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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
- Sales Rank: #4513657 in Books
- Published on: 2015-08-17
- Original language: English
- Number of items: 1
- Dimensions: 9.90" h x 1.30" w x 7.00" l, .0 pounds
- Binding: Hardcover
- 640 pages
Review
“Given the drastic and dramatic changes in Hong Kong and its cinema in the past two decades, A Companion to Hong Kong Cinema is the perfect travelling partner for finding one’s way through the twists, turns, and reversals of the city’s film history and contemporary scene. Vast changes in economics, technologies, politics, cultures, and new relations to the Mainland and Asian neighbors make a guide essential, and this anthology provides needed signposts and detailed maps of an urban cultural geography ranging from underground media passages to lofty screen overlooks. Beginning student or fanboy/fangirl enthusiast, determined critic or advanced researcher, all will find this companion a boon friend and reliable buddy.”
Chuck Kleinhans, Northwestern University and Co-editor, JUMP CUT
From the Back Cover
A Companion to Hong Kong Cinema 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.
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, A Companion to Hong Kong Cinema 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.
About the Author
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).
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