MEDAL
发表于 2025-3-21 18:00:17
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反抗者
发表于 2025-3-21 21:28:04
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pulmonary
发表于 2025-3-22 01:58:23
Emiko Atimomohat I call the post-nostalgic imagination of Hong Kong films. This final chapter takes the present discussion further away from the geopolitical confines of the local and the national into the realm of regional flows and cross-cultural negotiations in what is now commonly known as pan-Asian cinema.
纵欲
发表于 2025-3-22 05:13:08
Emiko Atimomo to joint-ventured projects. The latest policy directives under CEPA (Closer Economic Partnership Agreement) include further liberalization measures that exempt Hong Kong-made Chinese-language films from the import quota applied to foreign films. Under CEPA III, the Cantonese version of motion pictu
stroke
发表于 2025-3-22 10:47:48
Emiko Atimomo in 1997. Neither an empirical survey nor historical account of the film industry, it attends to what I call the post-nostalgic imagination in Hong Kong cinema in the first decade of Chinese rule. Aesthetically, the post-nostalgic has nuanced connections with a long tradition of filmmaking that has
垫子
发表于 2025-3-22 14:37:44
Emiko Atimomoproductions by Johnnie To and his Milkyway Image Productions as representatives of a new aesthetic of police and gangster films, a major branch of Hong Kong’s action cinema since the 1980s. While the action film has played a central role in the internationalization of Hong Kong cinema since the days
agitate
发表于 2025-3-22 17:31:23
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homocysteine
发表于 2025-3-22 23:31:49
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死猫他烧焦
发表于 2025-3-23 04:31:55
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有权
发表于 2025-3-23 09:27:05
Preliminary Considerations wars and crisis situations in the Third World: for instance Vietnam, the Middle East, the Congo, Cuba, Mozambique, etc. Some of these which arose from the desire of a people to assert their right to independence, have to some extent found solutions only at the mercy of reciprocal concessions betwee