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are a prime example of Hong Kong cinema as a cinema of attractions as described by film scholar Tom
Gunning and further examined in film studies all over the world. Gunning’s analysis sees the main principle of early cinema as “exhibitionist confrontation rather than diegetic absorption” and can be
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studio at a young age as a junior worker. Years later he was promoted to the camera department as focus puller. From that position he moved up to become a cinematographer. As a cinematographer he worked with a number of renowned directors, mainly with
149:, just like the contemporary New Wave films, combine popular genres with personal drama, their characters and conflicts are grounded in the everyday social reality of Hong Kong and they were filmed on actual locations, not just in a studio.
92:(1978). Lam worked as a cinematographer for seven years and was regarded as one of the best of his trade at the Shaw Brothers studio. Despite the encouragement of the studio, as well as the persuasion of such landmark talent as
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status in the West, in its day it did not do so well in the local cinemas. It grossed only HK$ 2,147,778, whereas Lam’s previous films for Golden
Harvest usually grossed around 8 to 10 million HK$ . Lam’s last film to date is
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expanded not just to experimental cinema but also to certain trends in commercial cinema. Hong Kong films are a prime example of a cinema where narration is secondary to a constant stream of attractions.
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combines both recent trends in Lam's filmography – high concept adaptations of
Japanese comics and hyper-violent exploitation films abundant with bodily fluids. Even though the film later gained a huge
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Because of their sensational focus on the body and its functions, deformations and mortality, the majority of Lam’s movies for Golden
Harvest, can be interpreted using
194:(1986). Both films written by Wong Jing, the first one with him in a starring role and the second produced by him, these films marked a new direction in Lam’s career.
365:(1992), feature regular Hong Kong citizens suddenly facing an heartless evil force threatening their way of life and their very existence. Especially
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in the classical sense, meaning he was the director and cinematographer of the films, but not the author of the script. Nevertheless,
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Combining low-brow comedy with elements of action, adventure and even horror, Lam Ngai Kai’s films starting with
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239:(1990), which again started the whole stream of erotic films with historical/fantasy settings such as
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of the turn of the 70’s and 80’s, these two films display an identical approach to the films of say
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125:(1983), both produced by Shaw Brothers. Even though Lam is not considered part of the
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119:(1982), which he followed with an even more refined and progressive urban thriller
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310:(1992), an hallucinatory mixture of action, horror, comedy and science fiction.
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Director's biography in the bonus materials on the
Celestial Pictures DVD of
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The Cinema of
Attraction: Early Film, Its Spectator and the Avant-Garde
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33:(藍乃才), a.k.a. Lam Nai Choi, Nam Nai Choi, Simon Nam (born 1953), is a
245:(1991). At the same time Lam directed two spectacular adaptations of
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110:(1981), which became the first directorial work for each of them.
45:. In the West he is mainly known for his overtly violent movie
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Lam’s most notorious film is his 1991 over-the-top gore movie
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Lam Ngai Kai’s filmography at HKMDB (http://www.hkmdb.com)
178:(1985). In 1985 both Lam and Wong left Shaw Brothers for
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Lam’s first film as solo director was the crime drama
808:at DeVil Dead (http://www.devildead.com) in French
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709:Story of Riky at HKMDB (http://www.hkmdb.com)
137:. The only difference is that Lam was not an
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220:series. In 1988 Lam set the ground for the
27:Hong Kong film director and cinematographer
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763:at Rejže.cz (http://rejze.cz) in Czech
314:Critical analysis and recurring themes
202:mechanical and optical special effects
227:boom with his rape and revenge movie
68:with whom he worked on films such as
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393:(1981) (co-directed with Danny Lee)
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747:The Cinema of Attractions Reloaded
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541:Assault - The Criminals, Part IV
339:Some of Lam’s films, especially
152:In 1984 Lam directed the comedy
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481:(1991) (credited as Simon Nam)
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104:invited him to co-direct
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204:. In 1987 Lam directed
158:, which was written by
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605:The Kid with a Tattoo
597:Rendezvous with Death
589:To Kill a Mastermind
698:Men from the Gutter
645:Men from the Gutter
509:The Drug Connection
470:Saga of the Phoenix
414:The Ghost Snatchers
406:Men from the Gutter
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147:Men from the Gutter
122:Men from the Gutter
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776:Erotic Ghost Story
677:Erotic Ghost Story
557:The Avenging Eagle
462:Erotic Ghost Story
296:Tetsuya Saruwatari
236:Erotic Ghost Story
127:Hong Kong New Wave
89:The Avenging Eagle
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629:My Rebellious Son
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430:The Seventh Curse
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517:Big Bad Sis
362:Hard Boiled
332:concept of
261:(1988) and
242:Sex and Zen
188:(1986) and
172:(1984) and
86:(1978) and
77:Big Bad Sis
55:Film career
850:Categories
804:Review of
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774:Review of
685:References
549:Cobra Girl
273:Gloria Yip
135:Johnny Mak
98:Sammo Hung
269:Yuen Biao
160:Wong Jing
131:Dennis Yu
102:Danny Lee
94:Tsui Hark
66:Sun Chung
35:Hong Kong
357:John Woo
80:(1976),
74:(1976),
791:The Cat
761:The Cat
486:The Cat
367:The Cat
349:The Cat
307:The Cat
287:Riki-Oh
222:CAT III
37:–based
680:(1990)
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