A Companion to Hong Kong Cinema by Yau, Ching-Mei Esther,Marchetti, Gina,Cheung, Esther M.K. -- Read -- Imperial Library of Trantor

Index

Cover Title page Table of Contents Acknowledgments Notes on Contributors Foreword Introduction

Part I: Critical Paradigms: Defining Hong Kong Cinema Studies Part II: Critical Geographies Part III: The Gendered Body and Queer Configurations Part IV: Hong Kong Stars Part V: Narratives and Aesthetics Part VI: Screen Histories and Documentary Practices References

Part I: Critical Paradigms

1 Watchful Partners, Hidden Currents

Hong Kong Films and Business in the Chinese Mainland Appropriation and Reinvention in China Partnership Partnership Imaginary and Cultural Memory Watchful Partners, Hidden Currents References

2 The Urban Maze

Crisis, Topophilia, and the Emergence of Millennial Films Crisis Cinema and Its Critical Turns The Eventful Years After 1997 Topophilia in the Crisis City Concluding Remarks References

3 Hong Kong Cinema as Ethnic Borderland

Zone of Transition North–South Division Ethnic / Dialect Films Cold War Politics Transnationalization and Localization References

4 Hong Kong Cinema in the Age of Neoliberalization and Mainlandization

Stuck with Kung fu and Martial Arts? Hollywood as Proxy of Globalization and the Genre Reification of Hong Kong Cinema Neoliberalization with Colonial Characteristics: Impact on Hong Kong Film Mainlandization, the Disquieting Binary Impasse: China or the Rest? Hong Kong SAR New Wave and the Cinema of Anxiety References

Commentary

References

Part II: Critical Geographies

5 Hong Kong Cinema’s Exotic Others

Introduction Regionalizing Hong Kong Cinema Fractured bodies: Shinjuku Incident (Derek Yee, 2009) Exiled bodies: After This Our Exile (Patrick Tam, 2006) Transformative, Transcendent bodies: Himalaya Singh (Wai Ka-fai, 2005) Conclusion: Re-Imagining the Hong Kong Body References For Further Reading

6 Animating the Translocal

From Print to Television Series and Cinema: My Life as McDull The Local, Dislocated and Constructed: McDull Prince de la Bun CEPA and Delocalization: Hong Kong–China Co-productions Masquerade and Border Crossing: McDull Kung Fu Ding Ding Dong Translocal Hong Kong Subjectivity: McDull: The Pork of Music (2012) McDull’s Visual World: Rhizomes, Psychogeographies, and Topographies Conclusion References

7 Globalizing Hong Kong Cinema Through Japan

References

8 Creative Cinematic Geographies Through the Hong Kong International Film Festival

Viewing the West in the East A Swinging Gate to the East North and South Conclusions References For Further Reading

9 Postmodernity, Han Normativity, and Hong Kong Cinema

The Legislative vs. the Interpretive Censorship – the High Priest of Chinese Modernism Wang Shuo vs. Jin Yong Hong Kong Cinema – The Postmodern Condition Vulgaria: Counteracting Han-Normativity Conclusion References For Further Reading

Commentary

References

Part III: The Gendered Body and Queer Configurations

10 Feminism, Postfeminism, and Hong Kong Women Filmmakers

The Way We Are Night and Fog All About Love Conclusion References

11 Love In The City

Introduction: Romancing a Sunset Industry Cinema and Urban Heritage Love at Work: The Commute and the Smoking Break Migrant Love: Tales of Two Neighborhoods All Cut Up: Shooting the Heartbroken City Conclusion: Love of a Fallen Cinema References

12 Regulating Queer Domesticity in the Neoliberal Diaspora

Introduction Chinese Diasporas in the West: Regulating Queer Domestic Spaces Mainland Diasporas in Hong Kong: The Politics of Mobility Governing Queer Domesticity In the Chinese–Japanese Diaspora: Migrant Masculinity and Action Cinema Conclusion References

Commentary

Part IV: Hong Kong Stars

13 Return of the Dragon

Introduction: Hong Kong’s Velvet Prison Bruce Lee Then and Now Bruce Lee Here and There Bruce Lee, Local Foreigner Bruce Lee’s Return to/of Hong Kong The Eternal Return of the Dojo The Return to/of China Coda References

14 Transitional Stardom

Early Developments within the Classical Heroic Tradition Dismemberment and Heroism The Star as Director Modern Times The Dragon in Winter References

15 Camp Stars of Androgyny

Leslie Cheung’s Phantasmagoric Stage Attire and Cross-dressing The Legendary Iridescence and Melodramatic Life of Anita Mui Conclusion References Further Reading

16 Cooling Faye Wong

Star of Coolness Early Works Chungking Express After Chungking Express 2046 Conclusion References

Commentary

Toward a Poetics of Performance References

Part V: Narratives and Aesthetics

17 Making Merry on Time

The Festive Chronotope: (New Year) Cinema-going as an Urban Ritual Locating Family Comedies from It’s a Mad, Mad, Mad World to All’s Well, Ends Well Anachronizing Nostalgia in The Eagle-shooting Heroes and A Chinese Odyssey 2002 Claustrophilic Festivity: Celebrating Cinematic Experience References

18 A Pan-Asian Cinema of Allusion

A Pan-Asian Cinema of Allusion? Going Home and Zhongyi Histories Dumplings: Medicinal Meals and Cannibal Allegories Multilingualism, Pan-Asian, and Pan-Chinese Cinema Conclusion References

19 Double Agents, Cameos, and the Poor Man’s Orchestra

A Musical Cartography? “Circle K” Aesthetics Punned Personas Memory as Wish Fulfillment The Poor Man’s Orchestra Epilogue References

20 Documenting Sentiments in Video Diaries around 1997

Overview Diaries of 1997: A Site of Experimentation, Voices of Everyday Life 1997. Whose Story? The Moment? The Time-space of Thick Description A (post-)phenomenological Study of Pictures of Minds and Sentiments: The Narratorial and Descriptive “I” Belly Buttons, Absent Cameras, Moving House, Fooling around: Sentiments Performing Moral Reasoning in Five Video Diaries… Performed, Enacted Sentiments for 1997 Forming a Contingent Field of Cultural Production References

Commentary

Space-Time/Genre Nostalgia/Geography Reception/Audience Performance/Affect Conclusion References

Part VI: Screen Histories and Documentary Practices

21 The Lightness of History

The Burden of History Grappling with Lightness: Peripheral Visions Imagined Modernity Re-considered: Wong Kar-wai’s 1960s The Politics of Collective Memory and the “Local Heritage Film” From the City to the Great Society: Counter-thought in Datong References

22 The Tales of Fang Peilin and Zhu Shilin

Introduction: A Brief Review of Studies and Research at Hong Kong Film Archive Fang Peilin: The Legacy of His Musicals Zhu Shilin: Escapist Filmmaking within the Confines of Harsh Reality Concluding Remarks References and Related Publications

23 The Documentary Film in Hong Kong

Introduction From Edison to the Cultural Revolution: The Earlier Film Period (1896–1960s) The Postwar Period: From Colonial Film-making (The Hong Kong Film Unit, 1958–1969) to TV Documentaries (1970s onwards) Aesthetics and Radicalism: The Independent Documentary Film in Hong Kong (1970–2008) Augmentation and Heterogeneity: Documentaries of the Last 15 years Conclusion: the Future of Documentary Film in Hong Kong, China, and the Region References Further Reading

24 Representations of Law in Hong Kong Cinema

Bodily Evidence and Legal Time The Temporality of Legal Precedent References

Commentary

References

Filmography

Music Video Television

Index End User License Agreement

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