Hong Kong Women Filmmakers

Hui, Ann

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Hui, Ann – Critical Biography  Top

Ann Hui

Ann Hui

A key player of the Hong Kong New Wave, Ann Hui has shown great resilience in the course of a sustained and prolific filmmaking career, managing to survive within a tough commercial industry environment while essaying a variety of genres and often returning to the portrayal of ordinary lives and everyday dilemmas within the context of an ever-changing Hong Kong.

Pre-1997 work

Ann Hui studied English and Comparative Literature at the University of Hong Kong before receiving her film education abroad at the London Film School. Hui worked briefly as an assistant to the director King Hu before she started making television films for Radio Television Hong Kong (RTHK) and Television Broadcasts Limited (TVB). Hui’s socially engaged television work was acclaimed, and she made her feature film debut with The Secret (1979). Along with The Spooky Bunch (1980), Hui’s early films showcased her ability to explore questions regarding Hong Kong’s ever-changing cultural identity while satisfying the demands of commercial genre filmmaking.

Boat People (1982)

Boat People (1982)

Hui’s interest in the plight of Vietnamese refugees led her to make the films Boat People (1981), set in Saigon under communist rule, and The Story of Woo Viet (1981), a story about Vietnamese refugees in Hong Kong. Hui, however, quickly departed from the gritty realism of her Vietnam films for two sumptuous literary adaptations: Love in a Fallen City (1984), a Shaw Brothers production based on Eileen Chang’s novella, and a two-part adaptation of Jin Yong (Louis Cha)’s martial-arts epic, The Book and the Sword (The Romance of Book and Sword, 1986 & Princess Fragrance, 1987). She turned to the subject of political activism in Starry is the Night (1988) before making one of her most acclaimed films, the autobiographical Song of the Exile (1990), a work that dealt with Hui’s mixed parentage (Hui was born in Manchuria to a Chinese father and a Japanese mother) against the background of the Second World War and 1970s Hong Kong.

After working on an unsuccessful action vehicle for Andy Lau (Zodiac Killers, 1991) and a cross-cultural comedy set in China (My American Grandson, 1990), Hui turned her attention to daily life in contemporary Hong Kong, with two affectionate portraits of women confronted with everyday dilemmas, featuring respectively the veteran actress Josephine Siao (Summer Snow, 1995) and action star Michelle Yeoh (Ah Kam, 1996).

From 1997 to the Present

On the surface, Hui’s post-1997 output consists of an eclectic mix of works belonging to wildly different genres (essay film, horror-comedy, period adaptation, realist drama, etc.) that testify once again to the director’s continued balancing act between commercial assignments and personal projects within an increasingly challenging industry environment. Closer examination, however, reveals that Hui has maintained her interest in chronicling the lives of the ordinary within the societal context of a changing Hong Kong as well as that of a mainland China now undergoing vast processes of transformation.

In 1997, the year of the Handover, Hui directed both a lavish, Shanghai-set adaptation of Eileen Chang’s novel Eighteen Springs (1997) – featuring an all-star cast led by Leon Lai and Anita Mui – as well as a low-budget DV documentary (As Time Goes By, 1997) about growing up in colonial Hong Kong that includes numerous reminiscences about her college days as a student at the University of Hong Kong. Two films that Hui made shortly afterwards seem to echo or correspond to earlier works by the director. Ordinary Heroes (1999), a drama about social and political activism in Hong Kong, revisits or reconsiders themes and motifs first explored in Starry Is the Night (1988), while July Rhapsody (2002) – the portrait of a high school teacher who undergoes a form of mid-life crisis when a student has a crush on him – seems to posit itself as a companion piece to Summer Snow (1995), Hui’s earlier account of a middle-aged woman coping with a variety of issues in her life.

Aside from a genre assignment she accepted largely for commercial reasons (Visible Secret, 2001), Hui went on to make two films set in contemporary China: Jade Goddess of Mercy (2003), a police drama based on popular fiction starring Zhao Wei that was not well-received, and The Postmodern Life of My Aunt (2006), a highly anticipated comedy-drama about the confusion of values in today’s PRC that invites comparison with My American Grandson (1990), Hui’s Shanghai-set comedy made over a decade before. The film’s high-profile star casting of Siqin Gaowa and Chow Yun-Fat generated much buzz, but Hui refused to be pinned down and chose to steer clear of comedy and star power for her subsequent feature.

The Way We Are (2008)

The Way We Are (2008)

For The Way We Are (2008), Hui turned to digital filmmaking and was able to realize a low-budget, personal project valorizing everyday life in the low-income residential area of Tin Shui Wai. Well-received by local critics, it led to a dark and harrowing follow-up film (starring Simon Yam and Zhang Jingchu) based on a real-life case of domestic violence and murder that took place in the same neighborhood (Night and Fog, 2009). Hui’s Tin Shui Wai diptych attracted great publicity and controversy, and for a time, the veteran New Waver found herself once again at the center of critical discussions regarding the future of Hong Kong cinema.

A Simple Life (2011)

A Simple Life (2011)

Hui, however, quickly changed directions, and made a comedy featuring lesbian characters within a yuppie, urban professional milieu (All About Love, 2010), before directing the intimate, low-key drama, A Simple Life (2011), about an elderly female servant’s relationship to her younger master. The film won the Best Actress award for star Deanie Yip at the Venice Film Festival, and became a local box-office success as well as one of Hui’s most well-received works in years. Refusing to rest on laurels, Hui worked on a period film starring Tang Wei (The Golden Era, 2014) about the Chinese writer Xiao Hong, a celebrated female author who moved to and died in Hong Kong during the war years.

Golden Era (2014)

Golden Era (2014)

filmoFilmography   Top

Feature Films:

Role Title (English) Title (Chinese) Year
Director Our Time Will Come (Trailer) 明月幾時有 2017
Director Golden Era (Trailer) 黃金時代 2014
Director
Producer
A Simple Life (Trailer) 桃姐 2011
Director
Producer
All About Love (Trailer) 得閒炒飯 2010
Director
Producer
Night and Fog (Trailer) 天水圍的夜與霧 2009
Director
Producer
The Way We Are (Trailer) 天水圍的日與夜 2008
Director The Postmodern Life of My Aunt (Trailer) 姨媽的後現代生活 2006
Director Goddess of Mercy (Trailer) 玉觀音 2003
Producer Visible Secret II 幽靈人間之鬼味人間 2002
Director
Producer
July Rhapsody (Trailer) 男人四十 2002
Director
Producer
Visible Secret 幽靈人間 2001
Producer Peony Pavilion 遊園驚夢 2001
Director
Producer
Ordinary Heroes (Trailer) 千言萬語 1999
Producer A Little Life-Opera 一生一台戲 1998
Director
Producer
Eighteen Springs (Trailer) 半生緣 1997
Director Ah Kam (Trailer) 阿金 1996
Director
Producer
Summer Snow 女人四十 1995
Director Boy and His Hero 少年與英雄 1994
Director My American Grandson 上海假期 1991
Director Zodiac Killers 極道追蹤 1991
Director Song of the Exile 客途秋恨 1990
Director Swordsman 笑傲江湖 1990
Director Starry is the Night (Trailer) 今夜星光燦爛 1988
Director The Romance of Book and Sword 書劍恩仇錄 1987
Director Princess Fragrance 香香公主 1987
Director Love in a Fallen City 傾城之戀 1984
Director Boat People (Trailer) 投奔怒海 1982
Director The Story of Woo Viet 胡越的故事 1981
Director The Spooky Bunch 撞到正 1980
Director The Secret 瘋劫 1979

Shorts:

Role Title (English) Title (Chinese) Year
Director My Way in Beautiful 2012 (Trailer) 美好2012: 我的路 2012
Co-director with Vincent Chui As Time Goes By 去日苦多 1997


reviewReviews   Top

 

Our Time Will Come (2017):

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

China Film Insider – Film Review: ‘Our Time Will Come’

Golden Era (2014):

48 Hour – Film review: The Golden Era, a biopic of Zhang Naiying (Xiao Hong), lacks humanity

Asian American Press – The Golden Era: Hong Kong’s pitch for an Oscar

China.org.cn – ‘Golden Era’: Ann Hui’s art house experiment

Close-up Film – A Simple Life

Film Business Asia – The Golden Era

Filmed in Ether – REVIEW: THE GOLDEN ERA

Ion Cinema – No Write-Off…Ann Hui’s “The Golden Era” to Close out 71st Venice Film Fest
– Tang Wei’s “The Golden Era” May Be Screened at the Berlin Film Festival

Jayne Stars – Tang Wei Stars in Ann Hui’s “Golden Age”

Screen Daily – Ann Hui, The Golden Era

Shanghai Daily – Interview: HK director Ann Hui brings Chinese literature into Venice film festival

Time Out Beijing – Interview: Ann Hui

Time Out HK – Interview: Ann Hui – The Golden Era

The Dissolve – Jean-Luc Godard, Joshua Oppenheimer, and Kevin Smith join the 2014 Toronto Film Festival lineup

The Hollywood Reporter – Berlin: Hong Kong’s Edko Films to Offer Next Ann Hui Feature

Twitich Film – Ann Hui’s THE GOLDEN ERA Is A Tragedy Of Epic Proportions

Variety – Venice Film Review: ‘The Golden Era’

Related news of Golden Era on 34 th Hong Kong Film Awards: 

Coconuts Hong Kong – ‘The Golden Era’ tops Hong Kong Film Awards

The Hollywood Reporter – Hong Kong Film Awards: ‘The Golden Era’ Leads With Five Wins

SCMP – ‘The Golden Era’ is big winner at Hong Kong ‘Oscars’

The Wall Street Journal – ‘The Golden Era’ Wins at Hong Kong Film Awards

My Way in Beautiful 2012 (2012): 

(A Nutshell) Review – [HKIFF 2012 Review] Beautiful 2012 (World Premiere)

Chinese Movies [In French] : « My Way » : la liberté selon Ann Hui

Chinese Screen News – Youku micro movie “Walker” to screen at Cannes Festival

Eastern Kicks – Beautiful 2012

Examiner – Tae-Yong Kim’s ‘You Are More Than Beautiful’ to screen at Sundance Film Festival

Film Balaya – CAAMFest 2013: Movie Preview Guide

HK Neo Reviews – [36HKIFF] Beautiful 2012 美好2012 (2012) – Hong Kong / China / Taiwan / Korea

Screen Daily – Beautiful 2012

Straight – VIFF 2012 queer films: Xavier Dolan, Alan Cumming, and more

Twitch Film – VIFF 2012 Review: BEAUTIFUL 2012 Is A Rare, Successful Omnibus

Webs of Significance – The 2012 Hong Kong International Film Festival has begun!

A Simple Life (2011):

Asian Movie Web – A Simple Life

BFI – Film of the month: A Simple Life

BFI – Ann Hui discusses A Simple Life

Beyond Asia Philia – Miles Ahead: Ann Hui’s A Simple Life and My Way

Cine-vue – Film Review: ‘A Simple Life’

Film Business Asia – A Simple Life

Letterboxed – A Simple Life (2011)

Love HK FIlm – A Simple Life

Rogerebert.com – A Simple Life

Slant Magazine – A Simple Life

Stranger on Film – Review: A Simple Life – Ann Hui

The Hollywood Reporter – A Simple Life (Tao Jie): Venice Film Review

The New Tork Times – In Old Age the Servant Becomes the Served

Time Put HK – Ann Hui

Twitch Film – Review: A SIMPLE LIFE Earns Your Praise and a Few Tears

Variety – Review: ‘A Simple Life’

All About Love (2010):

Asia Pacific Arts – AFM 2010: Hong Kong Films

Beyond Hollywood.com – All About Love (2010) Movie Review

Dr. Sean Tierney – Movie Review: All About Love

Film Business Asia – All About Love

Love HK Film – All About Love

MovieXclusive – All About Love

Screen Crave – Interview: Ann Hui for All About Love

The China Post – All About Love

Yam Magazine – All About Love

Night and Fog (2009):

Asia Movie Web – Night and Fog

Corner House – Night and Fog

Love HK Film – Night and Fog

So Good Review – Night and Fog (2009)

Variety – Review: ‘Night and Fog’

The Way We Are (2008):

Cinespot – The Way We Are

David Bordwell – Modest Doesn’t Mean Unambitious

Far East Film – The Way We Are

HK Magazine – The Way We Are

HK Neo Reviews – The Way We Are

Love HK Film – The Way We Are

So Good Reviews – The Way We Are

The China Best – Ann Hui’s Films and the Poetics of Mundane Redemption

The Postmodern Life of My Aunt (2006)

Far East Films – The Post-Modern Life Of My Aunt

HK Neo Reviews – The Postmodern Life of My Aunt 姨媽的後現代生活 (2006) – Hong Kong / China

Love HK Film – The Postmodern Life of My Aunt

Podcast on Fire – VS: The Postmodern Life of My Aunt (2006)

So Good Reviews – The Postmodern Life Of My Aunt (2006)

The Case for Global Film – The Postmodern Life of My Aunt (China 2006)

Time Out HK – Chow Yun-fat

Vaiety – Review: ‘The Postmodern Life Of My Aunt’

Goddess of Mercy (2003):

Dennis Grunes – (JADE) GODDESS OF MERCY (Ann Hui, 2003)

Eastern Kicks – Goddess of Mercy

Heroic Cinema – Review: Goddess of Mercy (2003)

Screen Daily – Goddess Of Mercy

So Good Reviews – Goddess Of Mercy (2003)

The New York Times – Goddess of Mercy (2003)

Visible Secret II (2002):

Cinespot – Visible Secret 2

Love HK Film – Visible Secret 2

So Good Reviews – Visible Secret II (2002)

Variety – Review: ‘Visible Secret II’

July Rhapsody (2002):

Ain’t It Cool News – Jacky Cheung and Anita Mui in JULY RHAPSODY review!!!

Anxiety Neurosis – July Rhapsody

Eye for Film – July Rhapsody

Illuminated Lantern – July Rhapsody

Love HK Film – July Rhapsody

Podcast on Fire – VS: July Rhapsody (2002)

So Good Reviews – July Rhapsody (2001)

Variety – Review: ‘July Rhapsody’

Visible Secret (2001):

Beyond Hollywood – Visible Secret (2001) Movie Review

Corner House – Visible Secret / Youling renjian

Eastern Kicks – Visible Secret

Far East Film – Visible Secret

Love HK Film – Visible Secret

Heroic cinema – Review: Visible Secret (2001)

Horror News – Film Review: Visible Secret (2001)

Realm of the Uninvited – Visible Secret AKA Youling renjian (2001)

Shuqi – Visible Secret (2001)

Variety – Review: ‘Visible Secret’

Peony Pavilion (2001):

Lesbian Film Review – The Peony Pavilion

Rambler without Borders – Peony Pavilion (2001)

Ordinary Heroes (1999):

Love HK FIlm – Ordinary Heroes

So Good Reviews – Ordinary Heroes (1999)

The Guardian – Ordinary Heroes (Qianyan Wanyu)

Time Out London – Ordinary Heroes

A Little Life-Opera (1998): 

International Forum of New Cinema – Yi Sheng Yi Tai Xi (A Little Life-Opera) 

Eighteen Springs (1997):

Busan Haps – Ann Hui Wins AFOY at this Year’s BIFF

Chicago Tribune – Ann Hui to Receive Busan Festival Award

Chinese Cinemas – Eighteen Springs

Hong Kong Information Services Department – HK Film Archive looks at Eileen Chang and film (with photos)

Love HK Film – Eighteen Springs

So Good Reviews – Eighteen Springs (1997)

Variety – Review: ‘Eighteen Springs’

Others:

Asian Film Awards – The 6th Asian Film Awards Hong Kong-based Director Ann HUI On-wah to Receive Lifetime Achievement Award

BFI – The 10 best modern directors from mainland China, Hong Kong and Taiwan

BFI – 10 great films set in Hong Kong

BOMB – Ann Hui

Bright Light Films Journal – Achievement and Crisis: Hong Kong Cinema in the ’80s

CineVue – Interview: Ann Hui on “The Golden Era” and Her Career So Far

Corner House – An Interview with Ann Hui

Eastern Kicks – Ann Hui interviewed: “No matter how we wanted to be, we couldn’t be very serious!”

Film Festival – Interview with Ann Hui at Istanbul Film Festival

Havard Film Archive – March Rhapsody: Selected Films of Ann Hui

HKIFF – Ann Hui: At the World’s End and Back

Inquirer – Hong Kong director Ann Hui honored for life’s work

Meet the Filmmakers – Ann Hui

SCMP – In pictures: Ann Hui, officially the most celebrated director in Hong Kong film history, turns 70

SCMP – The 50 best Hong Kong films since the 1997 handover, part 2: from 25 to 1

SCMP – The 50 best Hong Kong films since the 1997 handover, part 1: from 50 to 26

Senses of Cinema – Border Crossings: Ann Hui’s cinema

The Guardian – The amahs: China’s sisterhood of quiet pioneers

The Hollywood Reporter:
– Q&A: Ann Hui
– Busan Fest to Honor Hong Kong’s Ann Hui as Asian Filmmaker of the Year

Time Out HK – The 100 Greatest Hong Kong Films/7

Variety – Asian Filmmaker of the Year Ann Hui: A Critical Appreciation

China Film Insider: Q&A with Betty Ho and Roger Lee on Hong Kong Film Industry

linkLinks   Top

 

Hong Kong Cinemagic – Ann Hui On Wah

Hong Kong Movie Database – Ann Hui On-Wah

IMDB – Ann Hui

biblioBibliography   Top

 

  1. Banerjee, Bidisha. “What Lies within: Misrecognition and the Uncanny in Hong Kong’s Cityscape.” Inter-Asia Cultural Studies 14.4 (2013): 519-537.
  2. Bettinson, Gary. “Hong Kong New Wave: Ann Hui.” China – Directory of World Cinema. Chicago: Intellect, 2012. 58-61. Print.
  3. Chang, Jing-jing. “Ann Hui’s Tin Shui Wai Diptych: The Flashback and Feminist Perception in Post-Handover Hong Kong.” Quarterly Review of Film and Video 33.8 (2016): 722-748.
  4. Cheung, Esther M. K. Gina Marchetti, See-Kam Tan. “Interview with Ann Hui: On the Edge of Mainstream.” Hong Kong Screenscapes: From the New Wave to the Digital Frontier. Ed. Esther M. K. Cheung, Gina Marchetti and See-Kam Tan. Hong Kong: Hong Kong University Press, 2011. 67-74. Print.
  5. Chu, Yiu-Wai. “Toward a New Hong Kong Cinema: beyond Mainland–Hong Kong Co-Productions.” Journal of Chinese Cinemas, vol. 9, no. 2, 2015, pp. 1–14.
  6. Chua, Siew Keng. “Song of the Exile: The politics of ‘home.’” Jump Cut 42 (1998): 90-93. https://www.ejumpcut.org/archive/onlinessays/JC42folder/SongExileChua.html
  7. Erens, Patricia Brett. “Crossing Borders: Time, Memory, and the Construction of Identity in Song of the Exile.” Cinema Journal, vol. 39, no. 4, 2000, pp. 43–59.
  8. —. “The Film Work of Ann Hui.” The Cinema of Hong Kong: History, Arts, Identity. Ed. Poshek Fu and David Desser. Cambridge: Cambridge University Press, 2000. 176-95. Print.
  9. Foster, Gwendolyn Audrey. “Hui Ann.” Women Film Directors: An International Bio-Critical Dictionary. Westport: Greenwood Publishing Group, 1995. 191-93. Print.
  10. Ho, Elaine Yee Lin. “Women on the Edges of Hong Kong Modernity: The Films of Ann Hui.” At Full Speed: Hong Kong Cinema in a Borderless World. Ed. Yau, Esther. Vol. 177-206. Minneapolis: University of Minnesota, 2001. Print.
  11. Hoare, Stephanie, et al. “Romance Du Livre Et Du Film : l’Adaptation De La Romance Du Livre Et De l’épée Par Ann Hui.” CinéMas, vol. 3, no. 2-3, 1993, pp. 141–155.
  12. Huang, Tsung-yi Michelle. “Conceiving Cross-Border Communities: Mobile Women in Recent Hong Kong Cinema.” The Oxford Handbook of Chinese Cinemas. Ed. Carlos Rojas and Eileen Chow. Oxford: Oxford University Press, 2013. 134-51. Print.
  13. Huang, Yiju. Tapestry of Light: Aesthetic Afterlives of the Cultural Revolution. Leiden: Brill, 2015.
  14. Jaehne, Karen. “Boat People: In Interview with Ann Hui.” Cineaste 13.2 (1984): 16-19. Print.
  15. Kaplan, Ann. “Problematizing Cross-Cultural Analysis: The Case of Women in the Recent Chinese Cinema.” Wide Angle 11.2 (1989): 40-50. Print.
  16. Law Kar. Hong Kong New Wave: Twenty Years After, 23rd Hong Kong International Film Festival. Hong Kong: Provisional Urban Council, 1999. Print.
    —. Hong Kong Stories: The Tv Works of Ann Hui. Udine Far East Film Festival, 2009. Print.
  17. Lee, Vivian. “Cinematic Remembrances: The Search for Local Histories in Post-1997 Films by Ann Hui and Fruit Chan.” Asian Cinema, vol. 16, no. 1, 2012, pp. 263–285.
  18. Lent, John. The Asian Film Industry. Austin: University of Texas Press, 1990. Print.
  19. Li, Cheunk-to. “The Return of the Father: Hong Kong New Wave and Its Chinese Context in the 1980s.” New Chinese: Forms, Identities, Politics. Ed. Nick Brown, Paul G. Pickowicz, Vivian Sobchack and Esther Yau. Cambridge: Cambridge University Press, 1994. 159-89. Print.
  20. Li, Han. “Alternative Locality: Geopolitics and Cultural Identity in Ann Hui’s A Simple Life.” Asian Cinema, vol. 26, no. 1, 2015, pp. 23–41.
  21. Li, Jessica Tsui-yan. “From Page to Stage: Cultural In-betweenness of (New) Love in a Fallen City.” Eileen Chang: Romancing Languages, Cultures and Genres. Ed. Kam Louie. Hong Kong: Hong Kong University Press, 2012. 33-47.
  22. Loska, Krzysztof. “Diaspora, Pamięć i tożSamość – Kino Ann Hui.” Przegląd Kulturoznawczy 14.4 (2012): 354–365.
  23. Marchetti, Gina. “Gender Politics and Neoliberalism in China: Ann Hui’s the Postmodern Life of My Aunt.” Visual Anthropology: Published in cooperation with the Commission on Visual Anthropology 22.2-3 (2009): 123-40. Print.
  24. —. “Feminism, Post-feminism, and Hong Kong Women Filmmakers.” A Companion to Hong Kong Cinema. Ed. Esther M. K.Cheung, Gina Marchetti, and Ching-Mei Esther Yau. Chichester, West Sussex; Malden, MA John Wiley & Sons Inc., 2015. 237-64. Print. [An article analyzes The Way We are (2008), Night and Fog (2009), and All about Love (2010) ]
  25. —. “Handover Women: Hong Kong Women Filmmakers and the Intergenerational Melodrama of Infidelity.” Feminist Media Studies, vol. 16, no. 4, 2016, pp. 590–609.
  26. Quart, Barbara. Women Directors: The Emergence of a New Cinema. New York: Praeger, 1988. Print.
  27. Rayns, Tony. “Chinese Changes.” Sight and Sound 54.1 (1984-85): 24-30. Print.
  28. Stringer, Julian. “Boat People: Second Thoughts on Text and Context.” Chinese Films in Focus: 25 New Takes. Ed. Berry, Chris. London: BFI, 2003. 15-22. Print.
  29. Suda, Kimiko. “Ann Hui’s All About Love: New Perspective on Gender, Kinship, and Sexualities in Hong Kong.” Chinese Identities on Screen. Ed. Klaus Mühlhahn, Clemens von Haselberg. Munster: LIT Verlag, 2012. 100-10. Print.
  30. Szeto, Mirana M. “Ann Hui at the Margin of Mainstream Hong Kong Cinema.” Hong Kong Screenscapes: From the New Wave to the Digital Frontier. Ed. Esther M. K. Cheung, Gina Marchetti, See-Kam Tan. Hong Kong: Hong Kong University Press, 2011. 51-66. Print.
  31. Veg, Sebastian. “Anatomy of the Ordinary: New Perspectives in Hong Kong Independent Cinema.” Journal of Chinese Cinemas, vol. 8, no. 1, 2014, pp. 73–92.
  32. Williams, Tony. “Song of the Exile: Border-Crossing Melodrama.” Jump Cut.42 (1998): 94-100. Web. http://www.ejumpcut.org/archive/onlinessays/JC42folder/SongExileWilliams.html
  33. Yau, Ka-Fai. “Looking Back at Ann Hui’s Cinema of the Political.” Modern Chinese Literature and Culture, vol. 19, no. 2, 2007, pp. 117–150.
  34. Yue, Audrey. Ann Hui’s Song of the Exile. Hong Kong: Hong Kong University Press, 2010. Print.
  35. Zeng, Li. “Living for the City: Cinematic Imaginary of the Cityscape in China’s Transnational Films.” Critical Arts, vol. 25, no. 1, 2011, pp. 102–117.
  36. 戴安平著,張楚勇編:《許鞍華的越南三部曲》:(香港:青文書屋,1983年)。
  37. 郭亚丹 :「《姨妈的后现代生活》的现实关注和独特叙事」 湖北:湖北函授大学学报 29.16(2016):189–190。
  38. 李思扬:「许鞍华电影中的日常叙事方法研究」 。当代。 no. 04, 2016年, pp. 183–186.

(Last update: 8 November 2017)

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