A Companion to Hong Kong Cinema provides the firstcomprehensive scholarly exploration of this unique global cinema.By embracing the interdisciplinary approach of contemporary filmand cultural studies, this collection navigates theoretical debateswhile charting a new course for future research in Hong Kongfilm. 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 currentthinking about film as a medium and its possible future Investigates how changing research on gender, the body, andsexual orientation alter the ways in which we analyze sexualdifference in Hong Kong cinema Charts how developments in theories of colonialism,postcolonialism, globalization, neoliberalism, Orientalism,and nationalism transform our understanding of the economics andpolitics of the Hong Kong film industry Explores how the concepts of diaspora, nostalgia, exile, andtrauma offer opportunities to rethink accepted ways ofunderstanding Hong Kong’s popular cinematic genres andstars

A Companion to Chinese Cinema is a collection of original essays written by experts in a range of disciplines that provide a comprehensive overview of the evolution and current state of Chinese cinema. Represents the most comprehensive coverage of Chinese cinema to date Applies a multidisciplinary approach that maps the expanding field of Chinese cinema in bold and definitive ways Draws attention to previously neglected areas such as diasporic filmmaking, independent documentary, film styles and techniques, queer aesthetics, star studies, film and other arts or media Features several chapters that explore China’s new market economy, government policy, and industry practice, placing the intricate relationship between film and politics in a historical and international context Includes overviews of Chinese film studies in Chinese and English publications

This volume examines Hong Kong cinema in transnational, historical, and artistic contexts.

Since the 1960s, Hong Kong cinema has helped to shape one of the world's most popular cultural genres: action cinema. Hong Kong action films have proved popular over the decades with audiences worldwide, and they have seized the imaginations of filmmakers working in many different cultural traditions and styles. How do we account for this appeal, which changes as it crosses national borders? Hong Kong Connections brings leading film scholars together to explore the uptake of Hong Kong cinema in Japan, Korea, India, Australia, France and the US as well as its links with Taiwan, Singapore and the Chinese mainland. In the process, this collective study examines diverse cultural contexts for action cinema's popularity, and the problems involved in the transnational study of globally popular forms suggesting that in order to grasp the history of Hong Kong action cinema's influence we need to bring out the differences as well as the links that constitute popularity.

Hong Kong cinema began attracting international attention in the 1980s. By the early 1990s, Hong Kong had become "Hollywood East" as its film industry rose to first in the world in per capita production, was ranked second to the United States in the number of films it exported, and stood third in the world in the number of films produced per year behind the United States and India. This second edition of Historical Dictionary of Hong Kong Cinema contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 600 cross-referenced entries on directors, producers, writers, actors, films, film companies, genres, and terminology. This book is an excellent resource for students, researchers, and anyone wanting to know more about Hong Kong cinema.

Hong Kong's film industry gained global attention in the 1980s, at the time of negotiations over Great Britain's return of the colony to China. Uncertainty about the post-handover era accelerated Hong Kong's race for economic growth, and found expression in cinema's depictions of a 'city on fire.' In this accessible introduction to the extraordinary cinematic output of the colony, Michael Hoover and Lisa Stokes review the directors and films that have established Hong Kong cinema internationally: John Woo's martial arts flicks, Tsui Hark's wire-worked fantasies, Ann Hui's exile melodramas, Stanley Kwan's limpid romances, and Wong Kar-wai's stylish art films.

This collection of exciting essays explores how the representations and the ideologies of masculinities can be productively studied in the context of Hong Kong cinema. It has two objectives: first, to investigate the multiple meanings and manifestations of masculinities in Hong Kong cinema that compliment and contradict each other. Second, to analyze the social and cultural environments that make these representations possible and problematic. Masculinities and Hong Kong Cinema presents a comprehensive picture of how Hong Kong mainstream cinematic masculinities are produced within their own socio-cultural discourses, and how these masculinities are distributed, received, and transformed within the setting of the market place. This volume is divided into three interrelated parts: the local cinematic tradition; the transnational context and reverberations; and the larger production, reception, and mediation environments. The combination of these three perspectives will reveal the dynamics and tensions between the local and the transnational, between production and reception, and between text and context, in the gendered manifestations of Hong Kong cinema.