Kinnia Yau Shuk-ting’s scientific contributions

The action movie has always been a genre that Hong Kong cinema is proud of. Many symbolic figures of Hong Kong cinema arose from this genre. Examples include Bruce Lee, Jackie Chan, Yuen Woo-ping, John Woo, Jet Li, Johnnie To, and Andrew Lau. Some of them were invited to participate in Hollywood pictures, and a few of the movies such as Infernal Affairs, were remade into Hollywood versions which achieved box office success and recognition with film awards. Undoubtedly, Hong Kong action movies have received worldwide recognition, fulfilling the dream that Hong Kong filmmakers have been striving hard to achieve for years.

Miike Takashi's Box is the most surreal compared to Fruit Chan's Dumplings and Park Chan-wook's Cut in Three…Extremes. The ambiguous narrative structure and dreamlike elements in Box enable different possible interpretations of the film. Due to the film's dreamlike qualities, it is easily tempted to decipher the film by applying Western psychoanalytical theories. Nevertheless, there are many underlying elements in the film that actually display Japanese tradition, especially the performing arts, i.e. noh which existed since the 14th Century, about five hundred years before Sigmund Freud was born.

This article traces the economic, social, and cultural development of Japan over the past few decades. The first part of the paper describes and analyzes some of the underlying anxieties and desires of the Japanese that have resulted from their country's historical development, particularly the burst of the economic bubble. The second part examines selected romantic melodramas that have been produced from the 1990s until recent years. It explores how the characterization and setting of these movies convey the nostalgic feeling of the Japanese towards their past, i.e. the time before the burst of the bubble economy.

In the past decade, the Korean film industry has experienced remarkable growth. According to data from the Korean Film Council (refer to the figure below), Korea is experiencing an increasing demand for Korean films, as well as a decreasing demand for foreign films. Korean films have captured more than 50 percent of domestic market share and have outperformed foreign films at the box office since 2003. Once restrained by national instability, censorship, and regulations, Korean cinema is enjoying a renaissance in recent years, due, to some extent, to the introduction of the Film Promotion Law of 1995

The article begins by examining the historical background of motion pictures in Japan and Hong Kong. Part two turns to look at the external catalyst of beauty comedies from a social perspective. The final part investigates the internal significance of beauty comedies, which will then lead us into whether women's contemporary status has been improved from the men's perspective.