By Esther M. K. Cheung, Gina Marchetti, Esther C. M. Yau
A better half to Hong Kong Cinema presents the 1st finished scholarly exploration of this distinct international cinema. by way of embracing the interdisciplinary method of latest movie and cultural reports, this assortment navigates theoretical debates whereas charting a brand new direction for destiny study in Hong Kong film.
- Examines Hong Kong cinema inside an interdisciplinary context, drawing connections among media, gender, and Asian studies, Asian neighborhood reports, chinese and cultural reports, international reports, and significant theory
- Highlights the customarily contentious debates that form present pondering movie as a medium and its attainable future
- Investigates how altering learn on gender, the physique, and sexual orientation regulate 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 suggestions of diaspora, nostalgia, exile, and trauma provide possibilities to reconsider accredited methods of realizing Hong Kong’s renowned cinematic genres and stars
Read or Download A Companion to Hong Kong Cinema PDF
Similar film & television books
Evelyn Brent's lifestyles and occupation have been going rather good in 1928. She used to be fortunately dwelling with author Dorothy Herzog following her divorce from manufacturer Bernard Fineman, and the tiny brunette had wowed fanatics and critics within the silent movies The Underworld and The final Command. She'd additionally been a sensation in Paramount's first discussion movie, Interference.
The published saying Worktext provide you with the abilities, concepts, and methods essential to input this hugely aggressive box of broadcast functionality. as well as the foundations of fine functionality, this booklet addresses the significance of viewers and the way to speak successfully to numerous teams.
Peter Hutchings' many faceted account of Hammer's 1958 gothic horror vintage explores the ways that the heritage of the Dracula tale, in addition to the Hammer company's personal fortunes affected the character of the movie, and appears heavily on the movie itself and the special functionality kinds of its stars, Christopher Lee and Peter Cushing.
Lately non-fiction heritage programmes have flourished on tv. This interdisciplinary research of historical past programming identifies and examines various genres hired through manufacturers and tracks their commissioning, creation, advertising and marketing and distribution histories. With comparative references to different eu international locations and North the United States, the authors concentrate on British historical past programming over the past twenty years and examine the connection among the academy and media pros.
- The sentimental mode : essays in literature, film and television
- Lost Laughs of '50s and '60s Television: Thirty Sitcoms That Faded Off Screen
- The Films of the Nineties: The Decade of Spin
- Hong Kong Cinema: Coloniser, Motherland and Self
Extra info 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.
Jarvie, Ian Charles (1977), Window on Hong Kong: A Sociological Study of the Hong Kong Film Industry and Its Audience, Hong Kong: Centre of Asian Studies, University of Hong Kong. txt&token=b218bc260b89c0. Accessed September 3, 2014. 3 (September): 383–402. Leyda, Jay (1972), Dianying: Electric Shadows—An Account of Films and the Film Audience in China, Cambridge, MA: MIT Press. Lo, Kwai‐cheung (2005), Chinese Face/Off: The Transnational Popular Culture of Hong Kong, Urbana: University of Illinois Press.
Right (Xue Xiaolu, 2013). By investing in the features directed by Ang Lee and Zhang Yimou, Edko (Beijing) Films gained blockbuster producing experience and global reach. Media Asia Entertainment Group, a Hong Kong‐based production / distribution company since 1994, signed regional and China‐based contracts for telecasted movies, and established Shanghai Media Asia Limited to consolidate regular business with the Shanghai Film Group to produce and distribute co‐produced films. Media Asia also invested in China’s Huayi Brothers’ productions that banked on the reputation and popularity of director Feng Xiaogang that includes A World without Thieves (2004), The Banquet (2006), and If You are the One (2008), and also in the Poly‐Bona financed and distrib uted features that were shot in mainland (such as The Warlords, directed by Peter Chan, 2007 and A Beautiful Life, directed by Andrew Lau, 2011) and in Hong Kong (Triangle, co‐directed by Tsui Hark, Ringo Lam, and Johnnie To, 2007).
A Companion to Hong Kong Cinema by Esther M. K. Cheung, Gina Marchetti, Esther C. M. Yau