Raymond Tsang

Biographic Data

ID9748244
NAMERaymond Tsang
GIVEN NAMESRaymond
FAMILY NAMETsang
SIGNATURETSANG R
AFFILIATIONSUniversity of Southern California
VERIFIEDNo
TOTAL WORKS6
TOTAL CITATIONS0
WORKS AS AUTHOR6
WORKS AS EDITOR0
FIRST PUBLICATION YEAR2018
LATEST PUBLICATION YEAR2022
H-INDEX0

  • Introduction to special issue on Hong Kong left-wing cinema 1950s-1970s, Journal of Chinese Cinemas

    Tom Cunliffe, Raymond TsangARTICLEJournal of Chinese Cinemas2022

    It is rare to find research or cinema programmes that place Hong Kong left-wing films made from the 1950s to 1970s within a global context of political films that deal with progressive politics tha

  • Experimental shorts, film culture, and Third World Cinema in 1950s–1970s Hong Kong

    Raymond Tsang, Tom CunliffeARTICLEJournal of Chinese Cinemas2022

    Law Kar provides a comprehensive overview of his thoughts on the historical development of left-wing and progressive cinema in Hong Kong from the 1940s–1970s. Law Kar introduces the concept of ­“spontaneous” in relation to “third cinema” produced in Hong Kong, which allows space for the critical thinking of the creative personnel working on the films and the audiences watching them. Law’s insights complicate the political horizon of left-wing fil…

  • Legacies of leftism in anti-Japanese war films – The working masses in the Union’s Road and Sea

    Raymond TsangARTICLEJournal of Chinese Cinemas2022

    In Hong Kong film historiography, the films from the Union Film Enterprise Ltd (1952–1967) are totally separated from socialist arts and politics. In this paper, I argue that the working masses in Union’s films are derived from the legacies of leftism, which manifest in films about the anti-Japanese War of Resistance (kang ri). The Chinese leftism legacies, since the 1930s, are concerned with how human beings are formed socially rather than moral…

  • The making and screening of independent films in the absence of radical Revolution

    Tom Cunliffe, Raymond TsangARTICLEJournal of Chinese Cinemas2022

    This is a wide-ranging interview with Augustine Mok Chiu-yu. It focuses on topics including film exhibition in Hong Kong of political films from across the globe and the making of independent and experimental cinema in Hong Kong. This contributes to an assessment of Hong Kong left-wing cinema in the 1970s that transcends and moves beyond the limiting boundaries of the US-Soviet Union Cold War discourse. Mok discusses his own role and history in p…

  • Wolf Warrior II (2017) and the inefficient Main Melody ( Zhu Xuanlü )

    Yanjiao Chen, Gongchang Ge et al.ARTICLEJournal of Chinese Cinemas2021

    This is a roundtable discussion organized by Deep Focus and was originally published on August 22, 2017. Following the release of the film Wolf Warrior II (Zhanlang er, 2017), a sequel to Wolf Warrior (Zhanlang, 2015), the roundtable sought to provide a critical response to the polarized debates that the film sparked in China. Indeed, the seven-person roundtable was the most attended and diverse one in the history of Deep Focus roundtables, which…

  • What Can a Neoi Gwei Teach Us? Adaptation as Reincarnation in Hong Kong Horror of the 1950s

    Raymond TsangBOOKHong Kong Horror Cinema2018

    Many Hong Kong horror films of the 1950s were pedagogical in nature, and subsequently had a great influence on the Hong Kong New Wave (1980–90). Without examining these earlier films, we cannot fully understand the practice of adaptation and the depiction of the neoi gwei (female ghost) in New Wave horror. Because of the criticism from both intellectuals and cultural elites, earlier Cantonese filmmakers had tried to elevate Cantonese cinema since…