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Article
Publication date: 10 November 2020

Kristof Van den Troost

This article explores recent changes in Hong Kong’s independent documentary filmmaking during a decade of escalating protests in the territory, focusing in particular on…

Abstract

Purpose

This article explores recent changes in Hong Kong’s independent documentary filmmaking during a decade of escalating protests in the territory, focusing in particular on cinema's role in Hong Kong's “movement field.”

Design/methodology/approach

The article focuses on Ying E Chi, an important distributor and promoter of Hong Kong independent films; the annual Hong Kong Independent Film Festival it organizes; three recent documentaries it distributes that are relevant to the 2019–2020 protests. The findings in this article are based on interviews, the textual analysis of relevant films and participant observation at film screenings.

Findings

This study argues that independent documentaries function in Hong Kong's “movement field” in three main ways: by contributing to and providing a space for civic discourse, by facilitating international advocacy and by engaging in memory work. Its contributions to civic culture, it asserts, are reflected in the films' observational aesthetic, which invites reflection and discussion. Public screenings and lengthy post-screening discussions are important ways in which these functions are realized.

Originality/value

This article builds on existing literature to propose a new way of thinking about cinema's role in Hong Kong social movements. It also analyses three important recent films that have not yet been covered much in existing academic literature.

Details

Asian Education and Development Studies, vol. 11 no. 3
Type: Research Article
ISSN: 2046-3162

Keywords

Book part
Publication date: 17 March 2017

Mukti Khaire

This article explores how the commentary of intermediaries – third-party entities that do not have direct economic stakes in the sales of goods – can contribute to the…

Abstract

This article explores how the commentary of intermediaries – third-party entities that do not have direct economic stakes in the sales of goods – can contribute to the creation of new market categories comprising preexisting but neglected and undervalued goods. Specifically, I study how the Sundance Institute facilitated the creation of a market for independent cinema in the United States, suggesting that intermediaries create market categories by defining boundaries, generating criteria of evaluation, and setting standards for measuring and establishing hierarchies of quality, which help audiences understand and value the category. The study, thus, adds nuance to our understanding of markets and categories.

Details

From Categories to Categorization: Studies in Sociology, Organizations and Strategy at the Crossroads
Type: Book
ISBN: 978-1-78714-238-1

Keywords

Article
Publication date: 5 September 2017

Joseph Tse-Hei Lee

The goal of this article is to examine the current trends of political cinema in postcolonial Hong Kong. Many leaders of the Hong Kong mainstream cinema have accepted the…

Abstract

Purpose

The goal of this article is to examine the current trends of political cinema in postcolonial Hong Kong. Many leaders of the Hong Kong mainstream cinema have accepted the Chinese authoritarian rule as a precondition for expanding into the ever-expanding Mainland film market, but a handful of conscientious filmmakers choose to make political cinema under the shadow of a wealthy and descendant industry, expressing their desire for democracy and justice and critiquing the unequal power relations between Hong Kong and China.

Design/methodology/approach

This paper consults relevant documentary materials and cinematic texts to contextualize the latest development of political cinema in Hong Kong. It presents an in-depth analysis of the works of two local independent filmmakers Herman Yau and Vincent Chui.

Findings

This study reveals a glimpse of hope in the current films of Herman Yau and Vincent Chui, which suggests that a reconfiguration of local identity and communal relationship may turn around the collective despair caused by the oppressive measures of the Chinese authoritarian state and the end of the Umbrella Movement in late 2014.

Research limitations/implications

Despite the small sample size, this paper highlights the rise of cinematic localism through a closer look at the works of Hong Kong independent filmmakers.

Practical implications

This study reveals an ambivalent mentality in the Hong Kong film industry where critical filmmakers strive to assert their creativity and agency against the externally imposed Chinese hegemonic power.

Originality/value

This investigation is an original scholarly study of film and politics in postcolonial Hong Kong.

Details

Social Transformations in Chinese Societies, vol. 13 no. 2
Type: Research Article
ISSN: 1871-2673

Keywords

Article
Publication date: 19 June 2009

Ingrid Jeacle

Since its emergence in the early twentieth century, cinema has acquired a cultural identity. As purveyor of light entertainment, the local movie palace sold escapism at a…

5101

Abstract

Purpose

Since its emergence in the early twentieth century, cinema has acquired a cultural identity. As purveyor of light entertainment, the local movie palace sold escapism at a cheap price. It also acted as an important social apparatus that regulated everyday mannerisms and appearance. The purpose of this paper is to investigate the box office ledger of a UK picture house and to consider the role of the accounting document as a medium through which both local and broader social and historical norms can be reflected.

Design/methodology/approach

The paper primarily employs archival sources. It examines the box office ledger of the Edinburgh Playhouse cinema for the period 1929‐1973. This ledger is held within the National Archive of Scotland. Secondary sources are also drawn upon to provide a social and historical context to the study.

Findings

The analysis of the box office ledger illustrates the potential value of an accounting document as a source of social history. Not only does this single ledger mirror the defining moments in British cinema history, it also helps inform the conception of what constitutes accounting, shapes the perception of contemporary strategic management accounting rhetoric, and further an appreciation of the relationship between accounting and everyday life.

Originality/value

The entertainment industry has been largely ignored within accounting scholarship. Such neglect is lamentable given both the scale of the industry and its impact on contemporary culture. This paper is an attempt to redress this neglect by examining one component of the entertainment business, cinema, through the medium of an accounting document.

Details

Accounting, Auditing & Accountability Journal, vol. 22 no. 5
Type: Research Article
ISSN: 0951-3574

Keywords

Book part
Publication date: 14 December 2004

Jeffrey Geiger

Cultural visibility is closely linked to physical and social mobility, and access to – or denial of – free movement through private and public spaces powerfully shapes…

Abstract

Cultural visibility is closely linked to physical and social mobility, and access to – or denial of – free movement through private and public spaces powerfully shapes individual and social identities. As Liam Kennedy has shown in the context of urban space, “the operations of power are everywhere evident in space: space is hierarchical – zoned, segregated, gated – and encodes both freedoms and restrictions – of mobility, of access, of vision” (2000, pp. 169–170). A consideration of how film articulates a relationship between space and identity might thus begin by breaking down the concept of space itself into three distinct yet interconnected areas of analysis: first, the notion of socially produced space, as shown in the work of Henri Lefebvre and others; second, the idea of audience space or the architectural space of the theater; and finally, the theory of film space or the space of the screen. Given this essay’s limited scope, the latter will be examined in more detail than the first two, but I would like to stress the underlying interconnectedness of the three. While, for example, formalist studies of film aesthetics may be just as valuable as in-depth studies of changing viewing habits, audience demographics, and exhibition technologies, film interpretation should strive to keep in view the variety of spatial formations and conditions that might come to bear on any particular visual text.

Details

Race and Ethnicity in New York City
Type: Book
ISBN: 978-0-76231-149-1

Book part
Publication date: 12 October 2011

Fabrizio Perretti

In current research on market categories, hybridity (i.e., the association of organizations and/or the products they offer with multiple category memberships) represents…

Abstract

In current research on market categories, hybridity (i.e., the association of organizations and/or the products they offer with multiple category memberships) represents an important issue with many practical implications, especially for project-based forms of organizations. This chapter explores the evolution of hybridity and the conditions under which different kinds of project-based organizations develop hybrid projects. By studying the feature film industry in the United States from 1920 until 1970, this chapter contrasts the current perspective based on status-organizing processes and suggests that hybridity is a population-level process that can be interpreted as the result of the construction and interplay of different identities, and on the dynamic of the identity dimensions employed by different actors in such effort. The chapter shows that the development and construction of the identity of a temporary organization is different from other types of organizations, and is linked to identification processes both at the organizational level, with the company or with specific individuals in key roles, and at the institutional/collective level, with pure (single-category) and hybrid (multi-category) genres. This chapter highlights the mutual interactions and constraints between these two levels in different life stages of the film industry.

Details

Project-Based Organizing and Strategic Management
Type: Book
ISBN: 978-1-78052-193-0

Open Access
Article
Publication date: 20 May 2021

Jonatan Södergren and Niklas Vallström

The twofold aim of this theory-building article is to raise questions about the ability of queer cinema to transform market culture and ideologies around gender and…

1752

Abstract

Purpose

The twofold aim of this theory-building article is to raise questions about the ability of queer cinema to transform market culture and ideologies around gender and sexuality. First, the authors examine how the very capitalization of queer signifiers may compromise the dominant order from within. Second, the authors address how brands possibly can draw on these signifiers to project authenticity.

Design/methodology/approach

Through visual methods of film criticism and the semiotic analysis of three films (Moonlight, Call Me By Your Name and Portrait of a Lady on Fire), the authors outline some profound narrative tensions addressed by movie makers seeking to give an authentic voice to queer lives.

Findings

Brands can tap into these narrative attempts at “seeing the invisible” to signify authenticity. False sublation, i.e. the “catch-22” of commodifying the queer imaginaries one seeks to represent, follows from a Marcusean analysis.

Practical implications

In more practical terms, “seeing the invisible” is proposed as a cultural branding technique. To be felicitous, one has to circumvent three narrative traditions: pathologization, rationalization and trivialization.

Originality/value

In contrast to Marcuse's pessimist view emphasizing its affirmative aspects, the authors conclude that such commodification in the long term may have transformative effects on the dominant ideology. This is because even if something is banished to the realm of imagination, e.g. through aesthetic semblance, it can still be enacted in real life.

Details

Arts and the Market, vol. 11 no. 3
Type: Research Article
ISSN: 2056-4945

Keywords

Book part
Publication date: 24 November 2022

Claire Hines

This chapter focuses on spy action as a way to answer the question: where can we find queer female action heroes? The chapter will identify three films – D.E.B.S.

Abstract

This chapter focuses on spy action as a way to answer the question: where can we find queer female action heroes? The chapter will identify three films – D.E.B.S. (Advocate, 2005), Atomic Blonde (David Leitch, 2017) and The Spy Who Dumped Me (Susanna Fogel, 2018) – worth attention to highlight the potential and problems of the queer female hero in spy action. This chapter examines how each of these spy action films contributes to the ongoing yet uneven development of the female hero as a queer figure in post-millennial action cinema. The chapter will consider to what extent these queer female-led action films may pose a challenge to some of the dominant standards and conventions associated with the action hero, gender roles and the representation of sexuality, but also reinforce others. Some comparisons will be made to James Bond in recognition that the Bond franchise has played an important role in the spy action genre.

Details

Gender and Action Films 2000 and Beyond
Type: Book
ISBN: 978-1-80117-518-0

Keywords

Book part
Publication date: 3 March 2016

Olga Epitropaki and Charalampos Mainemelis

In the present chapter, we present the case study of the only woman film director who has ever won an Academy Award for Best Director, Kathryn Bigelow. We analyzed 43…

Abstract

In the present chapter, we present the case study of the only woman film director who has ever won an Academy Award for Best Director, Kathryn Bigelow. We analyzed 43 written interviews of Kathryn Bigelow that have appeared in the popular press in the period 1988–2013 and outlined eight main themes emerging regarding her exercise of leadership in the cinematic context. We utilize three theoretical frameworks: (a) paradoxical leadership theory (Lewis, Andriopoulos, & Smith, 2014; Smith & Lewis, 2012); (b) ambidextrous leadership theory (Rosing, Frese, & Bausch, 2011), and (c) role congruity theory (Eagley & Karau, 2002) and show how Bigelow, as a woman artist/leader working in a complex organizational system that emphasizes radical innovation, exercised paradoxical and ambidextrous leadership and challenged existing conventions about genre, gender, and leadership. The case study implications for teaching and practice are discussed.

Details

Leadership Lessons from Compelling Contexts
Type: Book
ISBN: 978-1-78560-942-8

Keywords

Book part
Publication date: 20 October 2022

Francesca Lopez, Russ Martin and Chloë Isabel Olivo

What relation does the monster figure have to gender? It is widely accepted that monsters in television, cinema and literature commonly stand in for the Other, be that a…

Abstract

What relation does the monster figure have to gender? It is widely accepted that monsters in television, cinema and literature commonly stand in for the Other, be that a social, political or racialised Other. To consider monsters and monstrosity through the lens of gender is to investigate the links between the monster figure and the Others that exist under the system of patriarchy – most notably women, gender-diverse people and queer folks. In this collective chapter, Francesca Lopez, Russ Martin and Chloe Olivo explore how the monster figure relates to gender via a conversation that traces the links between three individually written chapters – X-Men: The Normative System Disguised as Mutant, Dragula and the Expansive Queerness of the Drag Supermonster and Femicide on the Frontier: Analysing Motives Behind the Femicide Crisis in Ciudad Juàrez. Each of these chapters investigates social norms relating to gender and those who challenge or defy them. Ultimately, the authors argue, it is those whose gendered and sexual identities are not associated with social power that are made monstrous by the patriarchy. This conversation-based chapter considers both real-life situations in which real people are made monstrous and monsters from fiction films and reality television. Ultimately, the authors suggest that the monster figure can be powerful and transformative for those who exist on the margins of the patriarchy – though, as this chapter documents, such is not always the case.

Details

Interdisciplinary Essays on Monsters and the Monstrous
Type: Book
ISBN: 978-1-80117-027-7

Keywords

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