Hong Kong Women Filmmakers

Ann Hui’s Our Time Will Come abruptly pulled from Shanghai opening slot

Asia in Cinema

The Shanghai International Film Festival has abruptly replaced its opening film just one week before the start of its 20th edition (June 16-26).

Ann Hui’s Our Time Will Come (明月幾時有) was announced as the opening film during a splashy event held in Cannes on May 19th. The war drama was also announced as being included in the festival’s Golden Goblet competition.

On the 9th, the festival suddenly announced a new opening film – Bille August’s The ChineseWidow, starring Liu Yifei and Emile Hirsch – along with the rest of the Golden Goblet competition titles. Our Time Will Come is still part of the Golden Goblet competition, but it’s not known whether the film will have a public screening since the screening schedule has not been released to the public.

The previous announcement on the festival’s official website that included mention of Our Time Will Come

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Celebration of the Arts at HKU with The Shaw Foundation

Celebration of the Arts at HKU with The Shaw Foundation

The President and Vice-Chancellor, Professor Peter Mathieson, and Dean, Faculty of Arts, Professor Derek Collins have joined the celebration of the Arts at HKU with The Shaw Foundation on May 22, 2017.

This event is an opportunity for the Faculty to celebrate and express its thanks to The Shaw Foundation for its wonderful new home on the Centennial Campus – Run Run Shaw Tower. It will feature a special performance of Starry is the Night (dir. Ann Hui, 1988) written especially for this occasion by HKU composer Gordon Fung Dic-lun and performed by students from the Music Department’s Advanced Music Performance course.

Starry is the Night (dir. Ann Hui, 1988)

Starry is the Night (dir. Ann Hui, 1988)

Starry is the Night (dir. Ann Hui, 1988)

Starry is the Night (dir. Ann Hui, 1988)

Starry is the Night (dir. Ann Hui, 1988)

Starry is the Night (dir. Ann Hui, 1988)

Starry is the Night (dir. Ann Hui, 1988)

Starry is the Night (dir. Ann Hui, 1988)

For more details about Ann Hui, please visit >>here<<

2017 Oak Fellow: Jinyan Zeng (ColbyNow)

Source: https://www.colby.edu/now/announcements/2017-oak-fellow-jinyan-zeng/

2017 Oak Fellow: Jinyan Zeng

Jinyan Zeng, a Chinese filmmaker, blogger, activist, and scholar, is coming to Waterville in August as the 2017 Oak Human Rights Fellow. This is the first time in its nearly 20-year history that the Oak Institute for Human Rights has selected someone from the People’s Republic of China.

Oak and Colby are thrilled to host Ms. Zeng, who has a remarkable set of skills — academic intelligence, artistic creativity, and profound courage. Her presence on campus will allow us to learn more about the human rights situation in China and explore the power of documentary film to shake up the status quo.

Zeng has spent more than a decade and a half fighting for people with HIV-AIDS, women facing discrimination, factory workers suffering exploitation, a natural environment threatened by pollution, and political dissidents experiencing repression. This work sometimes upsets the Chinese party-state, which at different times has detained and surveilled her. Continue reading

MOOC: Melodramas of Migration: Mabel Cheung Yuen Ting’s An Autumn’s Tale

MOOC: Melodramas of Migration: Mabel Cheung Yuen Ting’s An Autumn’s Tale

Women directors may be in the minority in the Hong Kong film industry; however, they contribute enormously to the artistic quality and popular appeal of the territory’s cinema globally.  In the Massive Open Online Course (MOOC), Hong Kong Cinema Through a Global Lens, Dr. Stacilee Ford looks at Mabel Cheung’s An Autumn’s Tale from a feminist perspective.  Drawing on her monograph published by Hong Kong University Press, Dr. Ford examines the “intersectional” nature of gender, race, and immigration in this classic film starring Cherie Chung and Chow Yun-fat.

To sign up for the MOOC, go to  https://www.edx.org/course/hong-kong-cinema-through-global-lens-hkux-hku06-1x  It takes less than five minutes to register; it’s free; and, each person enrolled helps us show worldwide interest in Hong Kong film as a topic.  The unit on An Autumn’s Tale opens online on Tuesday, February 21, 2017.

For more information on Hong Kong women filmmakers, visit Hong Kong Women Filmmakers since 1997, https://hkwomenfilmmakers.wordpress.com/

If you have any questions about the MOOC, fee free to contact us at mwwf@hku.hk.


How to Film a Rape Scene

Source: https://broadly.vice.com/en_us/article/how-to-film-a-rape-scene-last-tango-in-paris-bertolucci

How to Film a Rape Scene

by Emalie Marthe DEC 8 2016 6:32 PM

Following outcry over a nonconsensually filmed rape scene in “Last Tango in Paris,” directors and actors discuss the film industry’s failures when it comes to depicting sexual assault—and what women can do to change that.

What are the duties of directors towards their actors when they film rape scenes? The question has become a matter of national discussion following the intense media scrutiny of a newly resurfaced 2013 interview in which famed director Bernardo Bertolucci admitted to filming a real non-consensual sexual act for his 1972 film, Last Tango in Paris.

The scene, in which superstar Marlon Brando uses butter as a lubricant before raping actress Maria Schneider, was already infamous, but Bertolucci provided new details in the clip, admitting that Schneider was not aware beforehand of the details of what would happen to her in the scene. “I’d been in a way horrible to Maria because I didn’t tell her what was going on,” Bertolucci said. “Because I wanted her reaction as a girl, not as an actress… I wanted her to react humiliated. I think she hated me and also Marlon because we didn’t tell her.” Bertolucci added, “To obtain something I think you have to be completely free. I didn’t want Maria to act her humiliation her rage, I wanted her to Maria to feel, not to act, the rage and humiliation. Then she hated me for all of her life.”

While Bertolucci’s admission garnered intense outcry, the information had actually been readily available to the media for years. In 2007, Schneider told the Daily Mail that the scene wasn’t in the actual script and that Brando had come up with the idea. “They only told me about it before we had to film the scene and I was so angry. I should have called my agent or had my lawyer come to the set because you can’t force someone to do something that isn’t in the script, but at the time, I didn’t know that,” she said. “Marlon said to me, ‘Maria, don’t worry, it’s just a movie,’ but during the scene, even though what Marlon was doing wasn’t real, I was crying real tears… I felt humiliated and, to be honest, I felt a little raped, both by Marlon and by Bertolucci. After the scene, Marlon didn’t console me or apologize. Thankfully, there was just one take.” Schneider, who was 19 at the time of filming, died in 2011 at the age of 58, after a lifetime of drug abuse, depression, and suicide attempts.

Bertolucci has now backtracked on his comments, saying in a statement, “I specified, but perhaps I was not clear, that I decided with Marlon Brando not to inform Maria that we would have used butter. We wanted her spontaneous reaction to that improper use [of the butter]. That is where the misunderstanding lies. Somebody thought, and thinks, that Maria had not been informed about the violence on her. That is false!… Maria knew everything because she had read the script, where it was all described. The only novelty was the idea of the butter.” Bertolucci isn’t the only person defending his actions; both his cinematographer and Marlon Brando’s sonhave both denied the allegations, chalking them up to a misunderstanding with the press.

Hollywood has had a long and complicated relationship with rape scenes. Patricia White, a Professor of Film and Media studies at Swarthmore College, told Broadly that initial censorship guidelines kept rape from even being discussed, let alone portrayed, in film. “In classical Hollywood films, before the ratings system was introduced at the end of the 1960s, the Production Code stated that ‘seduction or rape… should never be more than suggested,’ pretty much sidestepping the question of consent,” she explained. “How could a viewer tell whether it was rape or consensual sex that was being ‘suggested’?”

As guidelines loosened and filmmakers were offered more freedom, films that crossed and ignored boundaries like Last Tango began to be made. “European art cinema has long been associated with more explicit sexual representation than Hollywood, and Last Tango took it to a new level,” said White, “It was hailed as a masterpiece—as if calling the male director a genius somehow made the representation of violence against women tasteful.”

When asked if instances of rape and sexual assault in film and television have increased since Last Tango’s release, White responded, “I’m doubtful there’s any increase in representations of rape. It is a constant. It is easy to use rape a metaphor or catalyst to get at something else. What is more visible is activism around sexual assault, and around underrepresentation of women and people of color who might bring new perspectives to how it is lived and depicted.”

This is very apparent in Hollywood’s response to the revelations: Actors and directors have publicly expressed their disgust and condemnation over the past week. Selma director Ava DuVernay tweeted an Elle article about the scene, adding, “Inexcusable. As a director, I can barely fathom this. As a woman, I am horrified, disgusted and enraged by it.” Actress Zelda Williams tweeted about Bertolucci, “You’re a director and want to film real pain? Real terror? Real shame? Do documentaries. Don’t put your actors thru surprise hell without consent.” Chris Evans of Captain America fame wrote that he would never look at Bertolucci or Brando the same way, adding, “This is disgusting. I feel rage.”

In an interview with People, actress Jessica Chastain said, “I think we need to reexamine how we look at that film,” adding, “Perhaps it needs to be defined as something else and not an excellent piece of film making because it’s a situation where a woman was victimized and then it was recorded, and she was 19 and he was 48.”

Many women in the industry feel that Bertolucci’s comments highlight the immense significance of respecting and listening to women on set, especially when it comes to on-camera sexual violence. “Directors have a special responsibility to protect their actors, physically and emotionally. This is particularly vital when filming scenes depicting sexual assault,” Film Fatales, a network of female filmmakers, told Broadly in a statement. “Bertolucci’s actions on the set of Last Tango In Paris were deplorable and show how deeply ingrained rape culture has been in Hollywood for a long time.”

Tamra Davis, who has directed movies like Crossroads and Half-Baked as well as shows like Grey’s Anatomy and Crazy Ex-Girlfriend, told Broadly that healthy boundaries and good communication are vital when filming sex scenes, regardless of whether they are portrayed as consensual or non-consensual. “I think it’s really important that that a director is somebody that is there that the actor is comfortable with, that no matter what happens that they are there for them, to be their voice to and to take care of them.”

Davis says that when actors and directors film difficult sex or rape scenes, “I always have a private meeting with the actors so that we really talk about what’s going to happen, how they feel comfortable… I want to make sure that if they have concerns, they have someone there who they can voice them too, and somebody there who can protect them.” Davis says that as a female director, sometimes she is hired for this express purpose. “Being a woman, I know that people have hired me specifically for that. I know that I worked on Crossroads“—which did not feature a rape scene but featured a scene of Spears’ character losing her virginity—”because they wanted to make sure that Britney wasn’t vulnerable to a man on that movie.”

Davis says that actors make sure they read all scripts in advance so that they can discuss difficult scenes before filming; voicing objections in the moment makes the situation much more difficult. “I just did a sex scene with an actor and actress; the actor was like, ‘I’ll be naked, I don’t care!'” she recalled. “She was like, ‘I want to have padding on, tucked in. I don’t want to have my legs open and feel his private parts dangling between my legs. That’s not cool with me.’ At first she was totally freaked out and wouldn’t do the scene, until I spoke with her and understood that that was the problem. It was handled in a very professional way, and she had every right to request that.”

She added that even after these discussions, a director has ultimate power to step in if actors feel uncomfortable or unsafe in upsetting scenes. “If some man is being violent, I can always yell ‘Cut!’ You don’t always have that power in the real world.”

‘Aren’t We There Yet?’ (Medium@devt)

Source: https://medium.com/women-s-film-activists/arent-we-there-yet-46bd0ae7bc88#.fl7ifehww

‘Aren’t We There Yet?’

by Kate Kaminski

I’m delighted to share Kate’s illuminating article, because film festival selection is a global issue for #womeninfilm, even here in New Zealand at the New Zealand International Film Festival. Many thanks, Kate!

And thanks too, for Catherine’s photo and Reggie’s concept photos, developed for Kate’s celebrated Bluestocking Film Series (Bstkg)

As the founder and artistic director of the Bluestocking Film Series, this IndieWire headline caught my attention immediately: ‘Women Directors Are Everywhere, But Film Festivals Are Still Catching Up — NYFF’.

Now in its 7th season, Bluestocking Film Series’ mission is to celebrate and amplify women’s voices and stories, and is part of a long tradition of women-centered festivals, so I immediately wondered which film festivals the article was referring to. Continue reading

Call for Applications: Arts Fellowship; Apply by 9/18

Apply to the Yale-China Arts Fellowship!

The Yale-China Association is pleased to announce a call for applications for a six-month arts fellowship from January to June 2017 in New Haven, Connecticut.

Yale-China invites Hong Kong artists of any discipline to apply for this fellowship, which includes a funded six-month residency in New Haven, Connecticut. Learn more about eligibility and the application process at yalechina.org/artsfellowship.

The deadline to apply is Sunday, September 18, 2016.

Got questions? Visit the 2016-2017 Virtual Information Session.

The 2016-2017 HKETO-NY Arts Fellows are supported by the Hong Kong Economic & Trade Office, International Festival of Arts & Ideas, Yale University, and Yale-China Association.

Yale-China Association
442 Temple Street
Box 208223
New Haven, CT 06520-8223

National Film Board of Canada Commits 50% of Production Budget to Films by Women (Variety)

Source: http://variety.com/2016/film/news/national-film-board-of-canada-commits-50-of-production-budget-to-films-by-women-1201725856/

National Film Board of Canada Commits 50% of Production Budget to Films by Women

Alyssa Sage

The National Film Board of Canada (NFB) will now allot half of its production spending to female-directed films, government film commissioner Claude Joli-Coeur announced Tuesday, International Women’s Day, at the Vancouver International Women in Film Festival.

“Today, I’m making a firm, ongoing commitment to full gender parity, which I hope will help to lead the way for the industry as a whole,” said Joli-Coeur, who’s also a NFB chairperson. Continue reading