Hong Kong Cinema and Sinophone Transnationalisms

Rezensionen / Stimmen

Tan offers a welcome and insightful survey of Hong Kong and Shanghai cinema from the 1930s to the 1980s, arguing for changing concepts of "nation," "China," and "Chineseness." [...] The book offers a thorough analysis of Sinophone culture and cinema through a nonessentialist lens, resulting in a model for transnational cinema studies, rejecting the "nation" as a model for organization. Recommended. -- K. J. Wetmore Jr., Loyola Marymount University * CHOICE * Tan See Kam's seriously sensational lens highlights the long golden age of Hong Kong cinema before 1984 as a source of thrilling new possibilities; this dynamic core culture of the Chinese diaspora attracted viewers in their millions by shaking up the values and norms of not only the Chinese homeland but also Western modernity. * Chris Berry, King's College London * This very welcome addition to the scholarship on transnational Chinese cinema provides the needed depth and breadth to appreciate the expansive historical and geographic sweep of Chinese-language film with Hong Kong at its beating heart.? Tan deftly moves from Shanghai roots through cross-dressing operatic romances, softcore court intrigues, James Bond-style spy stories, and swordplay actioners as they circulate through Hong Kong and throughout the Chinese diaspora.? Culminating with Tsui Hark's New Wave Chinese-accented cosmopolitanism, this book highlights the continuing importance of Hong Kong at a cinematic crossroads that connects Asia to the rest of the world. * Gina Marchetti, author of Citing China: Politics, Postmodernism, and World Cinema *