Download A Companion to Hong Kong Cinema by Esther M. K. Cheung, Gina Marchetti, Esther C. M. Yau PDF

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By Esther M. K. Cheung, Gina Marchetti, Esther C. M. Yau

A spouse to Hong Kong Cinema presents the 1st accomplished scholarly exploration of this precise worldwide cinema. by means of embracing the interdisciplinary method of up to date movie and cultural reviews, this assortment navigates theoretical debates whereas charting a brand new direction for destiny learn in Hong Kong film.

  • Examines Hong Kong cinema inside of an interdisciplinary context, drawing connections among media, gender, and Asian studies, Asian nearby reports, chinese and cultural reviews, international reviews, and demanding theory
  • Highlights the usually contentious debates that form present pondering movie as a medium and its attainable future
  • Investigates how altering examine on gender, the physique, and sexual orientation modify the ways that we research sexual distinction in Hong Kong cinema
  • Charts how advancements in theories of colonialism, postcolonialism, globalization, neoliberalism,  Orientalism, and nationalism remodel our figuring out of the economics and politics of the Hong Kong movie industry
  • Explores how the ideas of diaspora, nostalgia, exile, and trauma provide possibilities to reconsider authorised methods of realizing Hong Kong’s well known cinematic genres and stars

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Extra resources for A Companion to Hong Kong Cinema

Sample text

1 Citation of Hong Kong film in Still Life ( Jia Zhangke, 2006), an independent production. 20 One subject of alienation is the border‐crossing migrant who withstands ­setbacks and takes hold of new opportunities in big cities. Aside from the said appropriations of Still Life and A Touch of Sin, there are films before and after co‐production that speak to the attractions of Hong Kong culture and their incor­ poration in Chinese capitalism. Comrades, Almost a Love Story (Peter Chan, 1996) and Lost in Beijing (Li Yu, 2007) completed before and after CEPA and on different sides of the Hong Kong–mainland border are illustrative instances.

Using three films by Ann Hui, she sets the stage for the chapters that follow by looking at the way in which Hong Kong’s particular blend of cosmopolitanism and feminism has been translated on screen by the territory’s most celebrated woman filmmaker. Focusing on a younger generation of filmmakers, Helen Leung employs queer critical studies to interrogate the way intimacy and space find visual expression the HKSAR. Audrey Yue moves the consideration of queer issues into the Chinese diaspora by looking at Hong Kong filmmakers’ treatment of the domestic sphere.

2 The issues of preserving national film production, protective regulations, state intervention (including sponsorship), profit share, proportionate num­ bers of cast and crew from the co‐producing sides, the approval process, mobility of labor, reservations and complaints are simultaneously common to co‐production settings and specific to the changing mainland and Hong Kong contexts. 3 Reinventions of global genre idioms in Hong Kong’s cosmopolitan urban set­ ting have shaped the incorporation of selective Chinese cultural resources for several decades, whereas co‐produced films in China require new de‐selection and re‐selection of idioms.

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