Fr. 270.00

A Companion to Hong Kong Cinema

English · Hardback

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Informationen zum Autor Esther M.K. Cheung is Department Chairperson, Department of Comparative Literature, School of Humanities, at the University of Hong Kong. She is the author of Fruit Chan's Made in Hong Kong (2009) and In Pursuit of Independent Visions in Hong Kong Cinema (2010). Gina Marchetti is Professor, Department of Comparative Literature, School of Humanities, at the University of Hong Kong. Her books include Romance and the "Yellow Peril": Race , Sex and Discursive Strategies in Hollywood Fiction (1993) and Andrew Lau and Alan Mak's INFERNAL AFFAIRS-The Trilogy (2007). Esther C.M. Yau is Associate Professor, Department of Comparative Literature, School of Humanities, at the University of Hong Kong. Her books include At Full Speed: Hong Kong Cinema in a Borderless World (editor, 2001) and New Chinese Cinemas: Forms, Identities, Politics (co-editor, 1996). Klappentext A Companion to Hong Kong Cinema 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.* 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* Highlights the often contentious debates that shape current thinking about film as a medium and its possible future* Investigates how changing research on gender, the body, and sexual orientation alter the ways in which we analyze sexual difference in Hong Kong cinema* 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* 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 Zusammenfassung A Companion to Hong Kong Cinema 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. Inhaltsverzeichnis Acknowledgments x Notes on Contributors xi Foreword xviii Ackbar Abbas Introduction 1 Esther M.K. Cheung, Gina Marchetti, and Esther C.M. Yau Part I Critical Paradigms: Defining Hong Kong Cinema Studies 15 1 Watchful Partners, Hidden Currents: Hong Kong Cinema Moving into the Mainland of China 17 Esther C.M. Yau 2 The Urban Maze: Crisis and Topography in Hong Kong Cinema 51 Esther M.K. Cheung 3 Hong Kong Cinema as Ethnic Borderland 71 Kwai?]cheung Lo 4 Hong Kong Cinema in the Age of Neoliberalization and Mainlandization: Hong Kong SAR New Wave as a Cinema of Anxiety 89 Mirana May Szeto and Yun?]chung Chen Commentary: Dimensions of Hong Kong Cinema 116 Sheldon Lu Part II Critical Geographies 121 5 Hong Kong Cinema's Exotic Others: Re?]examining the Hong Kong Body in the Context of Asian Regionalism 123 Olivia Khoo 6 Animating the Translocal: The McDull Films as a Cultural and Visual Expression of Hong Kong 140 Kimburley Wing-yee Choi and Steve Fore 7 Globalizing Hong Kong Cinema Through Japan 168 David Desser 8 Creative Cinematic Geographies Through the Hong Kong International Film Festival 185 Cindy Hing?]yuk Wong 9 Postmodernity, Han Normativity, an...

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