龙虎武师(功夫特技)。2020. 魏俊子导演,92分钟。中国香港和北京:香港特技演员协会和阿克美影像(北京)电影文化有限公司。

IF 0.7 2区 艺术学 0 MUSIC
Priscilla Tse
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引用次数: 0

摘要

《功夫特技演员龙虎武史》是一部关于香港动作电影特技行业的纪录片。该片于2021年在中华人民共和国上映,由香港特技演员协会(HKSA)和Acme Image(北京)电影文化有限公司有限公司联合制作。导演魏俊子(生于1978年)是一位对香港电影情有独钟的中国大陆电影专家。作为第一次导演,魏出版了几本关于香港电影的书。2016年,他读到一篇关于香港最后一所屋顶武术学校关闭的文章,这篇文章激发了他在写作中表达自己的不满。香港电影制作人、前特技演员曾志怀(生于1953年)非常喜欢他的文章,并将他介绍给了香港电影协会主席、后来的制片人秦(生于1965年)。Chin邀请Wei参加协会2017年春节晚宴,在晚宴上他遇到了许多著名和不知名的动作片英雄,然后决定制作这部纪录片来讲述他们的故事(Ka 2021)。魏选择了一个全新的视角——特技演员而不是导演——来叙述香港动作片的历史。他非常重视受访者自己的声音,影片中出现了三十多位受访者。事实上,这部电影大部分都是采访镜头,没有画外音,也很少使用字幕。大多数受访者出生于20世纪50年代,在20世纪60年代中期至90年代初活跃于特技行业。虽然这部电影提供了大量信息,但也出现了一些主要主题:跨媒体文化制作、香港中国歌剧和动作电影的历史、男性气概和跨国籍。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Long Hu Wu Shi (Kung Fu Stuntmen). 2020. Directed by Wei Junzi, 92 minutes. Hong Kong and Beijing, China: Hong Kong Stuntman Association and Acme Image (Beijing) Film Cultural Co.
Introduction Long Hu Wu Shi (Kung Fu Stuntmen) is a documentary about the stunt industry in Hong Kong-made action movies. Released in 2021 in the People’s Republic of China, it was co-produced by the Hong Kong Stuntman Association (HKSA) and Acme Image (Beijing) Film Cultural Co., Ltd.. The director, Wei Junzi (b.1978), is a film expert in mainland China with special interest inHong Kong cinema. A first-time director,Wei has published several books on Hong Kong cinema. In 2016, he read an article on the closure of the last rooftop martial arts school in Hong Kong that inspired him to express his resentment in writing. Eric Tsang Chi-wai (b. 1953), a filmmaker and former stuntman in Hong Kong, really liked his essay and introduced him to Chin Kar-lok (b. 1965), the HKSA president and later the producer of this film. Chin invited Wei to the 2017 spring festival dinner of the association, where he met many famous and unknown action film heroes and then decided to make this documentary to tell their stories (Ka 2021). Wei chose a fresh perspective—that of stunt stars rather than directors—to narrate a history of Hong Kong action film. He highly values the interviewees’ own voices and more than thirty interviewees appear in the film. In fact, the film is filled with mostly interview footage with no voice-over narration and little use of intertitles. Most of the interviewees were born in the 1950s and became active in the stunt industry between the mid-1960s and early 1990s. While the film presents a large amount of information, a few dominant themes emerge: transmedia cultural production, histories of Chinese opera and action movies in Hong Kong, masculinity, and transnationality.
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CiteScore
0.90
自引率
20.00%
发文量
15
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