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{{Short description|Film director}}
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'''Tang Shu Shuen''' (aka Shu Shuen or Cecile Tang Shu Shuen) (born 1941) is a former [[Hong Kong]] film director. Though her film career was brief, she was a trailblazer for socially critical [[art film|art cinema]] in Hong Kong's populist [[Cinema of Hong Kong|film industry]], as well as its first noted woman director.
{{family name hatnote|[[Táng (surname)|Tang]]|lang=Chinese}}
{{Infobox person
|name = Tang Shu Shuen
|birth_date = {{birth year and age|1941}}
|birth_place = [[Yunnan]] province, China
|death_date =
|death_place =
|native_name = {{zh|t=唐書璇}}
|other_names = Cecile Tang Shu Shuen, Cecille Tong Shu-Shuen
|occupation = Film director
|yearsactive = 1968–76
}}
⚫
'''Tang Shu Shuen''' ({{zh|t=唐書璇|p=Táng Shūxuán}}; born 1941) is a former [[Hong Kong]] film director. Though her film career was brief, she was a trailblazer for socially critical [[art film|art cinema]] in Hong Kong's populist [[Cinema of Hong Kong|film industry]], as well as its first noted woman director.


Tang was born in [[Yunnan]] province in [[China]]. She graduated from the [[University of Southern California]].
Tang was born in [[Yunnan]] province, China. She graduated from the [[University of Southern California]].


Tang's best-known films are her first two, ''The Arch'' (1970) and ''China Behind'' (1974). The first film looks at the subjugation of women and their sexuality in a traditional village through the story of a widow's unconsummated passion for a male houseguest. The second follows the harrowing journey of a group of college students trying to cross illegally into Hong Kong from a China torn by the [[Cultural Revolution]].
Tang's best-known films are her first two, ''[[The Arch (film)|The Arch]]'' (1968) and ''[[China Behind]]'' (1974). The first film looks at the subjugation of women and their sexuality in a traditional village through the story of a widow's unconsummated passion for a male houseguest. The second follows the harrowing journey of a group of college students trying to cross illegally into Hong Kong from a China torn by the [[Cultural Revolution]].


The bleak portrait in ''China Behind'' of both [[Communist Party of China|communist]] China and [[Capitalism|capitalist]] Hong Kong brought upon it a thirteen-year ban by the [[History of Hong Kong#British colony|British colonial authorities]]. In addition to their provocative themes, both films used stylistic devices, such as freeze-frames and expressionistic color, possibly inspired by the European art cinema of the 1960s.
The bleak portrait in ''China Behind'' of both [[Communist Party of China|communist]] China and [[Capitalism|capitalist]] Hong Kong brought upon it a thirteen-year ban by the [[History of Hong Kong#British colony|British colonial authorities]]{{Broken anchor|date=2024-03-24|bot=User:Cewbot/log/20201008/configuration|reason= The anchor (British colony) [[Special:Diff/50828817|has been deleted]].}}. In addition to their provocative themes, both films used stylistic devices, such as freeze-frames and expressionistic color, possibly inspired by the European art cinema of the 1960s.


Tang made two more, less noted, films, ''Sup Sap Bup Dup'' (1975) and ''The Hong Kong Tycoon'' (1979). She also launched the territory's first serious film journal, ''Close-Up'', in 1976. It stopped publishing in 1979 (Bordwell, 2000).
Tang made two more, less noted, films, ''Sup Sap Bup Dup'' (1975) and ''The Hong Kong Tycoon'' (1979). She also launched the territory's first serious film journal, ''Close-Up'', in 1976. It stopped publishing in 1979 (Bordwell, 2000).


She ceased filmmaking and emigrated to the [[United States]] in 1979, becoming a respected restauranteur in [[Los Angeles]]. Many critics, however, see her influence in the so-called [[Hong Kong New Wave]] of edgy, groundbreaking young filmmakers in the late '70s and early '80s.
She ceased filmmaking and emigrated to the United States in 1979, becoming a respected restaurateur in [[Los Angeles]]. Many critics, however, see her influence in the so-called [[Hong Kong New Wave]] of edgy, groundbreaking young filmmakers in the late '70s and early '80s.


{{HK-stub}}


==References==
==References==
⚫
* Bordwell, David. ''Planet Hong Kong: Popular Cinema and the Art of Entertainment''. Cambridge, MA: Harvard University Press, 2000. {{ISBN|0-674-00214-8}}
⚫
* Teo, Stephen. ''Hong Kong Cinema: The Extra Dimensions''. London: British Film Institute, 1997. {{ISBN|0-85170-514-6}}


==External links==
⚫
* Bordwell, David. ''Planet Hong Kong: Popular Cinema and the Art of Entertainment''. Cambridge, MA: Harvard University Press, 2000. ISBN 0-674-00214-8
* {{IMDb name|0845770}}


{{Authority control}}
⚫
* Teo, Stephen. ''Hong Kong Cinema: The Extra Dimensions''. London: British Film Institute, 1997. ISBN 0-85170-514-6


{{DEFAULTSORT:Tang, Shu Shuen}}
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[[Category:Cinema of Hong Kong]]
[[Category:Hong Kong film directors|Tang, Shu Shuen]]
[[Category:1941 births]]
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[[Category:Living people]]
[[Category:University of Southern California alumni]]
[[Category:Hong Kong emigrants to the United States]]
[[Category:Hong Kong film directors]]

Latest revision as of 10:04, 24 March 2024

In this Chinese name, the family name is Tang.
Tang Shu Shuen
Chinese: 唐書璇
Born1941 (age 82–83)
Yunnan province, China
Other namesCecile Tang Shu Shuen, Cecille Tong Shu-Shuen
OccupationFilm director
Years active1968–76

Tang Shu Shuen (Chinese: 唐書璇; pinyin: Táng Shūxuán; born 1941) is a former Hong Kong film director. Though her film career was brief, she was a trailblazer for socially critical art cinema in Hong Kong's populist film industry, as well as its first noted woman director.

Tang was born in Yunnan province, China. She graduated from the University of Southern California.

Tang's best-known films are her first two, The Arch (1968) and China Behind (1974). The first film looks at the subjugation of women and their sexuality in a traditional village through the story of a widow's unconsummated passion for a male houseguest. The second follows the harrowing journey of a group of college students trying to cross illegally into Hong Kong from a China torn by the Cultural Revolution.

The bleak portrait in China Behind of both communist China and capitalist Hong Kong brought upon it a thirteen-year ban by the British colonial authorities[broken anchor]. In addition to their provocative themes, both films used stylistic devices, such as freeze-frames and expressionistic color, possibly inspired by the European art cinema of the 1960s.

Tang made two more, less noted, films, Sup Sap Bup Dup (1975) and The Hong Kong Tycoon (1979). She also launched the territory's first serious film journal, Close-Up, in 1976. It stopped publishing in 1979 (Bordwell, 2000).

She ceased filmmaking and emigrated to the United States in 1979, becoming a respected restaurateur in Los Angeles. Many critics, however, see her influence in the so-called Hong Kong New Wave of edgy, groundbreaking young filmmakers in the late '70s and early '80s.

References[edit]

  • Bordwell, David. Planet Hong Kong: Popular Cinema and the Art of Entertainment. Cambridge, MA: Harvard University Press, 2000. ISBN 0-674-00214-8
  • Teo, Stephen. Hong Kong Cinema: The Extra Dimensions. London: British Film Institute, 1997. ISBN 0-85170-514-6

External links[edit]

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