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Relevant bibliographies by topics / Film archives – China – Hong Kong

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Academic literature on the topic 'Film archives – China – Hong Kong'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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Journal articles on the topic "Film archives – China – Hong Kong"

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Fung, Chi Keung Charles, and Chi Shun Fong. "Going out under the shadow of Red China: the geopolitical origin of Hong Kong’s international status." Asian Education and Development Studies 8, no. 2 (April 8, 2019): 173–85. http://dx.doi.org/10.1108/aeds-02-2018-0033.

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Purpose Many scholars would agree that the international status of Hong Kong is one of the crucial factors that contribute to the continued success of Hong Kong. However, few of them explain the origin of Hong Kong’s international status. The purpose of this paper is to fill this literature gap through the case study of Hong Kong’s admission to an international organization – the Asian Development Bank (ADB) – in the late 1960s. Design/methodology/approach Based on declassified archives, a historical approach has been adopted to trace the origin of Hong Kong’s international status. Findings The findings suggest that Cold War geopolitics, both local and regional level, explain why Hong Kong, even though remained as a dependent territory of Britain, became a member of an international organization independent from the British influence. While geopolitics at local level incentivized the colonial government to “go out” for external support, geopolitics at the regional level provided an opportunity for Hong Kong to acquire membership of the ADB. Originality/value This paper is among the first academic study on the origin of Hong Kong’s international status.

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Curry, Ramona. "Benjamin Brodsky (1877-1960): The Trans-Pacific American Film Entrepreneur – Part One, Making A Trip Thru China." Journal of American-East Asian Relations 18, no. 1 (2011): 58–94. http://dx.doi.org/10.1163/187656111x582090.

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AbstractAuthoritative statements have long credited the elusive American immigrant entrepreneur Benjamin Brodsky (1877-1960) with founding film production companies in Shanghai and Hong Kong as early as 1909 and initiating filmmaking collaborations with local Chinese. Yet those histories prove on close examination to consist mostly of sketchy assertions offered without clear evidence. This essay draws on original archival research and recent work of scholars in Hong Kong, Europe, and Japan to reframe the historical narrative, dating most developments a few years later while revealing fresh aspects of Brodsky's trans-Pacific operations and high-level Chinese involvement. The new findings have intriguing implications for our understanding of early twentieth-century trans-Pacific cultural associations as well as Chinese cinema. Part One of this article reconstructs Brodsky's early career and reveals new evidence of his interactions with Chinese returned students and government officials, with a focus on the production in China of Brodsky's feature-length travel documentary A Trip Thru China (1916).

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Lok, Peter. "Lost in Hong Kong." Social Transformations in Chinese Societies 13, no. 2 (September 5, 2017): 149–58. http://dx.doi.org/10.1108/stics-04-2017-0011.

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Purpose The purpose of this paper is to explore how a neo-liberal nationalist discourse of China imagines the spatial identity of the post-1997 Hong Kong with reference to Lost in Hong Kong, a new Chinese middle-class film in 2015 with successful box office sales. Design/methodology/approach Textual analysis with the aid of psychoanalysis, postcolonial studies and semiotics is used to interpret the meaning of the film in this study. The study also utilizes the previous literature reviews about the formation of the Chinese national identity to help analyze the distinct identity of the Chinese middle class today. Findings The discussion pinpoints how the new Chinese middle class as neo-liberal nationalists take Hong Kong as a “bizarre national redemptive space”. While Hong Kong is cinematically constructed as such a national other, this paper argues that the Hong Kong in question stands not for itself but in a form of “reverse hallucination” for pacifying the new Chinese middle class’ trauma under the rapid neo-liberalization of China in the 1990s. Originality/value This paper shows the new of formation of the Chinese nationalist’s discourse, especially the new Chinese middle-class discourse on Hong Kong after 1997.

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Wu, Hang. "The Translocalized McDull Series: National Identity and the Politics of Powerlessness." Animation 12, no. 1 (March 2017): 28–44. http://dx.doi.org/10.1177/1746847716686550.

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The animated film Me & My Mum was released in mainland China and Hong Kong in 2014 and proved to be a huge box office hit, cashing in on the existing McDull animated films that are hailed as the best animations in Hong Kong. Previous scholarship suggests that the McDull animated film series is a symbol of Hong Kong local culture; it serves as a repository of the changing landscapes of Hong Kong and demonstrates hybrid identities. However, this article argues that the McDull animated film series is more translocal than local, a fact which reveals the dynamics of the Hong Kong–mainland China relationship after Hong Kong’s return to Chinese sovereignty in 1997. The translocalized McDull series demonstrates an obsession with Chineseness which helps to evoke the national identity. By aestheticizing powerlessness as cuteness through anthropomorphic animals, the McDull series used to be highly political; they grappled with the wounds of society in Hong Kong. However, the articulation of a well-rounded McDull in the translocalized film Me & My Mum indicates that it is conforming to the Chinese Communist Party’s ideology of ideal children while the political power of aestheticizing powerlessness is repressed, revealing the dominant power of the Chinese film market.

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Changsong, Nam Wang, and Rohani Hashim. "How Chinese Youth Cinema Develops? Reviewing Chinese Youth Genre in Mainland China, Taiwan and Hong Kong, 1950s-2000s." GATR Global Journal of Business Social Sciences Review 2, no. 1 (January 13, 2014): 54–67. http://dx.doi.org/10.35609/gjbssr.2014.2.1(7).

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Objective - This study considers Chinese youth cinema as a historical object that represents the gamut of social practices and styles of production. Methodology/Technique - The authors examine the historical development of young people for tracing how different social and historical contexts interpret the Chinese young people's world. Findings - The youth films produced in the major Chinese regions—Mainland China, Taiwan and Hong Kong—illustrate how much social practices dominated the film content and style. For instance, youth genre in Hong Kong, once prevalent in the Cantonese cinema of the mid and late 1960s, blended musical and melodrama by dormant with the rise of martial art films. Novelty - This study attempts to elaborate some films featuring young people in Mainland China, Taiwan and Hong Kong, and to review the histories of youth cinema in these Chinese regions. The Chinese youth film outlines how, in Chinese communities, the category of youth historically functions as a significant site of ideological inscription that displays its struggles towards an idealized future. Type of Paper: Review Keywords : Chinese cinema; Film history; Hong Kong; Mainland China; Taiwan; Youth genre

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Li, Yi. "Melancholic Nostalgia, Identity Crisis, and Adaptation in 1950s Hong Kong: Ba Jin’s Family on Screen." Adaptation 13, no. 3 (May 4, 2020): 313–33. http://dx.doi.org/10.1093/adaptation/apz029.

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Abstract The communist takeover of mainland China in 1949 created physical, cultural, and political segregation between the mainland and Hong Kong, thus fostering a sense of dislocation and alienation among filmmakers who had migrated to Hong Kong from the mainland. The aim of this study is to explore the symbiosis between nostalgia and adaptation in Hong Kong cinema within the cultural landscape of 1950s Hong Kong, when Cold War politics was operating. With a detailed analysis of the 1953 Hong Kong film adaptation of mainland writer Ba Jin’s novel Family, and a comparative reading with the mainland film version produced in 1956, this study illustrates the cultural and historical significance of nostalgia in the development of Hong Kong cinema. This article further argues that nostalgic sentiment was expressed effectively through adaptations, while simultaneously improving these adaptations artistically and strengthening their political alignment with the mainland.

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May, Anthony, and XiaoLu Ma. "Hong Kong: Changing Geographies of a Media Capital." Media International Australia 124, no. 1 (August 2007): 156–65. http://dx.doi.org/10.1177/1329878x0712400115.

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Thanks to its stunning entry into the ranks of world cinema in the 1970s, the history of the Hong Kong film industry up to 1997 is relatively well known. However, the coincidence of the Asian economic recession and the city's reintegration into the People's Republic of China (PRC) has worked to obscure recent developments. This article analyses contemporary Hong Kong cinema and its relations with the government of the mainland. We argue that the economic, cultural and geopolitical location of the city is contributing to developments that will allow the art cinema of the People's Republic of China to engage in international, Hollywood-dominated markets. Matters to do with production investment, censorship and film exhibition business are analysed in terms of the development of and revisions to the Closer Economic Partnership arrangement that now governs trade between the PRC and the Hong Kong Special Administrative Region (HKSAR).

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Fu, Poshek. "Japanese Occupation, Shanghai Exiles, and Postwar Hong Kong Cinema." China Quarterly 194 (June 2008): 380–94. http://dx.doi.org/10.1017/s030574100800043x.

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AbstractThis article explores a little-explored subject in a critical period of the history of Hong Kong and China. Shortly after the surrender of Japan in 1945, China was in the throes of civil war between the Nationalists and Communists while British colonial rule was restored in Hong Kong, The communist victory in 1949 deepened the Cold War in Asia. In this chaotic and highly volatile context, the flows and linkages between Shanghai and Hong Kong intensified as many Chinese sought refuge in the British colony. This Shanghai–Hong Kong nexus played a significant role in the rebuilding of the post-war Hong Kong film industry and paved the way for its transformation into the capital of a global pan-Chinese cinema in the 1960s and 1970s. Focusing on a study of the cultural, political and business history of post-war Hong Kong cinema, this article aims to open up new avenues to understand 20th-century Chinese history and culture through the translocal and regional perspective of the Shanghai–Hong Kong nexus.

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Chen, Fangyu. "The rupture in Hong Kong cinema: Post-2000 Hong Kong cinema(s) as both a transnational cinema and a national cinema." Lumina 14, no. 1 (April 30, 2020): 68–83. http://dx.doi.org/10.34019/1981-4070.2020.v14.30238.

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This paper traces artistic and ideological discrepancies between the young generation of Hong Kong filmmakers and their predecessors – the established generation who contributed to the glory days of Hong Kong cinema during its economic boom. By tracing studies of national cinema and transnational cinema in the last three decades, the author argues that current Hong Kong cinema has split into two: a transnational cinema represented by the established generation of filmmakers; and a national cinema that is driven by the emerging generation who struggles for better preservation of Hong Kong local culture and their own cultural identities. To conduct the research, 47 people were interviewed including13 established filmmakers, 16 young filmmakers and18 film students from 3 universities in Hong Kong. The three groups of respondents generally represent three perspectives: that of the established film practitioners, who have a vested interest in the current co-production era; that of the emerging young film practitioners, who above all crave a flourishing local film market and whose productions exhibit stronger Hong Kong cultural identities; lastly, that of the, who were predominantly born in the 1990s and have the most extreme views against mainland China and whose filmmaking ideologies and practices foreshadow the future of the industry.

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O’Connor, Paul. "Hong Kong Skateboarding and Network Capital." Journal of Sport and Social Issues 42, no. 6 (August 24, 2018): 419–36. http://dx.doi.org/10.1177/0193723518797040.

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The importance of East Asia to the skateboard industry is multifaceted. It represents a dense commercial asset where the “cool” of skateboarding can be leveraged for consumption. It is also a global resource for touring professional skateboarders visiting countries such as China, Korea, and Japan to film and photograph their tricks in new locations. The success of such strategies are entwined with a regional network of skateboarders, a group whose subcultural capital is operationalized through network capital. Analysis of these connections highlights that Hong Kong’s prominence in East Asian skateboarding is largely dependent on its position as a global city and hybrid entrepôt. By addressing the conservative culture of skateboarding, and the importance of Hong Kong as a global city rather than a “skateable” city, this article further contributes to the theorizing of skateboarding beyond discussions of space and resistance.

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Dissertations / Theses on the topic "Film archives – China – Hong Kong"

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Barbieri, Maria. "Film censorship in Hong Kong." Thesis, Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B1947118X.

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陸姿恆 and Chi-hang Yvonne Luk. "Hong Kong film centre." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31984757.

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Lam, Hei Lawrence, and 林晞. "Hong Kong Film Academy." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31982906.

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Lai, Suet-fun Betsy, and 賴雪芬. "Nanbei (south-north) comedies in Hong Kong cinema : transregional film industry and Hong Kong identity." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/208079.

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In this paper, I attempt to use the concept of “transregional imagination” by Zhang Yingjin to depict the Hong Kong film industry in the early 60s and examine how it has transformed the industry practices in Hong Kong cinema and shaped the Hong Kong identity. For decades, Hong Kong cinema has been of regional and transregional importance. The influx of film artists from the north, especially Shanghai, during the post-war period brought a cosmopolitan outlook to the industry. This was coupled with the investment of overseas Chinese from Singapore which helped to expand the distribution network of Hong Kong films within a short time. By tracing the historical development of the industry, I wish to revisit the major events in the region which have contributed to the uniqueness of Hong Kong culture. I would also like to illustrate the characteristics of the transregionalism through the study of a trilogy of nanbei (literally, south and north) comedies released in the early 60s by the MP&GI company. They are The Greatest Civil War on Earth (Nanbei He, 1961); The Greatest Wedding on Earth (Nanbei Yi Jia Qin, 1962) and The Greatest Love Affair on Earth (Nanbei Xi Xian Feng, 1964) which depict the conflicts between the Mandarin-speaking “Northerners” (mainly from Shanghai and neighbouring cities) and Cantonese-speaking “Southerners”. The transregional imagination is manifested in these films which have the benefit of funding from overseas Chinese, casting from Shanghai and local artists, screenwriters from USA, production team mainly from the north, distribution network across regions and audience from international markets. I would further examine the comedy genre as a common language among diversified cultures and a discussion of modernity through an analysis of the company’s business strategies and the scenes which depict western values and urban images of Hong Kong during the 60s. I hope the analysis will be able to rediscover the transregional advantages that Hong Kong film industry has enjoyed and which, I believe, have also paved the way for its positioning in the era of globalization.
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Chen, Fangyu. "The post-2000 Hong Kong film workers." HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/751.

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This thesis is an interdisciplinary study that traces the commerce-art-politics nexus of Hong Kong cinema since the new millennium, through investigating the current young generation of film workers who joined the industry as it gradually entered an era marked by the domination of Hong Kong/Mainland co-productions. It reveals the filmmaking ideologies of emerging filmmakers from both within and beyond their film texts, and uncovers the artistic and ideological discrepancies between this young generation and their predecessors - the established generation who contributed to the glory days of Hong Kong cinema during its economic boom. By tracing the studies of national cinema and transnational cinema in the last three decades, I debunk the national/transnational antagonism with the case of the post-2000 Hong Kong cinema. It does not only prove that the binary is far more complicated than one being superseded by the other, or them coexisting with each other, but rather evolving into each other from a historical perspective. In this vein, the current Hong Kong cinema has split into two: a transnational cinema represented by the established generation of filmmakers; and a national cinema that is driven by the emerging generation who struggle for better preservation of Hong Kong local culture and their own cultural identities. Furthermore, this thesis scrutinizes the working and material conditions of these young film practitioners, in which employment and economic opportunity are primarily derived from co-productions and mainland productions. It expands the discussion over the concept of precarity and argues that the Hong Kong case demonstrates two extra dimensions of labour precarity: an excessive reliance on an external market (i.e. mainland market), and the workers' dissenting political attitudes towards a politically sensitive regime, namely mainland China under the ruling of the Communist Party. Lastly, developments in Hong Kong film policy since the handover are examined. As its longstanding managing philosophy of "minimal intervention" has largely remained unchanged in Hong Kong, the government has turned from a "laissez-faire" approach to what Mark Purcell terms an "aidez-faire" approach in the local film industry, yet it still failed to meet the industry's expectations of creating a holistic film policy. Nevertheless, film policy in the post-handover era had an undeniable impact in terms of cultivating young filmmakers. To research the topic, 47 in-depth interviews were conducted. These first-hand interviews, combined with data gathered from multiple resources, as well as a text analysis of the 107 films made by young directors between 2000 and 2018, form the factual basis of this thesis. Employing a Hong Kong/Mainland Film dynamics perspective, this study aims to fill a gap in the academic study of Hong Kong cinema, which has paid scant attention to the material conditions and artistic visions of craft labour in the industry, and especially of the young generation of filmmakers who are facing the decline of a once prosperous but currently diminishing local film industry.

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吳兆康 and Siu-hong Ryan Ng. "Film Complex: resuscitation of film in commercial society." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31984770.

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Au-Yeung, Shing, and 歐陽檉. "Hong Kong's Alternative Film and Video movement as an agent for socialchange." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B36243693.

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Yu, Gwo-chauo. "China, Hong Kong, and Taiwan: The Convergence and Interaction of Chinese Film." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501002/.

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This study focuses on the evolution of the movie industries in Taiwan, Hong Kong, and China in the late 1980s and early 1990s, with an emphasis on the interaction and cooperation in movie production among these three areas. The study consists of three sections: a general description of the development of Chinese cinema before 1949; an overview of the movie industries in Taiwan, Hong Kong, and China after the civil war; and an intensive study of the recent changes, interactions, and connections among these industries. In the third section, three models are proposed to explain the changing practices in movie production in these three areas. Obstacles preventing further cooperation and the significance of the reconstruction and integration of Chinese cinema are discussed.

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陳振國 and Chun-Kwok Chan. "The silver-screened images of city: film as an alternative tool for planning and development in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31260706.

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Pearson, Fiona Elisabeth. "Learning English through film: a case study of the effect on S4 students' attitudes." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B4517653x.

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Books on the topic "Film archives – China – Hong Kong"

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Japanese and Hong Kong film industries: Understanding the origins of East Asian film networks. New York, NY: Routledge, 2009.

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Wang, Yiman. Remaking Chinese cinema: Through the prism of Shanghai, Hong Kong, and Hollywood. Honolulu: University of Hawaiʻi Press, 2013.

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Yang, Jeff. Once upon a time in China: A guide to Hong Kong, Taiwanese, and mainland Chinese cinema. New York: Atria Books, 2003.

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Yang, Jeff. Once upon a time in China: A guide to Hong Kong, Taiwanese, and mainland Chinese cinema. New York: Atria Books, 2003.

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Planet Hong Kong: Popular cinema and the art of entertainment. Cambridge, Mass: Harvard University Press, 2000.

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Bordwell, David. Planet Hong Kong: Popular Cinema and the Art of Entertainment. Madison, Wisconsin: Irvington Way Institute Press, 2011.

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Undercurrents: Queer culture and postcolonial Hong Kong. Vancouver: UBC Press, 2008.

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Dannen, Fredric. Hong Kong Babylon: An insider's guide to the Hollywood of the East. London: faber and faber, 1997.

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Dannen, Fredric. Hong Kong Babylon: An insider's guide to the Hollywood of the East. New York: Hyperion, 1997.

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Dannen, Fredric. Hong Kong Babylon: An insider's guide to the Hollywood of the East. New York: Hyperion, 1997.

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Book chapters on the topic "Film archives – China – Hong Kong"

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Zhou, Xuelin. "The film industries of Hong Kong, Taiwan and Mainland China." In Youth Culture in Chinese Language Film, 20–399. Abingdon, Oxon ; New York, NY : Routledge, 2017. | Series: Media, culture and social change in Asia ; 47: Routledge, 2016. http://dx.doi.org/10.4324/978131559124-2.

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Ma, Ran. "Programming China at the Hong Kong International Film Festival and the Shanghai International Film Festival." In Chinese Film Festivals, 237–57. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-55016-3_12.

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Lee, Vivian P. Y. "“Working Through China” in the Pan-Asian Film Network: Perspectives from Hong Kong and Singapore." In East Asian Cinemas, 235–48. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230307186_12.

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Siu-yin Yeung, Jessica. "(Re)canonizing world literature with digital archives and online magazines from Hong Kong, Taiwan, and Mainland China 1." In Humans at Work in the Digital Age, 223–38. Abingdon, Oxon; New York, NY: Routledge, 2020. | Series: Digital research in the arts and humanities; volume 14: Routledge, 2019. http://dx.doi.org/10.4324/9780429244599-17.

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Li, Yahong, Weijie Huang, and Celine Melanie A. Dee. "Reminiscing About the Golden Age: An Analysis of Efforts to Revive the Hong Kong Film Industry Through the Lens of Copyright Protection." In Innovation, Economic Development, and Intellectual Property in India and China, 145–72. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-8102-7_7.

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Tong, Carrison K. S., and Eric T. T. Wong. "Picture Archiving and Communication System for Public Healthcare." In Encyclopedia of Multimedia Technology and Networking, Second Edition, 1162–70. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-60566-014-1.ch158.

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For the past 100 years, film has been almost the exclusive medium for capturing, storing, and displaying radiographic images. Film is a fixed medium with usually only one set of images available. Today, the radiologic sciences are on the brink of a new age. In particular, Picture Archiving and Communication System (PACS) technology allows for a near filmless process with all of the flexibility of digital systems. PACS consists of image acquisition devices, storage archiving units, display stations, computer processors, and database management systems. These components are integrated by a communications network system. Filmless radiology is a method of digitizing traditional films into electronic files that can be viewed and saved on a computer. This technology generates clearer and easier-to-read images, allowing the patient the chance of a faster evaluation and diagnosis. The time saved may prove to be a crucial element in facilitating the patient’s treatment process. With filmless radiology, images taken from various medical sources can be manipulated to enhance resolution, increasing the clarity of the image. Images can also be transferred internally within hospital departments and externally to other locations such as the office of the patient’s doctor or medical specialist in other parts of the world. This is made possible through the picture-archiving and communication system (Dreyer, Mehta, & Thrall, 2001), which electronically captures, transmits, displays, and saves images into digital archives for use at any given time. The PACS functions as a state-of-the-art repository for long-term archiving of digital images, and includes the backup and bandwidth to safeguard uninterrupted network availability. The objective of the picture-archiving and communications system is to improve the speed and quality of clinical care by streamlining radiological service and consultation. With instant access to images from virtually anywhere, hospital doctors and clinicians can improve their work processes and speed up the delivery of patient care. Besides making film a thing of the past, the likely benefits would include reduced waiting times for images and reports, and the augmented ability of clinicians since they can get patient information and act upon it much more quickly. It also removes all the costs associated with hard film and releases valuable space currently used for storage. According to Dr. Lillian Leong, Chairman of the Radiology IT Steering Group of the Hong Kong Medical Authroity, a single hospital can typically save up to 2.5 million Hong Kong dollars (approximately US$321,000) a year in film processing cost (Intel, 2007). The growing importance of PACS on the fight against highly infectious disease such as Severe Acute Respiratory Syndrome (SARS) is also identified (Zhang & Xue, 2003). In Hong Kong, there was no PACS-related project until the establishment of Tseung Kwan O Hospital (TKOH) in 1998. The TKOH is a 600-bed acute hospital with a hospital PACS installed for the provision of filmless radiological service. The design and management of the PACS for patient care was discussed in the first edition of this encyclopedia (Tong & Wong, 2005). The TKOH was opened in 1999 with PACS installed. At the beginning, due to immature PACS technologies, the radiology service was operating with film printing. A major upgrade was done in 2003 for the implementation of server clustering, network resilience, liquid crystal display (LCD), smart card, and storage-area-network (SAN) technologies. This upgrade has greatly improved the reliability of the system. Since November 2003, TKOH has started filmless radiology service for the whole hospital. It has become one of the first filmless hospitals in the Greater China region (Seto, Tsang, Yung, Ching, Ng, & Ho, 2003; Tsou, Goh, Kaw, & Chee, 2003).

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"Transnational cinema: mainland China, Hong Kong and Taiwan." In Encyclopedia of Chinese Film, 87–89. Routledge, 2002. http://dx.doi.org/10.4324/9780203195550-13.

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Chao, Hui Liu, Shi-Yan, and Richard Xiaying Xu. "“Guangzhou Film” and Guangzhou Urban Culture:." In Early Film Culture in Hong Kong, Taiwan, and Republican China, 134–55. University of Michigan Press, 2018. http://dx.doi.org/10.2307/j.ctt22727c7.9.

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Lu, Sheldon. "Transnational Chinese Masculinity in Film Representation." In The Cosmopolitan Dream, 59–72. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888455850.003.0004.

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The chapter traces the evolution of the depiction of transnational Chinese masculinity in selected films directed by Hong Kong directors from the early 1990s to the present time. It focuses particularly on three films: Farewell China (Ai zai bie xiang de jijie 爱在別鄉的季節‎,1990), directed by Clara Law 罗卓瑶‎; Comrades Almost a Love Story (Tian mimi 甜蜜蜜‎, 1996), directed by Peter Chan 陈可辛‎; and American Dreams in China (Zhongguo hehuoren 中國合夥人‎, 2013), also directed by Peter Chan. Although the directors are Hong Kong directors and some of the films are classified as Hong Kong films, the films themselves portray male figures originating from mainland China. All these films tell the stories of Chinese nationals and their attempted journeys overseas in pursuit of some dream.

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"Front Matter." In Early Film Culture in Hong Kong, Taiwan, and Republican China, i—vi. University of Michigan Press, 2018. http://dx.doi.org/10.2307/j.ctt22727c7.1.

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