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

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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Consult the top 34 books for your research on the topic 'Film archives – China – Hong Kong.'

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1

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

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2

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

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3

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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4

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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5

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

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6

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

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7

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

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8

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

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9

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

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10

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

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11

Zhongguo dian ying zi liao guan. and Zhongguo dian ying yi shu yan jiu zhong xin., eds. Xianggang dian ying 10 nian: Rong he yu fa zhan--Xianggang hui gui shi zhou nian dian ying yan tao hui lun wen ji = Hong Kong's film. Beijing: Zhongguo dian ying chu ban she, 2007.

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12

Zhongguo dian ying zi liao guan. and Zhongguo dian ying yi shu yan jiu zhong xin., eds. Xianggang dian ying 10 nian: Rong he yu fa zhan--Xianggang hui gui shi zhou nian dian ying yan tao hui lun wen ji = Hong Kong's film. Beijing: Zhongguo dian ying chu ban she, 2007.

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13

Pichon, Alain Le. Béthanie & Nazareth: French secrets from a British colony. Hong Kong: The Hong Kong Academy for Performing Arts, 2006.

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14

UNESCO Asia-Pacific Workshop on the 2001 Convention on the Protection of the Underwater Cultural Heritage (2003 Hong Kong, China). Finishing the interrupted voyage: Papers of the UNESCO Asia-Pacific Workshop on the 2001 Convention on the Protection of the Underwater Cultural Heritage, 18-20 November 2003, Hong Kong SAR, China. Bangkok: UNESCO, 2006.

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15

V, Prott Lyndel, ed. Finishing the interrupted voyage: Papers of the UNESCO Asia-Pacific Workshop on the 2001 Convention on the Protection of the Underwater Cultural Heritage, 18-20 November 2003, Hong Kong SAR, China. Bangkok: UNESCO, 2006.

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16

Donald, Stephanie. Tourism and the branded city: Film and identity on the Pacific Rim. Aldershot, Hants, England: Ashgate Pub. Co., 2007.

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17

Hong Kong Documentary Film. Edinburgh University Press, 2014.

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18

Aitken, Ian, and Michael Ingham. Hong Kong Documentary Film. Edinburgh University Press, 2015.

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19

Lai, Linda Chiu-Han, and Kimburley Wing-Yee Choi. World Film Locations: Hong Kong. Intellect, Limited, 2013.

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20

Hong Kong Neo-Noir. Edinburgh University Press, 2018.

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21

HKU Memories from the Archives. Columbia University Press, 2014.

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22

Early Film Culture in Hong Kong, Taiwan, and Republican China. University of Michigan Press, 2018. http://dx.doi.org/10.1353/book.57846.

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23

Kam, Tan See, and Gina Marchetti. Hong Kong Film, Hollywood and New Global Cinema: No Film Is an Island. Taylor & Francis Group, 2009.

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24

Kinnia, Yau Shuk-Ting. Japanese and Hong Kong Film Industries: Understanding the Origins of East Asian Film Networks. Routledge, 2011.

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25

Early Film Culture in Hong Kong, Taiwan, and Republican China: Kaleidoscopic Histories. University of Michigan Press, 2018.

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26

Early Film Culture in Hong Kong, Taiwan, and Republican China: Kaleidoscopic Histories. University of Michigan Press, 2018.

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27

Filming Margins: Tang Shu Shuen, A Forgotten Hong Kong Woman Film Director. Hong Kong University Press, 2004.

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28

Gina, Marchetti, and See Kam Tan 1958-, eds. Hong Kong film, Hollywood and the new global cinema: No film is an island. London: Routledge, 2007.

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29

Long, Barry, and Fredric Dannen. Hong Kong Babylon: An Insider's Guide to the Hollywood of the East. Miramax, 1998.

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30

Tourism and the Branded City: Film and Identity on the Pacific Rim (New Directions in Tourism Analysis). Ashgate Publishing, 2007.

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31

Chang, Jing Jing. Screening Communities. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888455768.001.0001.

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Screening Communities uses multi-media archival sources, including government archives, memoirs, fan magazines, newspaper reports, and films to narrate the complexity of social change and political turmoil, both screened and lived, in postwar Hong Kong. In particular, Screening Communities explores the political, ideological, and cultural work of Hong Kong film culture and its role in the building of a postwar Hong Kong community during the 1950s and 1960s, which was as much defined by lived experiences as by a cinematic construction, forged through negotiations between narratives of empire, nation, and the Cold War in and beyond Hong Kong. As such, in order to appreciate the complex formation of colonial Hong Kong society, Screening Communities situates the analysis of the “poetics” of postwar Hong Kong film culture within the larger global processes of colonialism, nationalism, industrialization, and Cold War. It argues that postwar Hong Kong cinema is a three-pronged process of “screening community” that takes into account the factors of colonial governance, filmic expression of left-leaning Cantonese filmmakers, and the social makeup of audiences as discursive agents. Through a close study of genre conventions, characterization, and modes of filmic narration across select Cantonese films and government documentaries, I contend that 1950s and 1960s Hong Kong cinema, broadly construed, became a site par excellence for the construction and translation (on the ground and onscreen) of a postwar Hong Kong community, whose context was continually shifting—at once indigenous and hybrid, postcolonial and global.

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32

Bettinson, Gary, and Daniel Martin. Introduction. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0001.

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This introduction to Hong Kong Horror Cinema introduces Hong Kong horror from a variety of perspectives, charting the history and development of the genre and citing key films and filmmakers; it puts Hong Kong horror in the context of East Asian horror more broadly, discussing some of the cultural specificities of Hong Kong horror that differentiate it from the popular and historical horror cycles from Japan, South Korea, Thailand and China; it provides a brief overview of horror studies within the field of academic theory, and suggests ways in which Hong Kong horror films can contribute new perspectives to these well-rehearsed arguments. A brief survey of literature covers the major related works from the fields of Hong Kong cinema and horror film history, and in doing so, makes a case for the importance, timeliness and originality of this anthology. The introduction also includes a chapter-by-chapter breakdown of Hong Kong Horror Cinema, explaining the division of chapters into sections and drawing pertinent connections between the varied studies that follow.

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33

Song, Weijie. Mapping Modern Beijing. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190200671.001.0001.

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Mapping Modern Beijing investigates five methods of representing Beijing- a warped hometown, a city of snapshots and manners, an aesthetic city, an imperial capital in comparative and cross-cultural perspective, and a displaced city on the Sinophone and diasporic postmemory—by authors traveling across mainland China, Taiwan, Hong Kong, and overseas Sinophone and non-Chinese communities. The metamorphosis of Beijing’s everyday spaces and the structural transformation of private and public emotions unfold Manchu writer Lao She’s Beijing complex about a warped native city. Zhang Henshui’s popular snapshots of fleeting shocks and everlasting sorrows illustrate his affective mapping of urban transition and human manners in Republican Beijing. Female poet and architect Lin Huiyin captures an aesthetic and picturesque city vis-à-vis the political and ideological urban planning. The imagined imperial capital constructed in bilingual, transcultural, and comparative works by Lin Yutang, Princess Der Ling, and Victor Segalen highlights the pleasures and pitfalls of collecting local knowledge and presenting Orientalist and Cosmopolitan visions. In the shadow of World Wars and Cold War, a multilayered displaced Beijing appears in the Sinophone postmemory by diasporic Beijing natives Liang Shiqiu, Taiwan sojourners Zhong Lihe and Lin Haiyin, and émigré martial-arts novelist Jin Yong in Hong Kong. Weijie Song situates Beijing in a larger context of modern Chinese-language urban imaginations, and charts the emotional topography of the city against the backdrop of the downfall of the Manchu Empire, the rise of modern nation-state, the 1949 great divide, and the formation of Cold War and globalizing world. Drawing from literary canons to exotic narratives, from modernist poetry to chivalric fantasy, from popular culture to urban planning, this book explores the complex nexus of urban spaces, archives of emotions, and literary topography of Beijing in its long journey from imperial capital to Republican city and to socialist metropolis.

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34

Brown, Kerry, ed. Berkshire Dictionary of Chinese Biography (Volume 4). Berkshire Publishing Group, 2016. http://dx.doi.org/10.1093/acref/9780190638429.001.0001.

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Over 100 entriesThe fourth volume of the Berkshire Dictionary of Chinese Biography covers the years 1979-2015, providing a riveting new way to understand twenty-first-century China and a personal look at the changes that have taken place since the Reform and Opening Up era started in 1979. One hundred key individuals from this period were selected by an international group of experts, and the stories were written by more than 70 authors in 14 countries. The authors map the paths taken by these individuals-some rocky, some meandering, some fateful-and in telling their stories give contemporary Chinese history a human face. The editors have included – with the advice of myriad experts around the world – not only the life stories of politicians and government officials, who play a crucial role in the development of the country, but the stories of cultural figures including film directors, activists, writers, and entrepreneurs from the mainland China, Hong Kong, and also from Taiwan.The "Greater China" that comes through in this volume has diverse ideas and identities. It is often contradictory, sometimes fractious, and always full of creative human complexity. Some of the lives rendered here are heroic. Some are tragic, and many are inspirational. Some figures come in for trenchant criticism, and others are celebrated with a sense of wonder and awe. Like previous volumes of the Berkshire Dictionary of Chinese Biography, this volume includes a range of appendices, including a pronunciation guide, a bibliography, and a timeline of key events.The work features a range of appendices, including a timeline of key events, a pronunciation guide, a bibliography, lists of rulers and other prominent people, and other supplemental materials for students of Chinese history and culture.

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