「Stephen Chow」—全球化下的喜劇之王
關鍵字：全球化、文化全球化、無厘頭喜劇電影、周星馳
目次
第一章 緒論 1
第一節 序言 1
第二節 從阿星到Stephen Chow 3
第三節 文化全球化與電影全球化 8
第四節 電影全球化：全球電影市場體系下的華語電影 11
第五節 香港電影業的在地化與全球化的狀況 19
第六節 研究取徑與研究架構 24
第二章 周星馳『功夫』題材電影之文本分析 29
第一節 功夫電影的傳統與變遷 31
第二節 個案電影劇情簡介 40
第三節 個案電影文本分析 42
第四節 綜合討論 65
第三章 周星馳電影無厘頭喜劇表現手法的轉變與沿襲 70
第一節 喜劇電影的傳統與變遷 72
第二節 周星馳無厘頭喜劇電影特色 76
第三節 個案電影劇情簡 80
第四節 個案電影文本分析 82
第四章 周星馳電影與香港社 108
第一節 電影與社會的關係 111
第二節 近代香港社會發展簡史 113
第三節 個案電 118
第四節 個案電影文本分析 120
第五章 結論 138
第一節 主要研究結論 138
第二節 全面性的觀點 143
第三節 研究限制與建議 152
參考書目 153
附錄 163
圖表目錄
一、 表目錄
表2.1 個案電影劇情簡介 40
表3.1 個案電影劇情簡介 80
表4.1 個案電影劇情簡介 118
二、 圖目錄
圖2.1 電角神拳 42
圖2.2 華山猛男刀 42
圖2.3 內功熬煮佛跳牆 43
圖2.4 火雲掌煎蛋 43
圖2.5 屠龍斬43
圖2.6 倚天切 43
圖2.7 《少林足球》中的武功特效 44
圖2.8 《少林足球》中的電腦特效 44
圖2.9 《功夫》如來神掌46
圖2.10 獅吼功 46
圖2.11 黯然銷魂手46
圖2.12 阿梅運用太極拳做甜在心饅頭46
圖2.13 包租公的太極拳46
圖2.14 蛤蟆功 47
圖2.15 古琴音波 47
圖2.16 模仿駭客任務大戰史密斯機器人 48
圖2.17 模仿史密斯機器人被打後的狀態 48
圖2.18 洪家鐵線拳 48
圖2.19 十二路潭腿 48
圖2.20 五郎八卦棍 48
圖2.21 折凳 50
圖2.22 《食神》中少林寺十八銅人 51
圖2.23 玩撲克牌 51
圖2.24 少林功夫歌舞表演 51
圖2.25 具體的拳風 52
圖2.26 有形的戰士翦影 52
圖2.27 日本人來踢館 55
圖2.28 阿晶站出來 56
圖2.29 楊師傅 58
圖2.30 水晶膠與雙氧水作成的心字 58
圖3.1 祝枝山潑滿墨汁的身體 85
圖3.2 雜技動作 85
圖3.3 成品 85
圖3.4 江南四大才子：文徵明、祝枝山、唐伯虎、周文斌 86
圖3.5 如花 86
圖3.6 西部牛仔硬漢 86
圖3.7 大量如海浪般血水 86
圖3.8 亂世佳人式的搶劫 86
圖3.9 魔戒中恐怖的雲渦 87
圖3.10 卡通式追逐戰 87
圖3.11 阿星拳打斧頭幫幫眾 87
圖3.12 包租婆、包租公 87
圖3.13 神鵰俠侶小龍女、楊過 87
圖3.14 火雲邪神 87
圖3.15 印度阿三 89
圖3.16 黑山老妖 89
圖3.17 法老王 89
圖3.18 孫悟空 90
圖3.19 水濂洞與遊客 90
圖3.20 轉世的菩提 90
圖3.21 賣蔥的大嬸 92
圖3.22 一拳打向阿星 92
圖3.23 打到吐血的阿星 92
圖3.24 看似矮子 93
圖3.25 其實是高個子 93
圖3.26 看似瘦弱的老伯 93
圖3.27 其實是身材健壯的老伯 93
圖3.28 看似好欺負的小孩 94
圖3.29 其實是身材健壯的小孩 94
圖3.30 不正常人類研究中心 94
圖3.31 軍隊 94
圖3.32 坦克車 94
圖3.33 阿星請達叔將麵包丟掉 95
圖3.34 達叔把麵包吃掉 95
圖3.35 達叔裝帕金遜病 95
圖3.36 達叔在教職員辦公室揍周星星 96
圖3.37 達叔拿起手邊椅子砸向阿星 96
圖3.38 達叔滿身傷 96
圖3.39 旺財 98
圖3.40 小強 98
圖3.41 腦袋開花 98
圖3.42 美容院老闆娘 99
圖3.43 改造後的阿梅 99
圖3.44 露屁股的剃頭師傅 100
圖3.45 暴牙珍 100
圖3.46 胖子跟班阿骨 100
圖3.47 課堂上 100
圖3.48 集體坐牢的囚犯 100
圖3.49 挑選毛筆 101
圖3.50 用來沾醬油的毛筆 101
圖3.51 替雞翅沾上醬油 101
圖3.52 華夫人介紹毒藥藥性 102
圖3.53 唐伯虎介紹毒藥藥性 102
圖3.54 二人對鏡頭作廣告 102
圖3.55 周星星質問達叔 103
圖3.56 達叔辯解 103
圖3.57 周星星親達叔 103
圖3.58 對穿腸 103
圖3.59 化名華安的唐伯虎 103
圖3.60 華安與對穿腸作勢接吻 103
圖3.61 唐伯虎唱黃梅調 104
圖3.62 寧王人馬 104
圖3.63 眾人突然唱起黃梅調 104
圖3.64 阿梅用太極功夫做饅頭 105
圖3.65 阿星突然對她唱起歌 105
圖3.66 邊唱邊走向阿梅 105
圖3.67 醬爆 105
圖3.68 豬肉佬 105
圖3.69 眾人跳群舞 105
圖4.1 九龍車站 120
圖4.2 第一次使用飲料販賣機的阿星 120
圖4.3 翠園大廈二期 121
圖4.4 阿星初次見到大樓對講機 121
圖4.5 被阿星怪異舉動嚇到的老太太 121
圖4.6 亂丟垃圾的阿星 121
圖4.7 人民解放軍瀋陽軍基地 122
圖4.8 深圳市場 122
圖4.9 拍檔達聞西 122
圖4.10 麗晶大賓館 123
圖4.11 三角公園 123
圖4.12 西武百貨 123
圖4.13 力寶中心 123
圖4.14 廟街 123
圖4.15 小巷弄 124
圖4.16 珠海大球場 124
圖4.17 豬籠城寨七十二家房客式建築 125
圖4.18 賭館附近街景 125
圖4.19 二師兄抱怨不如意之事 133
圖4.20 二師兄抱怨自己為何不是李嘉誠的兒子 133
圖4.21 片尾阿星與阿梅登上《Time》封面 134學號: 693080268, 學年度: 9
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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