Hong Kong Cinema and Sinophone Transnationalisms / / See Kam Tan.

• Superior document: Title is part of eBook package: De Gruyter EBOOK PACKAGE Arts 2021
• VerfasserIn: Tan, See Kam,
• Place / Publishing House: Edinburgh : : Edinburgh University Press, , [2022]; ©2021
• Year of Publication: 2022
• Language: English
• Series: Edinburgh Studies in East Asian Film : ESEAF
• Physical Description: 1 online resource (368 p.) :; 21 B/W illustrations
• Other title: 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
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9781474476386; 9783110753790; 9783110754032; 9783110754001; 9783110753776; 9783110780406
• DOI: 10.1515/9781474476386
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: See Kam Tan.

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.