Cinema of Ann Hui

Weiting Fan is an assistant professor at Chongqing University, China. She received her Ph.D. in film theory and film philosophy at King’s College London. Her research interests include East Asian cinema, Chinese film theory, and Chinese intellectual histories.Xueyan Cheng is a Ph.D. student at the National University of Singapore. Her research focuses on contemporary Chinese cinema, popular culture, and film festivals. Additionally, she is a part-time film critic specialising in Chinese cinema.Zhaoyu Zhu is a teaching fellow in Communication and Cultural Studies at the University of Nottingham Ningbo, China. He received the Katherine Singer Kovacs Essay Award from the Society of Cinema and Media Studies in 2022.

• Introduction - Zhaoyu Zhu (University of Nottingham Ningbo China, China) and Xueyan Cheng (National University of Singapore, Singapore)I Narrative and Aesthetics1. The Experimentality in Narrative: The Aesthetics and Cultural Identity in Ann Hui’s Films - Chao Zhou (Ohio University, USA)2. Narrative and Narrational Strategies in Ann Hui’s The Way We Are (2008) - Gary Bettinson (Lancaster University, UK)3. Rethinking Realism in Early Ann Hui’s Televisual Work Boy from Vietnam (1978) - Raymond Tsang (University of Southern California, USA)4. ‘Remember My Name’: Songs of the Book and Sword in Exile in Ann Hui’s Historical Cinema - Faye Hui Xiao (University of Kansas, USA)5. Uncanny Aesthetics and the Sonic Horror in The Secret (1979) - Jiadi (Jady) Jiang (University of Southampton, UK)6. Reconstructing Hong Kong’s Surroundings: Subtle Intervention, Self-Narrative, and Close Observation in Ann Hui’s Documentaries - Zhaoyu ZhuII Gender and Femininity 7. Women, Space, Landscape: Classical Painting in Ann Hui’s Love in a Fallen City (1984) -Dailin Zhao (Renmin University, China)8. Struggling in Between: Hong Kong Women as Postcolonial Subjects in Ann Hui’s Summer Snow (1995) - Yiran Ai (University of Birmingham, UK)9. The Female Body of Qi: Redefining Feminist Cinema Through Ann Hui’s Tin-Shu-Wai Diptych - Weiting Fan (Chongqing University, China)10. Reconstructing Sinophone Queerness: Representations of Female Queer Communities in Ann Hui’s All About Love (2010) - Xueyan Cheng (National University of Singapore, Singapore)11. An Alternative Resistance Story: Female Subjectivity, Theatricality and the Ambiguity of Mainland-Hong Kong Geopolitics in Ann Hui’s Our Time Will Come (2017) - Han Li (Rhodes College, USA)III Displacement: Postcoloniality, Homeland, and Diaspora 12. The Position of Hong Kong: On Material, Space and Memory in Ann Hui’s Vietnam Trilogy - Siao-Yun Chen (National Chung-Hsing University, Taiwan)13. Exile or Vacation? Homeland in Ann Hui’s Song of the Exile (1990) and My American Grandson (1991) - Louise Suk Man YIP (University of Heidelberg, Germany)14. Beyond Failed Adaptation: A Postcolonial Contextual Rereading of Ann Hui’s Film Adaptations of Eileen Chang - Gabriel F. Y. Tsang (Hong Kong Baptist University, Hong Kong)15. Postcolonial Aging, Amah, and Diaspora in A Simple Life (2011) - Jessica K. Chan (University of Richmond, USA)16. Displacement and Alienation: Reading Xiaohong’s Life of Exile through Ann Hui’s The Golden Era (2014) - Chenfeng Wang (University of California, San Diego, USA)EndnotesBibliography

This wonderful collection is as diverse and multi-faceted in its analytical approaches as Ann Hui’s films are! With sections on her literary adaptations, work in different media, Hong Kong women, and the complexities of homeland and diaspora, The Cinema of Ann Hui is the first book in English to offer comprehensive coverage of her oeuvre. Taken together, it opens our eyes to a new understanding of film authorship and creativity as ever-changing and evolving, or rhizomatic, as the editors say.