>>> [EMAIL PROTECTED] 05/12/05 7:18 PM >>> According to Roger Ebert, "Miramax bought it, and shelved it for two years, apparently so Harvey Weinstein could cut it by 30 minutes, get rid of the English dubbing, restore the subtitles, and open it one week after his own 'Kill Bill Vol. 2'" (<http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20040423/REVIEWS/404230305/1023>,
23 Apr. 2004). :-0 HK action cinema has translated far better in the international market than Bollywood (Bride and Prejudice, for instance, sucked). Global production probably won't destroy HM cinema, as long as there continues to be a strong local market for it in HK. Threats to national cinemas, I think, are mainly imports, rather than exports or transnational investments (e.g., there would be little to no African cinema without French money), especially if imports are backed by powerful distributors who can hog available screens. Yoshie <<<<<>>>>> at one point, miramax was going to release shaolin soccer in u.s. as _kung fu soccer_, aarrgghh... miramax essentially did same thing with _infernal affairs_, stylish hitman flick directed by andrew lau (in contrast to actor and canto popper andy lau) who made name with _young and dangerous_ 'triad boyz' films in mid-90s, then shifted direction dramatically in helming _storm riders_, state-of-the-art special effects, martial arts fantasy that pushed post-production work in hk cinema to new standard... _if_ became second highest box office film in hk behind shaolin soccer, miramax kept it on shelf in u.s. for almost 2 years, then allowed it to open in 5 theatres nationwide (well, actually, only in nyc), couldn't have anything to do with fact that martin scorcese is making hollywood version of film to be released next year (scorcese's film is unofficially and somewhat jokingly being called 'gangs of hong kong' )... hollywood films have already come to dominate hk screens that used to show mostly hk films, whereas box office top ten was once comprised of 8 hk films and 2 hollywood, circumtance is now other way around most of the time, with some south korean films thrown in from time to time (btw: guy named anthony leong has written book entitled _korean cinema: the new hong kong_) transnationals, mostly - if not exclusively - u.s., are changing face of hk cinematic political economy, new relations (deepening relations is, perhaps, more accurate) portend transformation from 'national' cinema - to extent that hk had a national cinema - to 'post-national' one, a 'global/world' cinema under hollywood hegemony (btw 2: koreans are selling film rights to hollywood at rapid pace)... michael hoover -------------------------------------------------------------- Please Note: Due to Florida's very broad public records law, most written communications to or from College employees regarding College business are public records, available to the public and media upon request. Therefore, this e-mail communication may be subject to public disclosure.
