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Examining Hong Kong cinema from its inception in 1913 to the end of the colonial era, this work explains the key areas of production, market, film products and critical traditions. Hong Kong Cinema considers the different political formations of Hong Kong's culture as seen through the cinema, and deals with the historical, political, economic and cultural relations between Hong Kong cinema and other Chinese film industries on the mainland, as well as in Taiwan and South-East Asia. Discussion covers the concept of 'national cinema' in the context of Hong Kong's status as a quasi-nation with strong links to both the 'motherland' (China) and the 'coloniser' (Britain), and also argues that Hong Kong cinema is a national cinema only in an incomplete and ambiguous sense.
Yingchi Chu is a lecturer in Chinese and Film Studies at the School of Asian Studies, Murdoch University, Western Australia
Preface and Acknowledgments Introduction: National Cinema and Hong Kong Cinema1. Hong Kong Cinema as Part of Chinese national Cinema 1913-19562. Hong Kong Cinema as Chinese Diasporic Cinema 1956-19793. Hong Kong Film Production, Market and Critisism 1979-19974. Hong Kong Films: The Cultural Specificity of Quasi-National Film5. Hong Kong Films: Constructions of Hong Kong History and Territory6. Hong Kong Films: Constructions of Quasi-National Identity7. Hong Kong Cinema after 1997Conclusion: Hong Kong Cinema and Quasi-National Cinema Notes Glossary Bibliography
