If we take Chinese cinema studies to be the intersection of Chinese studies and cinema studies, then the most urgent and yet commonplace question at that intersection is just what borders, both internal and external, define “Chinese cinema.” Hong Kong Connections answers this question obliquely, implicitly, and by example. From the outset, the book's main target of critique is the conjunction of nation and cinema—that is, the framework of national cinema studies, which is not entirely appropriate for an entity such as Hong Kong cinema. The main alternatives to nation and national cinema studies nowadays include terms such as local, global, and transnational. As Meaghan Morris's introduction puts it,

Our thesis here is twofold: first, that action cinema works as a generic zone in which cross-cultural logics of contact and connection (audio-visual and socio-cultural as well as bodily and technological) are acted and tested out; and, second,...

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