I first saw G-23 at the begin­ning of my first year in FSV. Much hype had pre­ceded it and I enthu­si­as­ti­cally watched it with a few friends of mine inside of a Ngee Ann the­atre. When it was all over I was met with numer­ous com­ments all pos­i­tive say­ing : “Wow that was good” and “Excellent.” Sitting down and watch­ing this by myself sev­eral months later I still won­der to myself. Do peo­ple imme­di­ately praise this movie just based on the fact it has won many awards? Or the hype Ngee Ann has placed around it as well as Anthony Chen skills? Read More >

Chapter 1:Introduction Living a life in film is like liv­ing many lives. That is some­thing I’ve sub­con­sciously lived by, lived for, and real­ized when I first started out on this road to becom­ing a film­maker. Many peo­ple warn me of how shaky the path is when desir­ing a career in Hollywood. What keeps me going isn’t the grow­ing tech­ni­cal achieve­ments in cin­ema, nor the grow­ing box-office achieve­ments each sum­mer. What keeps me going is not even the grow­ing appre­ci­a­tion of for­eign films and art-house movies. What keeps me going is that some­thing dif­fer­ent, in all these aspects. That’s when I met Quentin Tarantino’s work. Read More >

The night was the crown­ing moment for grad­u­at­ing Film Sound and Video stu­dents, a screen­ing of the grad­u­at­ing projects lov­ingly and devot­edly carved by many aspir­ing and soon to be film-makers. Similar to past screen­ings that have been tra­di­tion for final year stu­dents, Projection 08 should likely stand proud amongst it’s pre­de­ces­sors with its wide range of qual­ity short films. Read More >

With the arrival of July 1^st, a mas­sive dis­play of fire­works light up the Victoria Harbor once again in Hong Kong, as the region cel­e­brates her 10^th year anniver­sary since the Joint Declaration was announced with the People’s Republic of China in 1997. What more an appro­pri­ate time than this, for us to think back on whether Hong Kong’s film indus­try has changed since China came into place, and ask our­selves, “Is the rea­son why Hong Kong cin­ema is declin­ing in pop­u­lar­ity got to do with the 1997 handover?” Read More >

Hong Kong action films have made inroads into house­holds world­wide with its ‘incred­i­ble energy and blaz­ing pas­sions’. Synonymous with ‘grace­ful bul­let bal­lets’, ‘grav­ity defy­ing wire-fu fight scenes’ and ancient mag­i­cal beings engaged in mar­tial arts beat­downs (Macias, 2007), Hong Kong action films have man­aged to amass such a large cult that it is now con­sid­ered a cul­tural main­stream, widely avail­able and imitated. Read More >

About the pod­cast: My pod­cast is about some basic nar­ra­tive traits in a clas­sic Hollywood film. I used the film Stage Fright by Alfred Hitchcock to illus­trate my points. I also gave a lit­tle plot sum­mary of the movie to let the audi­ence know roughly what the movie is about. I touched on 3 basic nar­ra­tive traits, desire, coun­ter­force and clo­sure. About the author: I am Zoe from Ngee Ann Polytechnic Year 1. I am Chinese but I have some Indian blood in me so tech­ni­cally speak­ing I am a mix blood. I love danc­ing and have been danc­ing since 4 years old. I can be slightly insane and crazy with my close friends but quiet with peo­ple I am not famil­iar with. So if you have any feed­back you can email me atkaili_24@hotmail.com

About the pod­cast: Loga is ana­lyzes the movie Anatomy of a Murder, directed by Otto Preminger in 1959.