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Hong Kong Film, Hollywood and New Global Cinema: No Film is An Island (Routledge Media, Culture and Social Change in Asia) Paperback – February 28, 2007

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ISBN-13: 978-0415545600 ISBN-10: 0415545609 Edition: 0th

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About the Author

Gina Marchetti is on faculty in Comparative Literature at the University of Hong Kong. Her other books include Romance and the "Yellow Peril": Race, Sex, and Discursive Strategies in Hollywood Fiction (1993), and From Tian’anmen to Times Square: Transnational China and the Chinese Diaspora on Global Screens, 1989-1997 (2006).

Tan See Kam is Associate Professor of Communication at the University of Macau, Macao SAR, China. He is Vice-Chair of the Asian Cinema Studies Society. His research interests cover media communication in the areas of film, cultural and gender studies. He is the author of Chinese Connections: Critical Perspectives in Film, Identity and Diaspora (with Feng and Marchetti).

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Product Details

  • Series: Routledge Media, Culture and Social Change in Asia
  • Paperback: 314 pages
  • Publisher: Routledge (February 28, 2007)
  • Language: English
  • ISBN-10: 0415545609
  • ISBN-13: 978-0415545600
  • Product Dimensions: 6.1 x 0.6 x 9.2 inches
  • Shipping Weight: 15.2 ounces (View shipping rates and policies)
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #3,835,797 in Books (See Top 100 in Books)

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1 of 1 people found the following review helpful By Hong Kong on March 29, 2010
Format: Paperback
Hong Kong Film, Hollywood and the New Global Cinema: No Film is an Island
Gina Marchetti and Tan See Kam (eds.)
London and New York: Routledge, 2007. ISBN: 0-41538-068-5 (hbk). 286 pp. £75.00 (hbk)
A Review by Konrad Ng, University of Hawai'i, USA

It has been a decade since Hong Kong's handover to China, an event that, in Hong Kong: Culture and the Politics of Disappearance (Minnesota University Press, 1997), Ackbar Abbas writes about as shaping the narrative and style of Hong Kong film culture. Abbas's work presented a cultural imaginary in which film was a chosen medium to negotiate Hong Kong's ethos of post-colonialism, hyper-capitalism, im/migration and Chinese-ness. Following the handover, scholars and academic presses picked up on what was recognized by Abbas and already popularized by Quentin Tarantino and "Midnight" film festival programmers for years: the meaning of Hong Kong cinema exceeds national borders and offers a productive point of departure for contemporary film studies.

Since the millennium, publications such as Esther Yau's edited volume, At Full Speed: Hong Kong Cinema in a Borderless World (University of Minnesota Press, 2001) and Meaghan Morris, Siu Leung Li and Stephen Chan Ching-kiu's edited work, Hong Kong Connections Transnational Imagination in Action Cinema (Duke University Press, 2006) have takes up Abbas's line of research by examining the transnational, diasporic and regional dimensions of Hong Kong cinema and its implications for contemporary film studies. Hong Kong Film, Hollywood and the New Global Cinema: No Film is an Island is the latest text to join this area of film scholarship.
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