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Hong Kong Cinema and Sinophone Transnationalisms / See Kam Tan.

By: Material type: TextTextSeries: Edinburgh Studies in East Asian Film : ESEAFPublisher: Edinburgh : Edinburgh University Press, [2022]Copyright date: ©2021Description: 1 online resource (368 p.) : 21 B/W illustrationsContent type:
Media type:
Carrier type:
ISBN:
  • 9781474476386
Subject(s): DDC classification:
  • 791.43095125 23
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Illustrations -- Acknowledgements -- A Note on Language -- Preface -- PART I NEW BEGINNINGS -- Chapter 1 Locating Sinophone Cinema -- Chapter 2 The Sinifi cation of Early Shanghai and Hong Kong Cinema -- PART II NEW DIRECTIONS -- Chapter 3 Huangmei diao pian -- Chapter 4 Caizi/Jiaren Romance in Disguise -- Chapter 5 Fanchuan Acting: Cross-dressing and Performative Transsexualities -- PART III NEW IMAGINARIES -- Chapter 6 Tongzhi Articulations in Fengyue Films -- Chapter 7 Transness: Hong Kong’s Bond Movies (Bangpian) -- PART IV NEW WAVES -- Chapter 8 Tsui Hark: Accented Cinema -- Chapter 9 Tsui Hark: Time-bomb Cinema -- Chapter 10 Tsui Hark: New Localisms -- Afterword -- Appendix 1: A Selection of Chineselanguage Opera Film Avatars -- Appendix 2: Glossary of Chineselanguage Film Titles -- Appendix 3: Glossary of Chineselanguage Persons, Film Companies/ Studios, Opera Troupes and Media -- Appendix 4: Glossary of Chineselanguage Terms and Phrases -- Filmography and TV Resources -- References and Further Reading -- Index
Summary: Hong Kong Cinema and Sinophone Transnationalisms explores the intricate complexity of selected films and film-making practices from 1930s Hong Kong (and Shanghai) to the later ‘new wave’ phenomenon of the 1980s. The result is a Sinophone cinema that created some very different ways of understanding ‘China’ and ‘Chineseness’, developing their own ‘cosmopolitan dreaming’ within the cultural and economic changes of those times. Exploring sinification and its multiple manifestations in film, the book examines cinematic genres including Huangmei Opera films, qiqing (strange or queer romance) films, fanchuaners (professional cross-sex performers) in film, Hong Kong’s Bond Movies (bangpian), erotic (fengyue) films, and New Wave Hong Kong cinema. In doing so, this book lays fruitful foundations for further understanding the development and changing faces of Hong Kong films and sinophone transnationalism in the even more complex and changing times of today.
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Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781474476386

Frontmatter -- Contents -- Illustrations -- Acknowledgements -- A Note on Language -- Preface -- PART I NEW BEGINNINGS -- Chapter 1 Locating Sinophone Cinema -- Chapter 2 The Sinifi cation of Early Shanghai and Hong Kong Cinema -- PART II NEW DIRECTIONS -- Chapter 3 Huangmei diao pian -- Chapter 4 Caizi/Jiaren Romance in Disguise -- Chapter 5 Fanchuan Acting: Cross-dressing and Performative Transsexualities -- PART III NEW IMAGINARIES -- Chapter 6 Tongzhi Articulations in Fengyue Films -- Chapter 7 Transness: Hong Kong’s Bond Movies (Bangpian) -- PART IV NEW WAVES -- Chapter 8 Tsui Hark: Accented Cinema -- Chapter 9 Tsui Hark: Time-bomb Cinema -- Chapter 10 Tsui Hark: New Localisms -- Afterword -- Appendix 1: A Selection of Chineselanguage Opera Film Avatars -- Appendix 2: Glossary of Chineselanguage Film Titles -- Appendix 3: Glossary of Chineselanguage Persons, Film Companies/ Studios, Opera Troupes and Media -- Appendix 4: Glossary of Chineselanguage Terms and Phrases -- Filmography and TV Resources -- References and Further Reading -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Hong Kong Cinema and Sinophone Transnationalisms explores the intricate complexity of selected films and film-making practices from 1930s Hong Kong (and Shanghai) to the later ‘new wave’ phenomenon of the 1980s. The result is a Sinophone cinema that created some very different ways of understanding ‘China’ and ‘Chineseness’, developing their own ‘cosmopolitan dreaming’ within the cultural and economic changes of those times. Exploring sinification and its multiple manifestations in film, the book examines cinematic genres including Huangmei Opera films, qiqing (strange or queer romance) films, fanchuaners (professional cross-sex performers) in film, Hong Kong’s Bond Movies (bangpian), erotic (fengyue) films, and New Wave Hong Kong cinema. In doing so, this book lays fruitful foundations for further understanding the development and changing faces of Hong Kong films and sinophone transnationalism in the even more complex and changing times of today.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 01. Dez 2022)