Table of Contents

Introduction: Hong Kong Cinema and Global Change Gina Marchetti and Tan See-Kam Section 1: Chinese on the Move: ‘Hongkongers’ Abroad 1. From South Pacific to Shanghai Blues: No Film is an Island Tan See Kam 2. The Heroic Flux in John Woo’s Trans-Pacific Passage: From Confucian Brotherhood to American Selfhood Aaron Han Joon Magnan-Park 3. Hong Kong Film Goes to America Staci Ford 4. Hong Kong Television in Chinatown: Translocal Context(s) and Transnational Social Formations Amy Lee 5. Thailand in the Hong Kong Cinematic Imagination Adam Knee 6. Hong Kong-Australian Imaginary: Clara Law's Australian Films Tony Mitchell Section 2: To-ing and Fro-ing: Transnational Genres 7. Generic Ghosts: Hong Kong Horror and Transnational Generic Exchange Bliss Cua Lim 8. Copies of Copies in Hollywood and Hong Kong Cinemas: Rethinking the Woman-Warrior Figures Kwai-Cheung Lo 9. The Noir East: Hong Kong’s Transmutation of a Hollywood Genre? Joelle Collier 10. Scenes of "In-action" and "Noir" Characteristics in the Films of Johnnie To Peter Rist Section 3: International Players and a Global Niche 11. Hong Kong Goes International: The Case of Golden Harvest Michael Walsh 12. Distant Screen: Film Festivals and the Global Projection of Hong Kong Cinema Cindy Wong Hing-Yuk 13. Competing Regions: The Chromatics of the Urban Fix Stephanie Hemelryk Donald and John Gammack 14. Jackie Chan, Tourism, and the Performing Agency Laikwan Pang 15. Niche Cinema, or, Kill Bill with Shaolin Soccer Peter Hitchcock

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).