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Hong Kong cinema since 1997 = the post-nostalgic imagination /

紀錄類型:	書目-電子資源 : 單行本
正題名/作者:	Hong Kong cinema since 1997/ Vivian P.Y. Lee.
其他題名:	the post-nostalgic imagination /
作者:	Lee, Vivian P. Y.,
出版者:	Basingstoke :Palgrave Macmillan, : 2009.,
面頁冊數:	vii, 254 p. ;23 cm.;
標題:	Motion pictures - History - 21st century. - China -
電子資源:	access to fulltext (Palgrave)
ISBN:	9780230245433

Hong Kong cinema since 1997 = the post-nostalgic imagination /
Lee, Vivian P. Y.,1962-

Hong Kong cinema since 1997the post-nostalgic imagination /[electronic resource] :Vivian P.Y. Lee. - Basingstoke :Palgrave Macmillan,2009. - vii, 254 p. ;23 cm.

Includes bibliographical references and index.

PART I: TIME AND MEMORY -- Post-Nostalgia: In the Mood for Love and 2046 -- Cinematic Remembrances: Ordinary Heroes and Little Cheung -- Allegory, Kinship, and Redemption: Fu Bo and Isabella --PART II: SCHIZOPHRENIA, AMNESIA AND CINEPHILIA -- Lost in the Cosmopolitan Crime Zone: Johnnie To'sUrban Legends -- The Kung Fu Hero in the Digital Age: Stephen Chow's 'Glocal' Strategies -- Karmic Redemption: Memory and Schizophrenia in Hong Kong Action Films -- PART III: IN AND OUT -- Migrants ina Strange City: (Dis-)locating the China Imaginary -- Outside the Nation: the Pan-Asian Trajectory of Applause Pictures -- The Hong Kong Multiplex: An Unfolding Narrative.

The change of sovereignty in 1997 marked the end of British colonialrule and the beginning ofa new era in the history of Hong Kong. Taking its point of departure from Hong Kong cinema's transition to the post-colonial present, this study traces the form and content of a still evolving mode of cinematic imagination in Hong Kong films during the first decade of Chinese rule. Using the term 'post-nostalgic' to distinguish the treatment of nostalgia in post-handover films from Jameson's critique of postmodern nostalgia, it revisits current debates over local identity, nationhood, globalization and transnational film cultures to reflect on how Hong Kong filmmakers have negotiated between a local consciousness and the need to embrace the global and the national. The discussion covers a wide spectrum of popular and art films, from action, martial arts, comedy and horror to arthouse drama and pan-Asian co-productions, and sheds light on both new and emerging trends in Hong Kong's film industry.

Electronic reproduction.
Basingstoke, England :
Palgrave Macmillan,
2010.

Mode of access:World Wide Web.

ISBN: 9780230245433

Standard No.: 10.1057/9780230245433doiSubjects--Topical Terms:

306620
Motion pictures
--History--China--21st century.Index Terms--Genre/Form:

96803
Electronic books.

LC Class. No.: PN1993.5.C4 / L44 2009

Dewey Class. No.: 791.43095125

Hong Kong cinema since 1997 = the post-nostalgic imagination /
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504 $a Includes bibliographical references and index.
505 0 $a PART I: TIME AND MEMORY -- Post-Nostalgia: In the Mood for Love and 2046 -- Cinematic Remembrances: Ordinary Heroes and Little Cheung -- Allegory, Kinship, and Redemption: Fu Bo and Isabella --PART II: SCHIZOPHRENIA, AMNESIA AND CINEPHILIA -- Lost in the Cosmopolitan Crime Zone: Johnnie To'sUrban Legends -- The Kung Fu Hero in the Digital Age: Stephen Chow's 'Glocal' Strategies -- Karmic Redemption: Memory and Schizophrenia in Hong Kong Action Films -- PART III: IN AND OUT -- Migrants ina Strange City: (Dis-)locating the China Imaginary -- Outside the Nation: the Pan-Asian Trajectory of Applause Pictures -- The Hong Kong Multiplex: An Unfolding Narrative.
520 $a The change of sovereignty in 1997 marked the end of British colonialrule and the beginning ofa new era in the history of Hong Kong. Taking its point of departure from Hong Kong cinema's transition to the post-colonial present, this study traces the form and content of a still evolving mode of cinematic imagination in Hong Kong films during the first decade of Chinese rule. Using the term 'post-nostalgic' to distinguish the treatment of nostalgia in post-handover films from Jameson's critique of postmodern nostalgia, it revisits current debates over local identity, nationhood, globalization and transnational film cultures to reflect on how Hong Kong filmmakers have negotiated between a local consciousness and the need to embrace the global and the national. The discussion covers a wide spectrum of popular and art films, from action, martial arts, comedy and horror to arthouse drama and pan-Asian co-productions, and sheds light on both new and emerging trends in Hong Kong's film industry.
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