By Esther M. K. Cheung, Gina Marchetti, Esther C. M. Yau
A better half to Hong Kong Cinema offers the 1st entire scholarly exploration of this specific worldwide cinema. via embracing the interdisciplinary method of latest movie and cultural stories, this assortment navigates theoretical debates whereas charting a brand new path for destiny examine in Hong Kong film.
- Examines Hong Kong cinema inside an interdisciplinary context, drawing connections among media, gender, and Asian studies, Asian nearby stories, chinese and cultural experiences, international experiences, and important theory
- Highlights the customarily contentious debates that form present puzzling over movie as a medium and its attainable future
- Investigates how altering examine on gender, the physique, and sexual orientation modify the ways that we study 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 strategies of diaspora, nostalgia, exile, and trauma supply possibilities to reconsider approved methods of realizing Hong Kong’s well known cinematic genres and stars
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Additional resources for A Companion to Hong Kong Cinema
Yau. © 2015 John Wiley & Sons, Inc. Published 2015 by John Wiley & Sons, Inc. M. Yau playing a prominent role in the historical performance of Hong Kong’s transregional accumulation and imagination. The Close Economic Partnership Arrangement (CEPA, 2003) and its supple mentary clauses provide strong economic incentives for many Hong Kong service sectors and producers to place themselves under a different business culture in the Chinese mainland market. Operating as one of the free trade agreements that China adopted as a World Trade Organization member, CEPA established an acces sible means for Hong Kong‐based companies to share expertise, investments, cultural resource, talents, facilities, and profit with mainland partners by setting up offices and operations in mainland cities.
Watchful Partners, Hidden Currents 29 4 A rapid expansion in movie screens and distribution business has given a boost to production, with relatively short cycles of return and re‐production as an indication of China’s existing market potential. 5 Disparities in film production culture and business culture between the main land and Hong Kong have set the relocated producers and directors on the watch for financial risks and partnership with China’s state film corporations and successful (semi‐)private entities.
Introduction 13 Martin‐Jones, David (2006), “Pacific Rim,” in Deleuze, Cinema and National Identity: Narrative Time in National Contexts (ed. David Martin‐Jones), Edinburgh: Edinburgh University Press, 188–221. Morris, Meaghan (2001), “Learning from Bruce Lee: Pedagogy and Political Correctness in Martial Arts Cinema,” in Keyframes: Popular Cinema and Cultural Studies (eds. Matthew Tinkcom and Amy Villarejo), London: Routledge, 171–186. ) (2005), Hong Kong Connections: Transnational Imagination in Action Cinema, Hong Kong: Hong Kong University Press.
A Companion to Hong Kong Cinema by Esther M. K. Cheung, Gina Marchetti, Esther C. M. Yau