..., Situ Huimin司徒慧敏) and supported by Cantonese film leaders Ng Cho‐fan 吳楚帆 and Lo Duen 盧敦. The study interrogates the predicaments and vicissitudes of Union's cosmopolitan stances as it wrestled with the cultural politics of Chinese cinema during the Cold War. It elucidates the ethnically rooted...

... to improve the quality of Cantonese movies.” See Stephen Teo, Hong Kong Cinema Retrospec- tive: Fifty Years of Electric Shadows (Hong Kong: Urban Council, . Primitivization is a term Rey Chow proposes in her discussion of the strategy of self...

... the popularity of Hong Kong media before 2000 toward media from the PRC in the present. For example, the broadcasting of TVB dramas on national television once made Hong Kong an ideal reference point for being (overseas) Chinese and produced a generation of Cantonese speakers, despite many Malaysian viewers...

... as a form of “cosmopolitanism from below.” Here, “minoritarian cosmopolitans” without national belonging or economic status, such as refugees, exiles, migrants, and the diaspora, take center stage. Examining Cantonese 1950s filmic adaptations of such works as Great Expectations , Anna Karenina...

... of cinema aims to assess a film both as a cultural product arising from a constellation of determinants and as a social agent address- ing its circumstances, thereby proffering new imaginaries. By analyzing the implicit as well as explicit Asia...

... accomplice in cinema. Looking at images, according to Jean-Louis Comolli, is the primary relationship that “invents” the cinema.2 Transforming look- ing into sensual labor, Jonathan L. Beller argues in his essay, makes viable a visual economy...

... in manga-­bishjo are underpinned by the Lacanian “mirror image” of the infantile as self-­identifications of male gazers and not simple scopophilia. Let us review Laura Mulvey’s positions. According to Mulvey, in cinema...

...” experience (“Ren’erdeng,” 2001) Hei Bang (Hi-­Bomb) “No. 87 Avenue Joffre” Shanghai Wu childhood nostalgia (“Xiafeilu de bashiqi hao,” 2004) Unknown “Everything Is Being Guangzhou Cantonese a protest...

... and narrated mostly in Cantonese by a female actress who makes the only guest appearance in the video. The deadpan voice-over recounts the trials and tribulations of “growing up in a city like Hong Kong” from age six on in a series of nonchronological...

... walks past a shop window, and we see reflected on it, as if on a screen, the shadowy performance of an old Cantonese opera at the theater that the storefront has replaced. In a visual palimpsest, this film sequence depicts one space as splintered...

... for selling moderately tasty dim sum-the Cantonese snacks that, along with tea, are leisurely con- sumed in the mornings, accompanied by conversation and the reading of Chinese-language newspapers- to a clientele of towkays (businessmen...

...Helen Hok-sze Leung 2001 by Duke University Press 2001 Queerscapes in Contemporary Hong Kong Cinema Helen Hok-sze Leung A Queer Undercurrent What use is there for me to go on treasuring you? Even if I hold you tight this time...

...,” in A Study of the Hong Kong Swordplay Film (1945–1980) (Hong Kong: Urban Council of Hong Kong, 1981), 47–62. 48 Yu Mo-wan, “Swords, Chivalry and Palm Power: A Brief Survey of the Cantonese Martial Arts Cinema, 1938–1970,” in A Study...

... of transnational reception communities that are differentiated both temporally and geographically, and thus trouble interpretive frameworks based on the presumed primacy and homogeneity of nation-states. Yu maps distinct historical waves of Sinophone media popularity in Malaysia, where Cantonese media from Hong...

... (Yuan 2017b ). In this space reminiscent of the “pavilion room” ( tingzijian 亭子间) apartments often seen in 1930s Shanghai left-wing cinema, two migrant workers, one engaged in manual labor and the other in the internet industry, live next to each other, no different from what really happens in society...

... complexification of the notion of Asia and America’s different relations to it, both externally and within its domestic space. In her famous essay, “Visual Pleasure and Narrative Cinema,” Laura Mulvey stresses...

... through different visual means such as propaganda posters and cinema in order to explore the difficult relationships between politics and policy, as well as the uneasy position occupied by femininity on the national political stage. Focusing on the barefoot doctor as a case study, this article provides...

... come to power in 1977, from whence it won six elections to continue in power to date. Globe Cinema Hall across from the New Market showed Enter the Dragon (dir. Robert Clouse, 1973). There was something extraordinary about Bruce Lee. He...

... to the colonial city of Hong Kong, where Cantonese is the dominant dialect. There, small-­scale “shanzai” (Cantonese spelling) workshops are said to have emerged in the 1960s at the foot of the Lion Rock Mountain.4 Spe- cializing in “light industry...

... of the barbershop). The Xisan Chorus—a spin-off of the Xisan Film Studio—includes songs written in the local Cantonese dialect about the everyday happenings in the village and convey a sort of “true voice” of the community. In one case, the traditional Dragon Boat Festival was endangered: the rowing of dragon boats...