This comedy confronts social stereotypes of masculine females, male anxieties about homosexuality and the limits of female femininity. The book also offers background on comedic narrative structure in Cantonese opera and other traditional sources that have influenced Hong Kong cinema.
Hong Kong's film industry gained global attention in the 1980s, at the time of negotiations over Great Britain's return of the colony to China. Uncertainty about the post-handover era accelerated Hong Kong's race for economic growth, and found expression in cinema's depictions of a 'city on fire.' In this accessible introduction to the extraordinary cinematic output of the colony, Michael Hoover and Lisa Stokes review the directors and films that have established Hong Kong cinema internationally: John Woo's martial arts flicks, Tsui Hark's wire-worked fantasies, Ann Hui's exile melodramas, Stanley Kwan's limpid romances, and Wong Kar-wai's stylish art films.
Hong Kong cinema began attracting international attention in the 1980s. By the early 1990s, Hong Kong had become "Hollywood East" as its film industry rose to first in the world in per capita production, was ranked second to the United States in the number of films it exported, and stood third in the world in the number of films produced per year behind the United States and India. This second edition of Historical Dictionary of Hong Kong Cinema contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 600 cross-referenced entries on directors, producers, writers, actors, films, film companies, genres, and terminology. This book is an excellent resource for students, researchers, and anyone wanting to know more about Hong Kong cinema.
This comedy confronts social stereotypes of masculine females, male anxieties about homosexuality and the limits of female femininity. The book also offers background on comedic narrative structure in Cantonese opera and other traditional sources that have influenced Hong Kong cinema.
Hong Kong cinema began attracting international attention in the 1980s. By the early 1990s, Hong Kong had become "Hollywood East" as its film industry rose to first in the world in per capita production, was ranked second to the United States in the number of films it exported, and stood third in the world in the number of films produced per year behind the United States and India. This second edition of Historical Dictionary of Hong Kong Cinema contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 600 cross-referenced entries on directors, producers, writers, actors, films, film companies, genres, and terminology. This book is an excellent resource for students, researchers, and anyone wanting to know more about Hong Kong cinema.
Uncertainty about the post-handover era accelerated Hong Kong's race for economic growth, and found expression in cinema's depictions of a city on fire. This book reviews the directors and films that have established Hong Kong's cinema's reputation.
This comedy confronts social stereotypes of masculine females, male anxieties about homosexuality and the limits of female femininity. The book also offers background on comedic narrative structure in Cantonese opera and other traditional sources that have influenced Hong Kong cinema.
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