Stephen Teo News Today

Tsui Hark made two of his most daring films in 1980, one a satire with a cannibal theme, the other an extremely violent on society, with characters who wreak destruction for the hell of it.

IN 1963, the only few rare occasions when anyone anywhere else had heard of or seen Sarawak on the silver screen were short snippets of news and any world-shattering events taken mainly by news agencies and film studios such as Pathe (UK) and the BBC. They were filmed in black-and-white as colour wa

Incivility is most harmful when it comes from a supervisor: someone we’re supposed to trust, who’s supposed to look after us.

EconoTimes is a fast growing non-partisan source of news and intelligence on global economy and financial markets, providing timely, relevant, and critical insights for market professionals and those who want to make informed investment decisions.

Workplace incivility doesn’t quite rise to the level of bullying, harassment or discrimination, which makes it harder to tackle. Here’s why it occurs and what can be done about it.

Although Hong Kong cinema has often used shocks to attract audiences, proper Cantonese-language ghost films didn't start being produced until the 1980s, when the genre was combined with kung fu and comedy in hit films like Sammo Hung Kam-bo's Encounter of the Spooky Kind. As for horror, cheap copies of American movies were produced in the early 1970s to ride...

Less revered than his previous two kung fu films, Bruce Lee's 1972 The Way of the Dragon is notable nonetheless for highlighting the martial arts star's potential as a writer/director - as well as for a stunning finale which pits Lee against American karate champ Chuck Norris in Rome's ancient Colosseum. "The first work to be directed by Bruce Lee...

Art, politics, and commerce are intertwined everywhere, but in China the interplay is explicit, intimate, and elemental, and nowhere more so than in the film industry. Understanding this interplay in the era of market reform and globalization is essential to understanding mainland Chinese cinema. This interdisciplinary book provides a comprehensive reappraisal of Chinese

Bruce Lee's debut Hong Kong martial arts movie The Big Boss made him an instant star in Hong Kong. Opening on the last day of October, 1971, it drew full houses for its seven daily screenings and took HK$3.2 million (S$558,200) at the box office during its 19-day run. It made a million of those in just two days, and...

Vivian P. Y. Lee discusses her article "The City in Flux: Toward an Urban Topology of Hong Kong Cinema," from Telos 197 (Winter 2021).