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A Companion to Hong Kong Cinema


A Companion to Hong Kong Cinema


Wiley Blackwell Companions to National Cinemas 1. Aufl.

von: Esther M. K. Cheung, Gina Marchetti, Esther C. M. Yau

171,99 €

Verlag: Wiley-Blackwell
Format: EPUB
Veröffentl.: 08.06.2015
ISBN/EAN: 9781118883518
Sprache: englisch
Anzahl Seiten: 640

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Beschreibungen

<p><i>A Companion to Hong Kong Cinema</i> provides the first comprehensive scholarly exploration of this unique global cinema. By embracing the interdisciplinary approach of contemporary film and cultural studies, this collection navigates theoretical debates while charting a new course for future research in Hong Kong film.</p> <ul> <li>Examines Hong Kong cinema within an interdisciplinary context, drawing connections between media, gender, and Asian studies, Asian regional studies, Chinese language and cultural studies, global studies, and critical theory</li> <li>Highlights the often contentious debates that shape current thinking about film as a medium and its possible future</li> <li>Investigates how changing research on gender, the body, and sexual orientation alter the ways in which we analyze sexual difference in Hong Kong cinema</li> <li>Charts how developments in theories of colonialism, postcolonialism, globalization, neoliberalism,  Orientalism, and nationalism transform our understanding of the economics and politics of the Hong Kong film industry</li> <li>Explores how the concepts of diaspora, nostalgia, exile, and trauma offer opportunities to rethink accepted ways of understanding Hong Kong’s popular cinematic genres and stars</li> </ul>
<p>Acknowledgments x</p> <p>Notes on Contributors xi</p> <p>Foreword xviii<br /><i>Ackbar Abbas</i></p> <p>Introduction 1<br /><i>Esther M.K. Cheung, Gina Marchetti, and Esther C.M. Yau</i></p> <p><b>Part I Critical Paradigms: Defining Hong Kong Cinema Studies 15</b></p> <p>1 Watchful Partners, Hidden Currents: Hong Kong Cinema Moving into the Mainland of China 17<br /><i>Esther C.M. Yau</i></p> <p>2 The Urban Maze: Crisis and Topography in Hong Kong Cinema 51<br /><i>Esther M.K. Cheung</i></p> <p>3 Hong Kong Cinema as Ethnic Borderland 71<br /><i>Kwai?]cheung Lo</i></p> <p>4 Hong Kong Cinema in the Age of Neoliberalization and Mainlandization: Hong Kong SAR New Wave as a Cinema of Anxiety 89<br /><i>Mirana May Szeto and Yun?]chung Chen</i></p> <p>Commentary: Dimensions of Hong Kong Cinema 116<br /><i>Sheldon Lu</i></p> <p><b>Part II Critical Geographies 121</b></p> <p>5 Hong Kong Cinema’s Exotic Others: Re?]examining the Hong Kong Body in the Context of Asian Regionalism 123<br /><i>Olivia Khoo</i></p> <p>6 Animating the Translocal: The McDull Films as a Cultural and Visual Expression of Hong Kong 140<br /><i>Kimburley Wing-yee Choi and Steve Fore</i></p> <p>7 Globalizing Hong Kong Cinema Through Japan 168<br /><i>David Desser</i></p> <p>8 Creative Cinematic Geographies Through the Hong Kong International Film Festival 185<br /><i>Cindy Hing?]yuk Wong</i></p> <p>9 Postmodernity, Han Normativity, and Hong Kong Cinema 207<br /><i>Evans Chan</i></p> <p>Commentary: Critical Geographies 225<br /><i>Stephen Yiu?]wai Chu</i></p> <p><b>Part III The Gendered Body and Queer Configurations 235</b></p> <p>10 Feminism, Postfeminism, and Hong Kong Women Filmmakers 237<br /><i>Gina Marchetti</i></p> <p>11 Love In The City: The Placing of Intimacy in Urban Romance Films 265<br /><i>Helen Hok?]sze Leung</i></p> <p>12 Regulating Queer Domesticity in the Neoliberal Diaspora 284<br /><i>Audrey Yue</i></p> <p>Commentary: To Love is to Demand: A Very Short Commentary 303<br /><i>Shu?]mei Shih</i></p> <p><b>Part IV Hong Kong Stars 305</b></p> <p>13 Return of the Dragon: Handover, Hong Kong Cinema, and Chinese Ethno?]nationalism 307<br /><i>Paul Bowman</i></p> <p>14 Transitional Stardom: The Case of Jimmy Wang Yu 322<br /><i>Tony Williams</i></p> <p>15 Camp Stars of Androgyny: A Study of Leslie Cheung and Anita Mui’s Body Images of Desire 341<br /><i>Natalia Siu?]hung Chan</i></p> <p>16 Cooling Faye Wong: A Cosmopolitical Intervention 359<br /><i>Kin?]Yan Szeto</i></p> <p>Commentary: Hong Kong Stars and Stardom 379<br /><i>Gary Bettinson</i></p> <p><b>Part V Narratives and Aesthetics 389</b></p> <p>17 Making Merry on Time: A Feast of Nostalgia in Watching Chinese New Year Films 391<br /><i>Fiona Yuk?]wa Law</i></p> <p>18 A Pan?]Asian Cinema of Allusion: Going Home and Dumplings 410<br /><i>Bliss Cua Lim</i></p> <p>19 Double Agents, Cameos, and the Poor Man’s Orchestra: Music and Place in Chungking Express 440<br /><i>Giorgio Biancorosso</i></p> <p>20 Documenting Sentiments in Video Diaries around 1997: Archeology of Forgotten Screen Practices 462<br /><i>Linda Chiu?]han Lai</i></p> <p>Commentary: The Dynamics of Off?]Centeredness in Hong Kong Cinema 489<br /><i>Yingjin Zhang</i></p> <p><b>Part VI Screen Histories and Documentary Practices 499</b></p> <p>21 The Lightness of History: Screening the Past in Hong Kong Cinema 501<br /><i>Vivian P.Y. Lee</i></p> <p>22 The Tales of Fang Peilin and Zhu Shilin: From Rethinking Hong Kong Cinema to Rewriting Chinese Film History 523<br /><i>Ain?]ling Wong</i></p> <p>23 The Documentary Film in Hong Kong 539<br /><i>Ian Aitken and Mike Ingham</i></p> <p>24 Representations of Law in Hong Kong Cinema 560<br /><i>Marco Wan</i></p> <p>Commentary: Cinema and the Cultural Politics of Identity: Hong Kong No More? A Commentary on the Verge of Postcolonial Locality 577<br /><i>Stephen Ching?]kiu Chan</i></p> <p>Filmography 585</p> <p>Index 602</p>
<b>Esther M.K. Cheung</b> is Department Chairperson, Department of Comparative Literature, School of Humanities, at the University of Hong Kong. She is the author of <i>Fruit Chan’s Made in Hong Kong</i> (2009) and <i>In Pursuit of Independent Visions in Hong Kong Cinema</i> (2010).<br /><br /><b>Gina Marchetti</b> is Professor, Department of Comparative Literature, School of Humanities, at the University of Hong Kong. Her books include <i>Romance and the "Yellow Peril":</i> Race<i>, Sex and Discursive Strategies in Hollywood Fiction</i> (1993) and <i>Andrew Lau and Alan Mak’s INFERNAL AFFAIRS—The Trilogy</i> (2007).<br /><br /><b>Esther C.M. Yau</b> is Associate Professor, Department of Comparative Literature, School of Humanities, at the University of Hong Kong. Her books include <i>At Full Speed: Hong Kong Cinema in a Borderless World</i> (editor, 2001) and <i>New Chinese Cinemas: Forms, Identities, Politics</i> (co-editor, 1996).
<i>A Companion to Hong Kong Cinema</i> represents the first comprehensive exploration of this unique global cinema. By embracing the interdisciplinary approach of contemporary film and cultural studies, this collection navigates theoretical debates while charting a new course for future research in Hong Kong film.<br /><br />Featuring original contributions from both established and emerging film scholars, these essays offer cutting-edge theoretical perspectives on a broad range of established and emerging topics in the field and reveal how evolving approaches to historiography, sexuality, and colonialism have shaped our understanding of Hong Kong film history. The book also poses philosophical questions concerning how we understand what we see on screen in Hong Kong cinema and how we make sense of this knowledge.  Building on this theoretical framework, the volume explores various aspects of Hong Kong film culture within geographic, aesthetic, institutional, cultural, and scholarly contexts. Innovative and thought-provoking, <i>A Companion to Hong Kong Cinema</i> is an essential resource on the state of contemporary scholarship relating to one of the most dynamic cinematic traditions in the history of international film.

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