By Esther M. K. Cheung, Gina Marchetti, Esther C. M. Yau
A spouse to Hong Kong Cinema offers the 1st accomplished scholarly exploration of this specific international cinema. by means of embracing the interdisciplinary strategy of up to date movie and cultural stories, this assortment navigates theoretical debates whereas charting a brand new path 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 reviews, worldwide reports, and significant theory
- Highlights the usually contentious debates that form present brooding about movie as a medium and its attainable future
- Investigates how altering learn 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 realizing of the economics and politics of the Hong Kong movie industry
- Explores how the recommendations of diaspora, nostalgia, exile, and trauma provide possibilities to reconsider permitted methods of realizing Hong Kong’s renowned cinematic genres and stars
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Additional info for A Companion to Hong Kong Cinema
With these so‐called independent productions, she examines how 1997 can be thought of as a sustained historical moment where a subdued form of activism in a locality can be observed. Yingjin Zhang responds by proposing “space‐time, nostalgia, reception, and performance” as four additional sets of issue for ascertaining the relationship between narratives and aesthetics in Hong Kong cinema. Part VI: Screen Histories and Documentary Practices As questions of collective memory, cultural heritage, and nostalgia rub up against the process of decolonization, demands for democratic participation, visibility in the public sphere, and the rule of law in the HKSAR, filmmakers face challenges that link Hong Kong’s colonial past to its current political landscape.
Part V: Narratives and Aesthetics This part contains a range of essays from the general exploration of the stylistic and aesthetic characteristics of Hong Kong films to analyses of specific moments of innovation and experimentations in Hong Kong film history. With a mixture of popular films and avant‐garde video productions, it explores the connection of narrative time and space in relation to locality, translocality, and polylocality. It probes the difficulty of generic classification for Hong Kong films, redefines the relationship between the local and the global, as well as examines the way in which the aesthetic – nostalgia, documented sentiments, and the musical soundtrack – provides productive ways of analyzing Hong Kong cinema.
Yau colonization remains a blind spot to many. Instead, the dominant market occupation model becomes one that drives management reform and restructuring of many sectors, which in the film industry means a private sector of companies in film production, and a select few getting into the business of film distribution and exhibition. Managed globalization thus mirrors capitalist globalization in creating opportunities of immense profit for a small number of operations, and hence the development of sharp inequalities.
A Companion to Hong Kong Cinema by Esther M. K. Cheung, Gina Marchetti, Esther C. M. Yau