Hong Kong Film, Hollywood and New Global Cinema: No Film is An Island

by Marchetti; Gina

• ISBN13: 9780415380683
• ISBN10: 0415380685
• Edition: 1st
• Format: Hardcover
• Copyright: 2007-02-26
• Publisher: Routledge

Summary

Hong Kong cinema is especially vibrant at present, and is very interestingly placed, with strong connections both to Hollywood, and to world and Asian regional markets. In addition, with the establishment of the Hong Kong Film Archive scholarly interest in the history and development of Hong Kong cinema has grown considerably in recent years. This book examines a wide range of aspects of Hong Kong cinema, and discusses the role of Hong Kong cinema in changing global film markets. It explores Hong Kong cinema's inextricable links with Southeast Asia, Korea, Japan, the United States, and the Chinese diaspora. It considers Hong Kong's connection with Hollywood, which involves ties that bring together art cinema and popular genres as well as film festivals and the media marketplace with popular transnational genres, and demonstrates how Hong Kong film, throughout its history, has challenged, redefined, expanded, and exceeded its borders.

Table of Contents

Notes on contributors	p. vii
Preface	p. xi
Acknowledgements	p. xiii
Introduction: Hong Kong cinema and global change	p. 1
Chinese on the move: 'Hongkongers' abroad	p. 11
From South Pacific to Shanghai Blues: no film is an island	p. 13
The heroic flux in John Woo's trans-Pacific passage: from Confucian brotherhood to American selfhood	p. 35
Hong Kong film goes to America	p. 50
Hong Kong television in Chinatown: translocal context(s) and transnational social formations	p. 63
Thailand in the Hong Kong cinematic imagination	p. 77
Hong Kong-Australian imaginaries: Three Australian films by Clara Law	p. 91
To-ing and fro-ing: transnational genres	p. 107
Generic ghosts: remaking the new 'Asian horror film'	p. 109
Copies of copies in Hollywood and Hong Kong cinemas: rethinking the woman-warrior figures	p. 126
The Noir East: Hong Kong filmmakers' transmutation of a Hollywood genre?	p. 137
Scenes of 'in-action' and noir characteristics in the films of Johnnie To (Kei-Fung)	p. 159
International players and a global niche	p. 165
Hong Kong goes international: the case of Golden Harvest	p. 167
Distant screens: film festivals and the global projection of Hong Kong cinema	p. 177
Competing regions: the chromatics of the urban fix	p. 193
Jackie Chan, tourism, and the performing agency	p. 206
Niche cinema, or. Kill Bill with Shaolin Soccer	p. 219
Notes	p. 233
Bibliography	p. 263
Index	p. 277
Table of Contents provided by Ingram. All Rights Reserved.