Features
- Cover Type: Paperback with 343 pages
- Published by: Duke University Press January 2006
- Written in: English
- ISBN 10 Number: 193264301X
- ISBN 13 Number: 978-1932643015
-
Book Dimensions:
8.9 x 6 x 0.9 inches
- Weighs: 1.2 pounds
Product Review
“[I]nsightful and well written. . . . [T]he best essays offer unique insights. . . . The volume is remarkable not only for its great analysis and theorizing of Hong Kong cinema, but also as a model of how to understand global cinema from local and intercultural contexts that do not exclude or disavow the influence of Hollywood yet are not centered by it. Fans will enjoy this book, but scholars will value it even more. Essential.”
--K. J. Wetmore, Jr.,
Choice“[T]his volume of essays offers something for everyone: from the fanboy to the scholar and even to those who have ever swooned while watching Chow Yun-Fat or Michelle Yeo kick some butt.”
--Raquel Laneri,
PopMatters“Given its timely contents and its self-awareness as a space-clearing gesture,
Hong Kong Connections stands as a challenge and an inspiration to students and teachers alike.”
--Robert Chi,
Journal of Asian Studies
Product Description
Since the 1960s, Hong Kong cinema has helped to shape one of the world’s most popular cultural genres: action cinema. Hong Kong action films have proved popular over the decades with audiences worldwide, and they have seized the imaginations of filmmakers working in many different cultural traditions and styles. How do we account for this appeal, which changes as it crosses national borders?
Hong Kong Connections brings leading film scholars together to explore the circulation of Hong Kong cinema in Japan, Korea, India, Australia, France, and the United States, as well as its links with Taiwan, Singapore, and the Chinese mainland. In the process, this collection looks at diverse cultural contexts for action cinema’s popularity and the problems involved in the transnational study of globally popular forms, suggesting that in order to grasp the history of Hong Kong action cinema’s influence we need to bring out the differences as well as the links that constitute popularity.
Contributors. Nicole Brenez, Stephen Chan Ching-kiu, Dai Jinhua, David Desser, Laleen Jayamanne, Kim Soyoung, Siu Leung Li, Adrian Martin, S. V. Srinivas, Stephen Teo, Valentina Vitali, Paul Willemen, Rob Wilson, Wong Kin-yuen, Kinnia Yau Shuk-ting, Yung Sai-shing
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