Olivia Khoo
- Published in print:
- 2007
- Published Online:
- September 2011
- ISBN:
- 9789622098794
- eISBN:
- 9789882207516
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622098794.003.0003
- Subject:
- Society and Culture, Asian Studies
This chapter examines how the movements of the fold can be translated and further understood through the movement of Chinese screen actresses, from the Asian film industry into that of the West. It ...
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This chapter examines how the movements of the fold can be translated and further understood through the movement of Chinese screen actresses, from the Asian film industry into that of the West. It focuses on how two popular Hong Kong film stars, Maggie Cheung and Michelle Yeoh, have translated or “crossed over” from Hong Kong cinema into the institutional sites of French art house cinema (Cheung in Olivier Assayas's Irma Vep), and Hollywood (Yeoh in the James Bond film Tomorrow Never Dies). The chapter also explains how the figures of the spy, vamp, and woman warrior, particularly as introduced by Yeoh and Cheung through their cross-over roles, characterize diasporic Chinese femininity.Less
This chapter examines how the movements of the fold can be translated and further understood through the movement of Chinese screen actresses, from the Asian film industry into that of the West. It focuses on how two popular Hong Kong film stars, Maggie Cheung and Michelle Yeoh, have translated or “crossed over” from Hong Kong cinema into the institutional sites of French art house cinema (Cheung in Olivier Assayas's Irma Vep), and Hollywood (Yeoh in the James Bond film Tomorrow Never Dies). The chapter also explains how the figures of the spy, vamp, and woman warrior, particularly as introduced by Yeoh and Cheung through their cross-over roles, characterize diasporic Chinese femininity.
Jon Burlingame
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780199863303
- eISBN:
- 9780199979981
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199863303.003.0021
- Subject:
- Music, Popular, History, American
Brosnan continued as Bond, but as studio MGM-UA exercised greater control over the music of the Bond films, a new strategy was employed for the 1997 film: A “cattle call” of many different rock and ...
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Brosnan continued as Bond, but as studio MGM-UA exercised greater control over the music of the Bond films, a new strategy was employed for the 1997 film: A “cattle call” of many different rock and pop writers and performers, seeking “demos” of possible themes for the new Bond film. Sheryl Crow wound up the winner, co-writing (with Mitchell Froom) and singing the title song. Meanwhile, when negotiations with John Barry broke down, British composer David Arnold (who had enjoyed a massive hit with the Grammy-winning score for Independence Day) was finishing an album of covers of Bond tunes and that led to being signed to score Tomorrow Never Dies: A major Barry fan, he continues in the Barry-Bond tradition but updates the sound with fresh-sounding synthesizer textures. And he hires veteran Bond lyricist Don Black to add words to his own theme, which becomes “Surrender“ and is sung over the end titles by K.D. Lang.Less
Brosnan continued as Bond, but as studio MGM-UA exercised greater control over the music of the Bond films, a new strategy was employed for the 1997 film: A “cattle call” of many different rock and pop writers and performers, seeking “demos” of possible themes for the new Bond film. Sheryl Crow wound up the winner, co-writing (with Mitchell Froom) and singing the title song. Meanwhile, when negotiations with John Barry broke down, British composer David Arnold (who had enjoyed a massive hit with the Grammy-winning score for Independence Day) was finishing an album of covers of Bond tunes and that led to being signed to score Tomorrow Never Dies: A major Barry fan, he continues in the Barry-Bond tradition but updates the sound with fresh-sounding synthesizer textures. And he hires veteran Bond lyricist Don Black to add words to his own theme, which becomes “Surrender“ and is sung over the end titles by K.D. Lang.
