Sundance Film Festival
The Sundance Film Festival, a program of the Sundance Institute, takes place annually in Park City, the largest independent film festival in the United States with more than 46,660 attending in 2016. It is held in Salt Lake City, Utah, as well as at the Sundance Resort, it is a showcase for new work from international independent filmmakers. The festival consists of competitive sections for American and international dramatic and documentary films, both feature films and short films, a group of out-of-competition sections, including NEXT, New Frontier, Midnight and Documentary Premieres; the 2019 Sundance Film Festival began January 24 and ran through February 3. Sundance began in Salt Lake City in August 1978, as the Utah/US Film Festival in an effort to attract more filmmakers to Utah, it was founded by John Earle. The 1978 festival featured films such as Deliverance, A Streetcar Named Desire, Midnight Cowboy, Mean Streets, The Sweet Smell of Success. With chairman Robert Redford, the help of Utah Governor Scott M. Matheson, the goal of the festival was to showcase American-made films, highlight the potential of independent film, to increase visibility for filmmaking in Utah.
At the time, the main focus of the event was to conduct a competition for independent American films, present a series of retrospective films and filmmaker panel discussions, to celebrate the Frank Capra Award. The festival highlighted the work of regional filmmakers who worked outside the Hollywood system; the jury of the 1978 festival was headed by Gary Allison, included Verna Fields, Linwood G. Dunn, Katharine Ross, Charles E. Sellier Jr. Mark Rydell, Anthea Sylbert. In 1979, Sterling Van Wagenen left to head up the first-year pilot program of what was to become the Sundance Institute, James W. Ure took over as executive director, followed by Cirina Hampton Catania as executive director. More than 60 films were screened at the festival that year, panels featured many well-known Hollywood filmmakers; that year, the first Frank Capra Award went to Jimmy Stewart. The festival made a profit for the first time. In 1980, Catania left the festival to pursue a production career in Hollywood. Several factors helped propel the growth of Utah/US Film Festival.
First was the involvement of actor and Utah resident Robert Redford, who became the festival's inaugural chairman. By having Redford's name associated with the festival, it received great attention. Secondly, the country was hungry for more venues that would celebrate American-made films as the only other festival doing so at the time was the USA Film Festival in Dallas. Response in Hollywood was unprecedented, as major studios did all they could to contribute their resources. In 1981, the festival moved to Park City and changed the dates from September to January; the move from late summer to midwinter was done by the executive director Susan Barrell with the cooperation of Hollywood director Sydney Pollack, who suggested that running a film festival in a ski resort during winter would draw more attention from Hollywood. It was called the US Video Festival. In 1984, the now well-established Sundance Institute, headed by Sterling Van Wagenen, took over management of the US Film Festival. Gary Beer and Van Wagenen spearheaded production of the inaugural US Film Festival presented by Sundance Institute, which included Program Director Tony Safford and Administrative Director Jenny Walz Selby.
The branding and marketing transition from the US Film Festival to the Sundance Film Festival was managed under the direction of Colleen Allen, Allen Advertising Inc. by appointment of Robert Redford. In 1991, the festival was renamed the Sundance Film Festival, after Redford's character the Sundance Kid from the film Butch Cassidy and the Sundance Kid. UK-based publisher C21 Media first revealed in October 2010 that Robert Redford was planning to bring the Sundance Film Festival to London, in March the following year, Redford announced that Sundance London would be held at The O2, in London from 26–29 April 2012. In a press statement, Redford said, "We are excited to partner with AEG Europe to bring a particular slice of American culture to life in the inspired setting of The O2, in this city of such rich cultural history, it is our mutual goal to bring to the UK, the best in current American independent cinema, to introduce the artists responsible for it, in essence help build a picture of our country, broadly reflective of the diversity of voices not always seen in our cultural exports."The majority of the film screenings, including the festival's premieres, would be held within the Cineworld cinema at The O2 entertainment district.
The 2013 Sundance London Festival was held 25–28 April 2013, sponsored by car-maker Jaguar. Sundance London 2014 took place on 25–27 April 2014 at the O2 arena; the Sundance London 2015 Festival was cancelled in an announcement on 16 January 2015. Sundance London returned to London from 2–5 June 2016 and again 1–4 June 2017, both at Picturehouse Cinema in London's West End. Inaugurated in 2014, Sundance Film Festival: Hong Kong took place from 22 September to 2 October 2016 and is scheduled again for 21 September to 1 October 2017, it is held at The Metroplex in Kowloon Bay each year. From 2006 through 2008, Sundance Institute collaborated with the Brooklyn Academy of Music on a special series of film screenings, panel discussions, special events bringing the institute's activities and the festival's programming to New York City. M
A Ferris wheel is an amusement ride consisting of a rotating upright wheel with multiple passenger-carrying components attached to the rim in such a way that as the wheel turns, they are kept upright by gravity. Some of the largest modern Ferris wheels have cars mounted on the outside of the rim, with electric motors to independently rotate each car to keep it upright; these wheels are sometimes referred to as observation wheels and their cars referred to as capsules, however these alternative names are used for wheels with conventional gravity-oriented cars. The original Ferris Wheel was designed and constructed by George Washington Gale Ferris Jr. as a landmark for the 1893 World's Columbian Exposition in Chicago. The generic term Ferris wheel is now used in American English for all such structures, which have become the most common type of amusement ride at state fairs in the United States; the current tallest Ferris wheel is the 167.6-metre High Roller in Las Vegas, which opened to the public in March 2014.
"Pleasure wheels", whose passengers rode in chairs suspended from large wooden rings turned by strong men, may have originated in 17th-century Bulgaria. The travels of Peter Mundy in Europe and Asia, 1608–1667 describes and illustrates "severall Sorts of Swinginge used in their Publique rejoyceings att their Feast of Biram" on 17 May 1620 at Philippopolis in the Ottoman Balkans. Among means "lesse dangerous and troublesome" was one:...like a Craine wheele att Customhowse Key and turned in that Manner, whereon Children sitt on little seats hunge round about in severall parts thereof, And though it turne right upp and downe, that the Children are sometymes on the upper part of the wheele, sometymes on the lower, yett they alwaies sitt upright. Five years earlier, in 1615, Pietro Della Valle, a Roman traveller who sent letters from Constantinople and India, attended a Ramadan festival in Constantinople, he describes the fireworks and great swings comments on riding the Great Wheel: I was delighted to find myself swept upwards and downwards at such speed.
But the wheel turned round so that a Greek, sitting near me couldn't bear it any longer, shouted out "soni! soni!" Similar wheels appeared in England in the 17th century, subsequently elsewhere around the world, including India and Siberia. A Frenchman, Antonio Manguino, introduced the idea to America in 1848, when he constructed a wooden pleasure wheel to attract visitors to his start-up fair in Walton Spring, Georgia. In 1892, William Somers installed three fifty-foot wooden wheels at New Jersey; the following year he was granted the first U. S. patent for a "Roundabout". George Washington Gale Ferris Jr. rode on Somers' wheel in Atlantic City prior to designing his wheel for the World's Columbian Exposition. In 1893 Somers filed a lawsuit against Ferris for patent infringement, however Ferris and his lawyers argued that the Ferris Wheel and its technology differed from Somers' wheel, the case was dismissed; the original Ferris Wheel, sometimes referred to as the Chicago Wheel, was designed and constructed by George Washington Gale Ferris Jr..
With a height of 80.4 metres it was the tallest attraction at the World's Columbian Exposition in Chicago, where it opened to the public on June 21, 1893. It was intended to rival the centerpiece of the 1889 Paris Exposition. Ferris was a graduate of Rensselaer Polytechnic Institute and a Pittsburgh, bridge-builder, he began his career in the railroad industry and pursued an interest in bridge building. Ferris understood the growing need for structural steel and founded G. W. G. Ferris & Co. in Pittsburgh, a firm that tested and inspected metals for railroads and bridge builders. The wheel rotated on a 71-ton, 45.5-foot axle comprising what was at that time the world's largest hollow forging, manufactured in Pittsburgh by the Bethlehem Iron Company and weighing 89,320 pounds, together with two 16-foot-diameter cast-iron spiders weighing 53,031 pounds. There were 36 cars, each fitted with 40 revolving chairs and able to accommodate up to 60 people, giving a total capacity of 2,160; the wheel carried some 38,000 passengers daily and took 20 minutes to complete two revolutions, the first involving six stops to allow passengers to exit and enter and the second a nine-minute non-stop rotation, for which the ticket holder paid 50 cents.
The Exposition ended in October 1893, the wheel closed in April 1894 and was dismantled and stored until the following year. It was rebuilt on Chicago's North Side, near Lincoln Park, next to an exclusive neighborhood; this prompted William D. Boyce a local resident, to file a Circuit Court action against the owners of the wheel to have it removed, but without success, it operated there from October 1895 until 1903, when it was again dismantled transported by rail to St. Louis for the 1904 World's Fair and destroyed by controlled demolition using dynamite on May 11, 1906; the Wiener Riesenrad is a surviving example of nineteenth-century Ferris wheels. Erected in 1897 in the Wurstelprater section of Prater public park in the Leopoldstadt district of Vienna, Austria, to celebrate Emperor Franz Josef I's Golden Jubilee, it has a height of 64.75 metres and had 30 passenger cars. A demolition permit for the Riesenrad was issued in 1916, but due to a lack of funds with which to carry out the destruction, it survived.
Following the demolition of
Young and Dangerous 3
Young and Dangerous 3 is a 1996 Hong Kong triad film directed by Andrew Lau. It is the second sequel in Dangerous film series. Starting from this movie, it is distributed by Golden Harvest Company. Weeks after Chan Ho Nam is elected branch leader of Causeway Bay of the "Hung Hing" Society, "Chicken" Chiu, after joining the Taiwanese "San Luen" triad, is reinstated into Hung Hing by Chairman Chiang Tin Sung. At the same time, rival triad "Tung Sing", led by "Camel" Lok begins to make a name for itself, establishing bars and clubs alongside Hung Hing's areas of operations. Things become heated when Tung Sing member "Crow" fuels a deep-seated rivalry between him and Ho Nam, with the threat of open war between the two societies. Meanwhile, Ho Nam's stuttering girlfriend Smartie, critically injured in a vehicular accident and slipped into a coma, reawakens but with no prior memories to her meeting with Ho Nam for the first time. Regardless, Ho Nam assures her he and his friends will protect her. To add in a stick of comedy, Father "Lethal Weapon" Lam introduces his daughter Shuk Fan to Chicken, having been good friends and a source of advice for him.
During a business trip to Amsterdam with his mistress and Ho Nam, Chairman Chiang is assassinated by thugs. While the rest of Hung Hing believes the hit was orchestrated by Ho Nam, it is the deranged Crow who ordered the chairman's death, using Chiang's mistress to falsify evidence, framing Ho Nam. While Ho Nam goes into hiding back in Hong Kong, Crow is reprimanded by Camel. Drunk with power, Crow wants nothing more than to destroy Hung Hing and orders his men to search frantically for Ho Nam, quick to realize the ambush and escapes with Smartie, until Crow's men manages to separate the two. In their attempt, Smartie suffers a blow to the head, restoring her memories. Crow tells Ho Nam if he wants his name cleared and his woman back, he must meet him alone. Yet, the crazed Crow kills Smartie in cold blood in front of Ho Nam. Just as Crow is about to finish him, Chicken bursts in and reaches a stalemate with Crow to ensure Ho Nam's safety; the saddened Ho Nam gives her a proper funeral. Now fueled on vengeance, Ho Nam decides to march into Tung Sing territory and kill Crow at Camel's funeral haphazardly.
Ho Nam's friends and the rest of Hung Hing manage to capture and threaten Tung Sing member "Tiger", who tells all of Crow's madness in killing both their societies' leaders. Crow is left nowhere to run from his enemies, in the midst of a Hung Hing/Tung Sing brawl, he is killed in the funeral pyre. With Crow dead, Tung Sing is left in disarray, Hung Hing re-establishes control in its territories. Young and Dangerous Young and Dangerous 3 on IMDb
The Wesley's Mysterious File
The Wesley's Mysterious File is a 2002 Hong Kong action science fiction film directed by Andrew Lau starring Andy Lau, Rosamund Kwan and Shu Qi. Hong Kong director Wong Jing makes a cameo appearance; the film tells the story of Wesley who works in San Francisco for a UN department investigating extra terrestrial sightings. When Fong an alien from the Dark Blue Planet arrives in town seeking the remains of her brother, Wesley. Andy Lau as Wesley Rosamund Kwan as Fong Tin-ai Shu Qi as Pak Sue Wong Jing as Dr. Kwok Mark Cheng as Kill Almen Wong as Rape Roy Cheung as Pak Kei-wai Samuel Pang as Tan Patrick Lung as Mr. Chu Yo Yo Fong as Ling-ling Thomas Hudak as Wilson Beverly Hotsprings Tré Shine Vincent Zhao Girls with guns Wisely Series, the novel series by Ni Kuang Films and television series adapted from the Wisely Series: The Seventh Curse, a 1986 Hong Kong film starring Chow Yun-fat as Wisely The Legend of Wisely, a 1987 Hong Kong film starring Sam Hui as Wisely The Cat, a 1998 Hong Kong film starring Waise Lee as Wisely The New Adventures of Wisely, a 1998 Singaporean television series starring Michael Tao as Wisely The'W' Files, a 2003 Hong Kong television series starring Gallen Lo as Wisely The Wesley's Mysterious File on IMDb
A Man Called Hero
A Man Called Hero is a 1999 Hong Kong wuxia film directed by Andrew Lau. It is loosely based on the manhua series Chinese Hero: Tales of the Blood Sword by Hong Kong artist Ma Wing-shing, it won the 1999 Golden Horse Award for Best Visual Effects. The story begins in early Republican China. After passing a test, Hero Hua is accepted by a master swordsman, as his second apprentice; when he returns home, he is horrified to see that his parents have been murdered by foreigners for opposing the opium trade. That night, Hero kills them in revenge, he spends the rest of the night with Jade. The next morning, he flees from China to avoid arrest and sails to America. 16 years Hero's childhood friend and Hero's son, Sword Hua, arrive in New York City on the first day of the Chinese New Year. They visit China House, the biggest inn in Chinatown, where they see a lion dance performance led by the Boss of China House. A group of thugs show up and demand that the Boss hand over a monk, whom they believe is hiding in China House.
After defeating and driving away the thugs, the Boss brings Sheng to meet Luohan. Luohan tells them how he met and befriended Hero on board the ship bound for America, their experiences as labourers in Steel Bull Canyon. Sword and Sheng visit Jade's grave, where Sheng tells Sword how he and Jade travelled to New York City 16 years ago in search of Hero. Hero and Jade were married in New York City. While visiting the shop where Sword's parents took their wedding photographs and Sheng sense someone following them. Sword surprises the stalker and corners her after a brief chase through the streets, she identifies herself as the daughter of Hero's senior, Shadow. Kate leads Sheng to her father. Shadow tells them how he rescued Hero from Steel Bull Canyon when Hero was buried in the sand after being falsely accused of murdering two men. Hero and Shadow defeated them. During the fight, Hero injured the female ninja, but spared her life and sent her for medical treatment; when Wood develops a crush on Hero, the Gold Ninja, secretly in love with Wood, becomes jealous.
Jade had just given birth to a pair of twins in China House when the Gold Ninja set fire to the building. During the chaos, Bigot, a traitor, disappeared. There have been no news of her since then. Jade died in Hero's arms shortly after due to excessive blood loss during childbirth. Shadow continues narrating the story. After Jade's death, Hero met a fortune teller, who told him he was born under the Star of Death and is destined to lead a life of loneliness because misfortune will befall those who are close to him. Hero entrusted Sword, to Sheng before leaving with Shadow to meet their master, Pride. In Japan, they witnessed his rival, Invincible. Pride defeated Invincible but died not long after the duel. Before his death, Pride passed Hero the martial arts manual China Secret and transferred all his inner energy to him. Back in the present at China House, the Boss, Sheng and others come up with a plan to liberate the labourers at Steel Bull Canyon, they disguise themselves as a Chinese opera troupe, infiltrate the canyon, catch the supervisors off guard in a surprise attack.
Luohan sacrifices himself in a suicide attack to stop the supervisors from throwing explosives at the escaping labourers. Sword corners Bigot and demands the whereabouts of his twin sister, but Bigot pulls out a pistol and shoots him. Bigot is about to kill Sword when Hero finishes him off. Hero uses his inner energy to create an explosion and prevent a group of horsemen from advancing further, they return to China House in triumph. Sword is happy to see his father in person for the first time after hearing the stories about him. However, Hero appears cold towards his son and keeps a distance away because he believes the fortune teller's words that he will lose his loved ones if he gets close to them. Hero meets Wood, who has maintained her crush on him for the past 16 years, but he refuses to accept her, she warns Hero that her master, has arrived in New York City. Since Pride is dead, Invincible turns on Pride's successor, to finish the duel; the next morning, Invincible shows up at China House and fights with the Boss and Sword until Hero appears and stops him.
Hero and Invincible duel on top of the Statue of Liberty. In the meantime, Black Dragon Commander leads his men to attack China House but are forced to leave by the police. At the Statue of Liberty, Hero defeats and destroys Invincible. Before the movie ends and Sheng prepare to leave America while Hero watches them from a distance and walks away in the opposite direction; the music and songs for the film were composed by Chan Kwong-wing. Tin Sat Ku Hsing, the theme song, performed in Cantonese by Ekin Cheng. Cheng sang the Mandarin version of this song, titled Tianya Haijiao. Faa Cheng Ho, insert song, performed in Cantonese by Ekin Cheng. Cheng sang the Mandarin version of this song, titled Ni Zou Dao Na Li. Dai Yat Ngan, insert song, performed in Cantonese by Nicholas Tse. 1999 Golden Horse Film Awards Best Visual Effects - Centro Digital Pictures Limited 1999 Golden Horse Film Awards Best Film Editing - Danny Pang Best Action Choreography - Dion Lam 19th Hong Kong Film Awards Best Action Choreography - Dion Lam Best Costume Make Up Design - Lee Pik-kwan Best Original Film Score - Chan Kwong-wing Best Original Film Song - Albert Leung
Bullets of Love
Bullets of Love is a 2001 Hong Kong action thriller film produced and directed by Andrew Lau and starring Leon Lai and Asaka Seto. Hong Kong Regional Crime Unit inspector Sam Lam raids a transnational criminal organisation and capturing its leader, Night. Although his crimes were heinous, Night spends a huge sum a team of clever lawyers to defend him, causing the efforts Sam's fiance, the prosecutor of the case, coming to no avail. Night received a light sentence of five years imprisonment. Holding a grudge against Sam and Ann for putting him in prison, Night schemes with his older brother, Day, to orchestrate a plan for revenge. After the conclusion of the case and Sam takes a vacation to Paris. Unexpected to them, Day sends a killer who shoots and kills An, riding an elevator, but does not kill Sam. Ann's death causes Sam too grieve abnormally. Sam opens a bar in Tai O, leading a reclusive life. Two years Sam meets You, a Japanese tourist who looks like Ann. Sam fall in love with her. One day, Sam accidentally discovers a secret about You, while on the other hand, who won an appeal on his case, was released early and is determined to get back at Sam.
Leon Lai as Inspector Sam Lam Asaka Seto as Ann / You Sandy Lam as the voice of Ann Terence Yin as Night / Wong Po Michael Chan as Uncle Ox Frankie Ng as Uncle Tiger Hayawaka Saki as The Assassin Richard Sun as Day / Wong Fung Ronald Cheng as Ma Alexander Chan as Ho Ma Tony Ho as Band Member Yu Ka-ho as Band Member Benjamin Yuen as Band Member Alan Ko Michael Tse as Cop shot in the street Poon Hang-sang Gary Mak Ankee Leung Danny Chan Ho Ka-fai as Policeman Law Shu-kei as Judge Prudence Kao as Jojo Chow Mei-shing as Mao Ben Yuen as Night's lawyer Vincent Chik Luk Oi-ling Pauline Yeung Earl Cresssey of DVD Talk rated the film a score of 3.5 out of 5 stars and praises the developed characters, action sequences and suspenseful storyline, while noting a few logic problems. LoveHKFilm gave the film a mixed review criticizing its emotional hooks and Leon Lai's performances, but praises the performances of Asaka Seto and the supporting cast; the film grossed HK$3,587,266 at the Hong Kong box office during its theatrical run from 27 September to October 17, 2001.
Bullets of Love at the Hong Kong Movie DataBase Bullets of Love at Hong Kong Cinemagic Bullets of Love on IMDb
Traditional Chinese characters
Traditional Chinese characters are Chinese characters in any character set that does not contain newly created characters or character substitutions performed after 1946. They are most the characters in the standardized character sets of Taiwan, of Hong Kong and Macau, in the Kangxi Dictionary; the modern shapes of traditional Chinese characters first appeared with the emergence of the clerical script during the Han Dynasty, have been more or less stable since the 5th century. The retronym "traditional Chinese" is used to contrast traditional characters with Simplified Chinese characters, a standardized character set introduced by the government of the People's Republic of China on Mainland China in the 1950s. Traditional Chinese characters are used in Taiwan, Hong Kong, Macau. In contrast, Simplified Chinese characters are used in mainland China and Malaysia in official publications. However, several countries – such as Australia, the US and Canada – are increasing their number of printed materials in Simplified Chinese, to better accommodate citizens from mainland China.
The debate on traditional and simplified Chinese characters has been a long-running issue among Chinese communities. A large number of overseas Chinese online newspapers allow users to switch between both character sets. Although simplified characters are taught and endorsed by the government of China, there is no prohibition against the use of traditional characters. Traditional characters are used informally in regions in China in handwriting and used for inscriptions and religious text, they are retained in logos or graphics to evoke yesteryear. Nonetheless, the vast majority of media and communications in China is dominated by simplified characters. In Hong Kong and Macau, Traditional Chinese has been the legal written form since colonial times. In recent years, simplified Chinese characters in Hong Kong and Macau has appeared to accommodate Mainland Chinese tourists and immigrants; this has led to concerns by many residents to protect their local heritage. Taiwan has never adopted simplified characters.
The use of simplified characters in official documents is prohibited by the government of Taiwan. Simplified characters are understood to a certain extent by any educated Taiwanese, learning to read them takes little effort; some stroke simplifications that have been incorporated into Simplified Chinese are in common use in handwriting. For example, while the name of Taiwan is written as 臺灣, the semi-simplified name 台灣 is acceptable to write in official documents. In Southeast Asia, the Chinese Filipino community continues to be one of the most conservative regarding simplification. While major public universities are teaching simplified characters, many well-established Chinese schools still use traditional characters. Publications like the Chinese Commercial News, World News, United Daily News still use traditional characters. On the other hand, the Philippine Chinese Daily uses simplified. Aside from local newspapers, magazines from Hong Kong, such as the Yazhou Zhoukan, are found in some bookstores.
In case of film or television subtitles on DVD, the Chinese dub, used in Philippines is the same as the one used in Taiwan. This is because the DVDs belongs to DVD Region Code 3. Hence, most of the subtitles are in Traditional Characters. Overseas Chinese in the United States have long used traditional characters. A major influx of Chinese immigrants to the United States occurred during the latter half of the 19th century, before the standardization of simplified characters. Therefore, United States public notices and signage in Chinese are in Traditional Chinese. Traditional Chinese characters are called several different names within the Chinese-speaking world; the government of Taiwan calls traditional Chinese characters standard characters or orthodox characters. However, the same term is used outside Taiwan to distinguish standard and traditional characters from variant and idiomatic characters. In contrast, users of traditional characters outside Taiwan, such as those in Hong Kong and overseas Chinese communities, users of simplified Chinese characters, call them complex characters.
An informal name sometimes used by users of simplified characters is "old characters". Users of traditional characters sometimes refer them as "Full Chinese characters" to distinguish them from simplified Chinese characters; some traditional character users argue that traditional characters are the original form of the Chinese characters and cannot be called "complex". Simplified characters cannot be "standard" because they are not used in all Chinese-speaking regions. Conversely, supporters of simplified Chinese characters object to the description of traditional characters as "standard," since they view the new simplified characters as the contemporary standard used by the vast majority of Chinese speakers, they point out that traditional characters are not traditional as many Chinese characters have been made more elaborate over time. Some people refer to traditional characters as "proper characters" and modernized characters as "simplified-stroke characters" (sim