LEADER 03271nam 22004935 450 001 9910148610103321 005 20221206135511.0 010 $a1-5036-0075-0 024 7 $a10.1515/9781503600751 035 $a(CKB)3710000000921694 035 $a(MiAaPQ)EBC4729787 035 $a(DE-B1597)564162 035 $a(DE-B1597)9781503600751 035 $a(OCoLC)1178769422 035 $a(EXLCZ)993710000000921694 100 $a20200723h20202017 fg 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aArresting Cinema $eSurveillance in Hong Kong Film /$fKaren Fang 210 1$aStanford, CA :$cStanford University Press,$d[2020] 210 4$dİ2017 215 $a1 online resource (241 pages) 311 $a1-5036-0070-X 311 $a0-8047-9891-5 320 $aIncludes bibliographical references and index. 327 $tFrontmatter --$tCONTENTS --$tPreface --$tIntroduction: A Race of Peeping Toms? ?Rear Window Ethics? in Hong Kong --$tONE. Watching the Watchman: Michael Hui?s Surveillance Comedies --$tTWO. On the ?China Watch?: Prosperity and Paranoia in Reunification-Era Cinema --$tTHREE. ?Only? a Policeman: Joint Venture Cinema and the Mediatization of the Hong Kong Police --$tFOUR. ?Representing the Chinese Government?: Hong Kong Undercover in an Age of Self-Censorship --$tConclusion: Toward a Global Surveillance Cinema --$tAppendix: Chinese Glossary --$tNotes --$tBibliography --$tIndex 330 $aWhen Ridley Scott envisioned Blade Runner's set as "Hong Kong on a bad day," he nodded to the city's overcrowding as well as its widespread use of surveillance. But while Scott brought Hong Kong and surveillance into the global film repertoire, the city's own cinema has remained outside of the global surveillance discussion. In Arresting Cinema, Karen Fang delivers a unifying account of Hong Kong cinema that draws upon its renowned crime films and other unique genres to demonstrate Hong Kong's view of surveillance. She argues that Hong Kong's films display a tolerance of?and even opportunism towards?the soft cage of constant observation, unlike the fearful view prevalent in the West. However, many surveillance cinema studies focus solely on European and Hollywood films, discounting other artistic traditions and industrial circumstances. Hong Kong's films show a more crowded, increasingly economically stratified, and postnational world that nevertheless offers an aura of hopeful futurity. Only by exploring Hong Kong surveillance film can we begin to shape a truly global understanding of Hitchcock's "rear window ethics." 606 $aSurveillance in motion pictures 606 $aCrime films$zChina$zHong Kong$xHistory and criticism 606 $aMotion pictures$zChina$zHong Kong$xHistory 615 0$aSurveillance in motion pictures. 615 0$aCrime films$xHistory and criticism. 615 0$aMotion pictures$xHistory. 676 $a791.430 95125 700 $aFang$b Karen$4aut$4http://id.loc.gov/vocabulary/relators/aut$01171339 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910148610103321 996 $aArresting Cinema$92894755 997 $aUNINA