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

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

ISBN-10: 0470659289

ISBN-13: 9780470659281

ISBN-10: 1118883519

ISBN-13: 9781118883518

ISBN-10: 1118883543

ISBN-13: 9781118883549

ISBN-10: 1118883594

ISBN-13: 9781118883594

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

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Extra info for A Companion to Hong Kong Cinema

Example text

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).

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

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