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Готові списки джерел за темами / Hong Kong horror fiction

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Добірка наукової літератури з теми "Hong Kong horror fiction"

Автор: Grafiati

Опубліковано: 25 липня 2024

Оновлено: 31 липня 2025

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Статті в журналах з теми "Hong Kong horror fiction"

1

Wang, Kai, and Nan Li. "ANALYSIS OF HONG KONG ZOMBIE MOVIES AUDIOVISUAL LANGUAGE IN THE 1980S." International Journal of Law, Government and Communication 7, no. 29 (2022): 18–26. http://dx.doi.org/10.35631/ijlgc.729002.

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As a subcultural type of genre film, Hong Kong zombie films play an important role in Hong Kong films. Hong Kong zombie films through visual languages such as color, light, lens, and auditory language such as language, music, and audio create a horror atmosphere and infect the emotions of the audience. The use of audiovisual language also implies the ideological representation of the collision between China and the West in Hong Kong in the 1980s.

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2

Li, Xiaofan Amy. "Neo-Surrealism in Hong Kong: The Fiction of Hon Lai-chu and Dorothy Tse." Journal of Modern Literature 48, no. 3 (2025): 94–112. https://doi.org/10.2979/jml.00086.

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Abstract: Although the fiction of Hong Kong writers Hon Lai-chu and Dorothy Tse Hiu-hung are frequently described as “surreal,” does this term have critical purchase beyond its misleading vernacular use for anything that appears bizarre and fantastical? In Hon’s Empty Faces and Tse’s Owlish, Surrealism proves to be deeply relevant to both writers. Surrealist visuality prioritizes the novels’ literariness and resists reading Hong Kong literature as political allegory. The precarious human face in Hon and the uncanny doll figure in Tse re-enact surreal experiences of disquietude and liminality.

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3

Marchetti, Gina. "Documentary and democracy: An interview with Evans Chan." Asian Cinema 33, no. 2 (2022): 257–75. http://dx.doi.org/10.1386/ac_00059_7.

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Gina Marchetti’s interview with NewYork-based Hong Kong independent filmmaker Evans Chan took place after Chan had said goodbye to his former home and to nearly three decades of filmmaking in the city, following the introduction of Hong Kong’s National Security Law in 2020. Her interview focuses on Chan’s non-fiction filmmaking, particularly his recent films dealing with Hong Kong’s two protest movements of 2014 and 2019, namely Raise the Umbrellas 撐傘 () and We Have Boots 我們有雨靴 (). While the latter part of the interview concerns Chan’s thoughts on the relationship between documentaries and dem

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4

Sia, Tiffany. "New Territories." Film Quarterly 76, no. 4 (2023): 9–21. http://dx.doi.org/10.1525/fq.2023.76.4.9.

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What is the “Hong Kong” cathected through film, both past and present? The central project shared by parallel visions of Hong Kong––former and contemporary, narrative fiction and nonfiction documentary, commercial and independent––is that of how to encounter and (re)vivify the past through cinema. But how is it possible to move toward the past, especially the recent past, without a nostalgia tinged by sentimentality or an inherent longing for a fantasy of the past? Chan Tze-woon’s Blue Island offers up a unique challenge to Hong Kong cinema, contesting the former tropes of the sentimental and

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5

Yeung, Jessica Siu-yin. "Hong Kong Literature and the Taiwanese Encounter: Literary Magazines, Popular Literature and Shih Shu-Ching's Hong Kong Stories." Cultural History 12, no. 2 (2023): 224–50. http://dx.doi.org/10.3366/cult.2023.0288.

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This article examines the ways literary adaptations between Hong Kong and Taiwanese writers shape literary cultures in both places during the Cold War period. The 1950s and 1960s were the time when Hong Kong and Taiwan literary cultures were starting to thrive. An influx of literati into both places collaborated with each other and the locals to experiment with literary forms in literary magazines. The 1950s and 1960s were also the time when Hong Kong and Taiwan cinema experienced the first waves of adapting literary works into film in the postwar period. After the literary magazine culture dw

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6

Xin Yi, Wong, Mansour Amini, and Maryam Alipour. "Genre and Translation Style in Chinese Translation of Hollywood Blockbuster Movie Titles in Mainland China and Hong Kong." Journal of Modern Languages 33, no. 2 (2023): 120–43. http://dx.doi.org/10.22452/jml.vol33no2.7.

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The title of a movie is the first to attract the audience's attention. Poorly translated movie titles may result in a “low box office”, as translators in different countries have their styles and preferences in translating film titles, which might eventually result in different translations of the same movie title and cause confusion to the audience. This qualitative research used exploratory induction to investigate the influence of genre and translation style on the Chinese translation of Hollywood blockbuster movie titles in Mainland China and Hong Kong. Titles of 300 Chinese movies produce

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7

Bachner, Andrea. "From China to Hong Kong with Horror Transcultural Consumption in Fruit Chan’sDumplings." Interventions 20, no. 8 (2018): 1137–52. http://dx.doi.org/10.1080/1369801x.2018.1460217.

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8

Shen, Shuang. "Popular Literature in the Inter-imperial Space of Hong Kong and Singapore/Malaya." Prism 19, no. 2 (2022): 301–18. http://dx.doi.org/10.1215/25783491-9966657.

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Abstract This article addresses the neglect toward popular literary networks with Hong Kong in the Cold War period by influential Mahua scholars. Aiming to make way for a more robust discourse of cultural politics in tandem with a regional conceptualization of Sinophone cultural production, the article proposes to understand popular forms such as romance fiction as arising from and coconstituting a regional Sinosphere that can only be understood, following Laura Doyle's recent study, as inter-imperial. Offering a reading of the Hong Kong writer Liu Yichang's romantic fiction and immigrant stor

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9

Yung, Faye Dorcas. "The Silencing of Children's Literature Publishing in Hong Kong." International Research in Children's Literature 13, Supplement (2020): 159–74. http://dx.doi.org/10.3366/ircl.2020.0344.

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Children's literature publishing in Hong Kong is supposed to enjoy the freedom of a free market economy and legal autonomy. However, the market structure and the titles available in the market dominated by imported titles reveal that children's books published in Hong Kong have little room to feature the local voice. The market conditions are tough and publishers are incentivised to publish for the larger Sinosphere market. As a result, Cantonese is absent in imported texts annotated with either Mandarin phonetics ruby characters in Hanyu Pinyin or Zhuyin symbols. Non-fiction picturebooks feat

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10

WU, Meng. "Fanning Out Possibilities: Dung Kai-cheung and the Multiplicities of Time." Modern Chinese Literature and Culture 34, no. 2 (2022): 420–44. http://dx.doi.org/10.3366/mclc.2022.0020.

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Hong Kong has brought to world literature some of the most prolific and best-loved fiction writers in modern Chinese history. Dung Kai-cheung is one of them — a Hong Kong-based writer who has found the city to be a constant source of inspiration. This article discusses the significance of multiplicity in Dung’s fictional representation of Hong Kong (“the V-City”), focusing on his 2007 novel Histories of Time: The Luster of Mute Porcelain. In this novel, Dung explores the narrative possibility of perceiving Hong Kong as a multi-historical space through the lens of multiplying temporalities. I h

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Дисертації з теми "Hong Kong horror fiction"

1

Yau, Suk-ying Shirley, and 邱淑瑩. "Where has all the horror gone?: a study of horror in contemporary cinema." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B42575175.

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2

Lam, Yat-lim, and 林逸濂. "The society of Hong Kong in Lilian Lee's fiction =." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B43208629.

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3

Lau, Cheung-cheung, and 劉章璋. "A study of Manga and adolescent popular fiction in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31221142.

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4

Lau, Cheung-cheung. "A study of Manga and adolescent popular fiction in Hong Kong /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20354010.

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5

Yeung, Mei-yee. "Searching for a cultural identity : Hong Kong fiction from the fifties to the nineties /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19605389.

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6

Ma, Guoming, and 馬國明. "Hong Kong martial art novels: the case of Louis Cha." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31212566.

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7

Wong, Yee-ling, and 黃綺玲. "Cyborgs, capitalism, hope: a study of Hong Kong and Hollywood science fiction films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50900146.

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Posthuman representations in selected Hollywood and Hong Kong science fiction films show new interconnections in “techno-globalization.” They also exhibit a waning relationship between the “center” and the “margin” of technoculture. This study discusses the relation of technology, humanity, affect, and aesthetics in selective science fiction films produced from 1984 to 2010. The science fiction features were made in the United States and in Hong Kong. They include: The Terminator (1984), Terminator2 (1991), Terminator Salvation (2009), A.I. Artificial Intelligence (2002), I Love Maria (1988),

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8

Chen, Qin. "The Others: Desire, Anxiety, and the Politics of Chinese Horror Cinema (1989-2015)." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1469178422.

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9

Lu, Pei'er. "Xu shu "jiu qi" : Xianggang xiao shuo zhong de shi jian yu xu shi = Narrating "1997" : time and narrative in Hong Kong novels /." click here to view the fulltext click here to view the abstract and table of contents, 2006. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisft.pl?pdf=b19843926f.pdf.

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10

Chak, Winnie. "The Sixth Try." Chapman University Digital Commons, 2020. https://digitalcommons.chapman.edu/creative_writing_theses/5.

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Книги з теми "Hong Kong horror fiction"

1

Berry, Anne. The hungry ghosts. Blue Door, 2010.

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2

Coonts, Stephen. Hong Kong. Orion, 2001.

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3

Coonts, Stephen. Hong Kong. Orion, 2001.

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4

Coonts, Stephen. Hong Kong. Orion, 2001.

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5

Coonts, Stephen. Hong Kong. St. Martin, 2000.

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6

Coonts, Stephen. Hong Kong. St. Martin, 2000.

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7

Coonts, Stephen. Hong Kong. St. Martin, 2000.

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8

Margaret, Barker. Hong Kong surgeon. Mills & Boon, 1986.

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9

Murphy, Sylvia Ngim. Destiny--Hong Kong. Pentland Press, 1998.

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10

Villiers, Gérard de. S.A.S: Hong Kong Express. Editions Gérard de Villiers, 1997.

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Частини книг з теми "Hong Kong horror fiction"

1

Todorova, Marija. "Hong Kong Diversity in Anglophone Children’s Fiction." In Cultural Conflict in Hong Kong. Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-7766-1_5.

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2

Lee, Sangjoon. "Dracula, Vampires, and Kung Fu Fighters: The Legend of the Seven Golden Vampires and Transnational Horror Co-production in 1970s Hong Kong." In Transnational Horror Cinema. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-58417-5_4.

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3

Au, C. T. "Reading Colonial Dis-ease/Disease in Hong Kong Modernist Fiction." In New Directions in Literature and Medicine Studies. Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-51988-7_15.

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4

Piocos III, Carlos M. "Sexuality, Shame and Subversions in Indonesian Migrant Women’s Fiction." In Gender, Islam and Sexuality in Contemporary Indonesia. Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-5659-3_8.

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AbstractThis contribution examines malu (shame) as an effect of Indonesian women’s migration, illustrating how gendered moral discourses shape the problematic politics of labour migration in the country. It argues that shame not only reinforces several problematic gender and moral discourses imposed on Indonesian migrant women but also heightens their precarious role and place in their home and host countries.This essay probes into the possibilities opened by Indonesian migrant domestic workers themselves as they write, publish and circulate their own stories in Hong Kong, Singapore and Taiwan

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5

Mohd Daud, Kathrina. "“South of Hong Kong, Almost as Big as Singapore”: Transnational Identity and International Visibility in Contemporary Anglophone Bruneian Novels." In Asia in Transition. Springer Nature Singapore, 2025. https://doi.org/10.1007/978-981-96-3608-2_13.

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Abstract Despite a high level of literacy, widespread proficiency in English and a rich oral tradition, it was only in 2009 that the first Bruneian novel in English was published. Although the Malay language novel has a longer history dating back to 1951, the Bruneian literary ecology as a whole to date can be described as still nascent, with low levels of awareness, production, publication and dissemination of local literature across the country. It is not surprising then that the majority of media and literature consumed by Bruneians still originates from outside the country, with popular so

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6

Kiruppalini, Hema. "“Slave” Stories: Historical Fiction and the Voice of Young Female Bondservants (Mui Tsais) in Singapore." In Asia in Transition. Springer Nature Singapore, 2025. https://doi.org/10.1007/978-981-96-3608-2_9.

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Abstract In the nineteenth and early twentieth centuries, there were young girls from China and those born locally who were indentured as bondservants in British colonies in Asia such as Hong Kong and British Malaya. Often due to poverty, female children and teenagers—better known as mui tsais (“little sisters” in Cantonese)—were either sold or transferred to affluent families for domestic labour and this practice was widely perceived as a cultural tradition unique to the Chinese. In perusing the rich body of literature on the mui tsais, there remains a gap in scholarly work on the subject tha

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7

Diffrient, David Scott. "Spooky Encounters of the Humorously Disgusting Kind." In Body Genre. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496847966.003.0009.

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As disgusting as it is to imagine smelling the horrible things referenced in the previous two chapters, including exposed organs and rotting corpses that attract flies, touching that slick and squishy stuff might be even more unappetizing to viewers. Thankfully, no matter how immersed in a cinematic fiction one may be, including a film that intentionally or unintentionally foregrounds its own artifice as a work reliant on fake excrement, prop vomit, stage blood, and prosthetic makeup effects to depict moments of death, decay, disease, illness, and other pathological states, actual immersion in

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8

Turnbull, C. Mary. "Hong Kong." In Asia in Western fiction. Manchester University Press, 2017. http://dx.doi.org/10.7765/9781526123534.00013.

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9

"Post-Socialism in Hong Kong." In Urban Horror. Duke University Press, 2020. http://dx.doi.org/10.1215/9781478009108-005.

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"Post-Socialism in Hong Kong." In Urban Horror. Duke University Press, 2020. http://dx.doi.org/10.2307/j.ctv11smhkk.8.

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Тези доповідей конференцій з теми "Hong Kong horror fiction"

1

Wong, Dorothy. "Spectrality and its Translatability: Filmic Adaptation and the Narrative of the Leftover Space." In XII Congress of the ICLA. Georgian Comparative Literature Association, 2025. https://doi.org/10.62119/icla.3.8912.

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Translating a verbal text into a filmic one may serve the purpose to highlight and foreground the conditions in the original text by bringing to it more substantial experiences through spatial and temporal articulations. In this paper, the relationship between an original and its translation is explored as to demonstrate that the translation is a fusion of the ambiguous resemblance and the unstable dissemblance of the original through interconnecting forces operating behind the construction of images, manifesting, what Walter Benjamin terms, coextensivity between the image and the script, the

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