|
|
|
|
|
|
|
|
1. |
Record Nr. |
UNINA9910813589803321 |
|
|
Autore |
Cheung Ruby |
|
|
Titolo |
New Hong Kong cinema : transitions to becoming Chinese in 21st-century East Asia / / by Ruby Cheung |
|
|
|
|
|
|
|
Pubbl/distr/stampa |
|
|
New York, [New York] : , : Berghahn Books, , 2016 |
|
©2016 |
|
|
|
|
|
|
|
|
|
ISBN |
|
|
|
|
|
|
Descrizione fisica |
|
1 online resource (288 p.) |
|
|
|
|
|
|
Disciplina |
|
|
|
|
|
|
Soggetti |
|
Motion pictures - China - Hong Kong - History - 21st century |
Chinese in motion pictures |
|
|
|
|
|
|
|
|
Lingua di pubblicazione |
|
|
|
|
|
|
Formato |
Materiale a stampa |
|
|
|
|
|
Livello bibliografico |
Monografia |
|
|
|
|
|
Note generali |
|
Description based upon print version of record. |
|
|
|
|
|
|
Nota di bibliografia |
|
Includes filmography. |
Includes bibliographical references and index. |
|
|
|
|
|
|
|
|
Nota di contenuto |
|
New Hong Kong Cinema; New Hong Kong Cinema ByRuby Cheung; Contents; Illustrations; Acknowledgements; Notes on Romanization, Terminology and Information Source; Abbreviations; Introduction; Chapter One Cinematic Journeys and Journeying in New Hong Kong Films; Chapter Two Outsider Characters; Chapter Three Hong Kong Filmmakers; Chapter Four Ethnic Chinese Film Audiences; Chapter Five Film Policies and Transitional Politics; Conclusion; Appendix; Filmography; Bibliography; Index |
|
|
|
|
|
|
|
|
Sommario/riassunto |
|
The trajectory of Hong Kong films had been drastically affected long before the city’s official sovereignty transfer from the British to the Chinese in 1997. The change in course has become more visible in recent years as China has aggressively developed its national film industry and assumed the role of powerhouse in East Asia’s cinematic landscape. The author introduces the “Cinema of Transitions” to study the New Hong Kong Cinema and on- and off-screen life against this background. Using examples from the 1980s to the present, this book offers a fresh perspective on how Hong Kong-related Chinese-language films, filmmakers, audiences, and the workings of film business in East Asia have become major platforms on which “transitions” are negotiated. |
|
|
|
|
|
|
|