Tan See-Kam is Associate Professor, Department of Communication, University of Macau, Macao SAR, China. His research mainly focuses on gender and Chinese-language cinema and he has published widely in this area. He is co-editor of Hong Kong Film, Hollywood and the New Global Cinema (2007) and also Hong Kong Alternative Cinema Through the Global Lens (forthcoming).Peter X Feng is Associate Professor of English and Women’s Studies at the University of Delaware, where he teaches film history, Asian American Studies and Cultural Studies. He is the author of Identities in Motion: Asian American Film and Video and editor of Screening Asian Americans.Gina Marchetti teaches at the University of Hong Kong in Comparative Literature and is the author of From Tian’anmen to Times Square: Transnational China and the Chinese Diaspora on Global Screens, 1989-1997 (Temple) and Romance and the “Yellow Peril”: Race, Sex, and Discursive Strategies in Hollywood Fiction.

• Acknowledgements Introduction Part I: Global Connections 1. False Consciousness and Double Consciousness: Race, Virtual Reality, and the Assimilation of Hong Kong 2. The Par-asian Cinematic Imaginary in Olivier Assayas's Irma Vep 3. The HK Venture: The Francophone Cine-logocentric Nexus 4. Wong Fei-Hung in Da House: Hong Kong Martial-Arts Films and Hip-Hop Culture 5. Same Difference: Racial Masculinity in Hong Kong and Cop-Buddy "Hybrids" 6. American Popular Music and Neocolonialism in the Films of Edward Yang 7. Hollywood and Taiwan: Connections, Countercurrents, and Ang Lee's Hulk 8. Becoming Hollywood? Hong Kong Cinema in the New Century Part II: Questions of Gender 9. "From Behind the Wall": The Representation of Gender and Sexuality in Modern Chinese Film 10. Beyond the Western Gaze: Orientalism, Feminism, and the Suffering Woman in Nontransnational Chinese Cinema 11. Disappearing Faces: Bisexuality and Transvestism in Two Hong Kong Comedies 12. Staging Gay Life in China: Zhang Yuan and East Palace, West Palace 13. Whose Fatal Ways: Mapping the Boundary and Consuming the Other in Border Crossing Films 14. Asian Martial-Arts Cinema, Dance, and the Cultural Languages of Gender Part III: At the Millennium and Beyond 15. Singapore as a Society of Strangers: Eric Khoo's Mee Pok Man 16. Chinese Cinema Revisits the City: Beijng Trilogy and Global Urbanism of the 1990s 17. Taiwan Fever? Tsai Ming-Liang and the Everyday Postnation 18. The Spirits of Capital and Haunting Sounds: Translocal Historicism in Victim (1999) 19. Zhang Yimou's Hero: The Temptations of Fascism Appendix A: On Chinese Names Appendix B: Chinese Names, Words, and Phrases Appendix C: Chinese-Language Filmography Contributors Index

"According to its editors...Chinese Connections blazes a new trail, and it is easy to agree with them... At times, the eclecticism of the contributions threatens to thwart the attempts of the book's editors to impose order; but in a sense, it is the sheer scope and number of its essays which furnish this volume with its core strength. Chinese Connections contains 19 chapters in a volume just shy of 300 pages; and these pieces manage to cover essential films and essential filmmakers at the same time as straying into less tried terrain in stimulating ways. The result is a volume that has something to say to everyone from undergraduates to film specialists. Indeed, although the last few years have seen the publication of several high-quality, broad-sweep volumes on Chinese film - both nationally and transnationally - few have quite the reach and range of this one." - The China Quarterly

Tan See-Kam is Associate Professor, Department of Communication, University of Macau, Macao SAR, China. His research mainly focuses on gender and Chinese-language cinema and he has published widely in this area. He is co-editor of Hong Kong Film, Hollywood and the New Global Cinema (2007) and also Hong Kong Alternative Cinema Through the Global Lens (forthcoming).Peter X Feng is Associate Professor of English and Women’s Studies at the University of Delaware, where he teaches film history, Asian American Studies and Cultural Studies. He is the author of Identities in Motion: Asian American Film and Video and editor of Screening Asian Americans.Gina Marchetti teaches at the University of Hong Kong in Comparative Literature and is the author of From Tian’anmen to Times Square: Transnational China and the Chinese Diaspora on Global Screens, 1989-1997 (Temple) and Romance and the “Yellow Peril”: Race, Sex, and Discursive Strategies in Hollywood Fiction.

• Acknowledgements Introduction Part I: Global Connections 1. False Consciousness and Double Consciousness: Race, Virtual Reality, and the Assimilation of Hong Kong 2. The Par-asian Cinematic Imaginary in Olivier Assayas's Irma Vep 3. The HK Venture: The Francophone Cine-logocentric Nexus 4. Wong Fei-Hung in Da House: Hong Kong Martial-Arts Films and Hip-Hop Culture 5. Same Difference: Racial Masculinity in Hong Kong and Cop-Buddy "Hybrids" 6. American Popular Music and Neocolonialism in the Films of Edward Yang 7. Hollywood and Taiwan: Connections, Countercurrents, and Ang Lee's Hulk 8. Becoming Hollywood? Hong Kong Cinema in the New Century Part II: Questions of Gender 9. "From Behind the Wall": The Representation of Gender and Sexuality in Modern Chinese Film 10. Beyond the Western Gaze: Orientalism, Feminism, and the Suffering Woman in Nontransnational Chinese Cinema 11. Disappearing Faces: Bisexuality and Transvestism in Two Hong Kong Comedies 12. Staging Gay Life in China: Zhang Yuan and East Palace, West Palace 13. Whose Fatal Ways: Mapping the Boundary and Consuming the Other in Border Crossing Films 14. Asian Martial-Arts Cinema, Dance, and the Cultural Languages of Gender Part III: At the Millennium and Beyond 15. Singapore as a Society of Strangers: Eric Khoo's Mee Pok Man 16. Chinese Cinema Revisits the City: Beijng Trilogy and Global Urbanism of the 1990s 17. Taiwan Fever? Tsai Ming-Liang and the Everyday Postnation 18. The Spirits of Capital and Haunting Sounds: Translocal Historicism in Victim (1999) 19. Zhang Yimou's Hero: The Temptations of Fascism Appendix A: On Chinese Names Appendix B: Chinese Names, Words, and Phrases Appendix C: Chinese-Language Filmography Contributors Index

"According to its editors...Chinese Connections blazes a new trail, and it is easy to agree with them... At times, the eclecticism of the contributions threatens to thwart the attempts of the book's editors to impose order; but in a sense, it is the sheer scope and number of its essays which furnish this volume with its core strength. Chinese Connections contains 19 chapters in a volume just shy of 300 pages; and these pieces manage to cover essential films and essential filmmakers at the same time as straying into less tried terrain in stimulating ways. The result is a volume that has something to say to everyone from undergraduates to film specialists. Indeed, although the last few years have seen the publication of several high-quality, broad-sweep volumes on Chinese film - both nationally and transnationally - few have quite the reach and range of this one." - The China Quarterly

Tan See-Kam is Associate Professor, Department of Communication, University of Macau, Macao SAR, China. His research mainly focuses on gender and Chinese-language cinema and he has published widely in this area. He is co-editor of Hong Kong Film, Hollywood and the New Global Cinema (2007) and also Hong Kong Alternative Cinema Through the Global Lens (forthcoming).Peter X Feng is Associate Professor of English and Women’s Studies at the University of Delaware, where he teaches film history, Asian American Studies and Cultural Studies. He is the author of Identities in Motion: Asian American Film and Video and editor of Screening Asian Americans.Gina Marchetti teaches at the University of Hong Kong in Comparative Literature and is the author of From Tian’anmen to Times Square: Transnational China and the Chinese Diaspora on Global Screens, 1989-1997 (Temple) and Romance and the “Yellow Peril”: Race, Sex, and Discursive Strategies in Hollywood Fiction.

• Acknowledgements Introduction Part I: Global Connections 1. False Consciousness and Double Consciousness: Race, Virtual Reality, and the Assimilation of Hong Kong 2. The Par-asian Cinematic Imaginary in Olivier Assayas's Irma Vep 3. The HK Venture: The Francophone Cine-logocentric Nexus 4. Wong Fei-Hung in Da House: Hong Kong Martial-Arts Films and Hip-Hop Culture 5. Same Difference: Racial Masculinity in Hong Kong and Cop-Buddy "Hybrids" 6. American Popular Music and Neocolonialism in the Films of Edward Yang 7. Hollywood and Taiwan: Connections, Countercurrents, and Ang Lee's Hulk 8. Becoming Hollywood? Hong Kong Cinema in the New Century Part II: Questions of Gender 9. "From Behind the Wall": The Representation of Gender and Sexuality in Modern Chinese Film 10. Beyond the Western Gaze: Orientalism, Feminism, and the Suffering Woman in Nontransnational Chinese Cinema 11. Disappearing Faces: Bisexuality and Transvestism in Two Hong Kong Comedies 12. Staging Gay Life in China: Zhang Yuan and East Palace, West Palace 13. Whose Fatal Ways: Mapping the Boundary and Consuming the Other in Border Crossing Films 14. Asian Martial-Arts Cinema, Dance, and the Cultural Languages of Gender Part III: At the Millennium and Beyond 15. Singapore as a Society of Strangers: Eric Khoo's Mee Pok Man 16. Chinese Cinema Revisits the City: Beijng Trilogy and Global Urbanism of the 1990s 17. Taiwan Fever? Tsai Ming-Liang and the Everyday Postnation 18. The Spirits of Capital and Haunting Sounds: Translocal Historicism in Victim (1999) 19. Zhang Yimou's Hero: The Temptations of Fascism Appendix A: On Chinese Names Appendix B: Chinese Names, Words, and Phrases Appendix C: Chinese-Language Filmography Contributors Index

"According to its editors...Chinese Connections blazes a new trail, and it is easy to agree with them... At times, the eclecticism of the contributions threatens to thwart the attempts of the book's editors to impose order; but in a sense, it is the sheer scope and number of its essays which furnish this volume with its core strength. Chinese Connections contains 19 chapters in a volume just shy of 300 pages; and these pieces manage to cover essential films and essential filmmakers at the same time as straying into less tried terrain in stimulating ways. The result is a volume that has something to say to everyone from undergraduates to film specialists. Indeed, although the last few years have seen the publication of several high-quality, broad-sweep volumes on Chinese film - both nationally and transnationally - few have quite the reach and range of this one." - The China Quarterly