Hong Kong Neo-Noir / / Esther Yau, Tony Williams.

• Superior document: Title is part of eBook package: De Gruyter Edinburgh University Press Complete eBook-Package 2016
• VerfasserIn: Yau, Esther,; Williams, Tony,
• MitwirkendeR: Bingham, Adam,; Choi, Jinhee,; Desser, David,; Hall, Kenneth E.,; Kar, Law,; Lo, Kwai-Cheung,; Marchetti, Gina,; Stokes, Lisa Odham,; Stringer, Julian,; Troost, Kristof Van den,; Williams, Tony,; Yau, Esther C. M.,
• Place / Publishing House: Edinburgh : : Edinburgh University Press, , [2022]; ©2016
• Year of Publication: 2022
• Language: English
• Series: Edinburgh Studies in East Asian Film : ESEAF
• Physical Description: 1 online resource (280 p.) :; 30 B/W illustrations

The first comprehensive collection on the subject of Hong Kong neo-noir cinemaThe first comprehensive collection on Hong Kong neo-noir cinema, this book examines the way Hong Kong has developed its own unique version of noir since the late 1940s, while drawing upon and enriching global neo-noir cinemas. With a range of contributions from established and emerging scholars, this book illuminates the origins of Hong Kong neo-noir, its styles and contemporary manifestations, and its connection to mainland China before and after the 1997 Handover.Case studies include classics such as The Wild, Wild Rose (1960) and more recent films like Full Alert (1997), Exiled (2007) and Shinjuku Incident (2008). It provides a fresh look at the careers of iconic figures Johnnie To, Jackie Chan and Fruit Chan. By examining the films of émigré Shanghai directors, the cool women killers, the hybrids and noir cityscapes, Hong Kong Neo-Noir explores the complex connections between a vibrant cinema and global noir.ContributorsAdam Bingham, Edge Hill UniversityJinhee Choi, King's College LondonDavid Desser, University of IllinoisKenneth E. Hall, East Tennessee State UniversityLaw Kar, Hong Kong Film ArchiveKwai-Cheung Lo, Hong Kong Baptist UniversityGina Marchetti, University of Hong KongLisa Odham Stokes, Seminole State College in Central FloridaJulian Stringer, University of NottinghamKristof Van den Troost, Chinese University of Hong KongTony Williams, Southern Illinois University, CarbondaleEsther C. M. Yau, University of Hong Kong

Table of Contents

Frontmatter -- Contents -- Figures -- Acknowledgements -- Notes on the Contributors -- Introduction: Hong Kong Neo-Noir -- PART ONE. SEEDS OF NOIR IN HONG KONG CINEMA -- Chapter 1 'A Rose by Any Other Name': Wong Tin-lam's The Wild, Wild Rose as Melodrama Musical Noir Hybrid -- Chapter 2 Black and Red: Post-War Hong Kong Noir and its Interrelation with Progressive Cinema, 1947-57 -- Chapter 3 Sword, Fist or Gun? The 1970s Origins of Contemporary Hong Kong Noir -- PART TWO. NEO-NOIR FILMS IN CLOSE-UP -- Chapter 4 Doubled Indemnity: Fruit Chan and the Meta-Fictions of Hong Kong Neo-Noir -- Chapter 5 Running on Karma: Hong Kong Noir and the Political Unconscious -- Chapter 6 Beyond Hypothermia: Cool Women Killers in Hong Kong Cinema -- Chapter 7 Tech-Noir: A Sub-Genre May not Exist in Hong Kong Science Fiction Films -- PART THREE. COSMOPOLITAN CITYSPACE AND NEO-NOIR -- Chapter 8 Location Filmmaking and the Hong Kong Crime Film: Anatomy of a Scene -- Chapter 9 Running Out of Time, Hard-Boiled and 24-Hour Cityspace -- Chapter 10 Exiled in Macau: Hong Kong Neo-Noir and Paradoxical Lyricism -- Chapter 11 The Tentacles of History: Shinjuku Incident's Return of the Repressed -- Bibliography -- Filmography -- Index