Esther M.K. Cheung is Department Chairperson, Department of Comparative Literature, School of Humanities, at the University of Hong Kong. She is the author of Fruit Chan’s Made in Hong Kong (2009) and In Pursuit of Independent Visions in Hong Kong Cinema (2010). Gina Marchetti is Professor, Department of Comparative Literature, School of Humanities, at the University of Hong Kong. Her books include Romance and the "Yellow Peril": Race, Sex and Discursive Strategies in Hollywood Fiction (1993) and Andrew Lau and Alan Mak’s INFERNAL AFFAIRS—The Trilogy (2007). Esther C.M. Yau is Associate Professor, Department of Comparative Literature, School of Humanities, at the University of Hong Kong. Her books include At Full Speed: Hong Kong Cinema in a Borderless World (editor, 2001) and New Chinese Cinemas: Forms, Identities, Politics (co-editor, 1996).

• Acknowledgments xNotes on Contributors xiForeword xviiiAckbar AbbasIntroduction 1Esther M.K. Cheung, Gina Marchetti, and Esther C.M. YauPart I Critical Paradigms: Defining Hong Kong Cinema Studies 151 Watchful Partners, Hidden Currents: Hong Kong Cinema Moving into the Mainland of China 17Esther C.M. Yau2 The Urban Maze: Crisis and Topography in Hong Kong Cinema 51Esther M.K. Cheung3 Hong Kong Cinema as Ethnic Borderland 71Kwai]cheung Lo4 Hong Kong Cinema in the Age of Neoliberalization and Mainlandization: Hong Kong SAR New Wave as a Cinema of Anxiety 89Mirana May Szeto and Yun]chung ChenCommentary: Dimensions of Hong Kong Cinema 116Sheldon LuPart II Critical Geographies 1215 Hong Kong Cinema’s Exotic Others: Re]examining the Hong Kong Body in the Context of Asian Regionalism 123Olivia Khoo6 Animating the Translocal: The McDull Films as a Cultural and Visual Expression of Hong Kong 140Kimburley Wing-yee Choi and Steve Fore7 Globalizing Hong Kong Cinema Through Japan 168David Desser8 Creative Cinematic Geographies Through the Hong Kong International Film Festival 185Cindy Hing]yuk Wong9 Postmodernity, Han Normativity, and Hong Kong Cinema 207Evans ChanCommentary: Critical Geographies 225Stephen Yiu]wai ChuPart III The Gendered Body and Queer Configurations 23510 Feminism, Postfeminism, and Hong Kong Women Filmmakers 237Gina Marchetti11 Love In The City: The Placing of Intimacy in Urban Romance Films 265Helen Hok]sze Leung12 Regulating Queer Domesticity in the Neoliberal Diaspora 284Audrey YueCommentary: To Love is to Demand: A Very Short Commentary 303Shu]mei ShihPart IV Hong Kong Stars 30513 Return of the Dragon: Handover, Hong Kong Cinema, and Chinese Ethno]nationalism 307Paul Bowman14 Transitional Stardom: The Case of Jimmy Wang Yu 322Tony Williams15 Camp Stars of Androgyny: A Study of Leslie Cheung and Anita Mui’s Body Images of Desire 341Natalia Siu]hung Chan16 Cooling Faye Wong: A Cosmopolitical Intervention 359Kin]Yan SzetoCommentary: Hong Kong Stars and Stardom 379Gary BettinsonPart V Narratives and Aesthetics 38917 Making Merry on Time: A Feast of Nostalgia in Watching Chinese New Year Films 391Fiona Yuk]wa Law18 A Pan]Asian Cinema of Allusion: Going Home and Dumplings 410Bliss Cua Lim19 Double Agents, Cameos, and the Poor Man’s Orchestra: Music and Place in Chungking Express 440Giorgio Biancorosso20 Documenting Sentiments in Video Diaries around 1997: Archeology of Forgotten Screen Practices 462Linda Chiu]han LaiCommentary: The Dynamics of Off]Centeredness in Hong Kong Cinema 489Yingjin ZhangPart VI Screen Histories and Documentary Practices 49921 The Lightness of History: Screening the Past in Hong Kong Cinema 501Vivian P.Y. Lee22 The Tales of Fang Peilin and Zhu Shilin: From Rethinking Hong Kong Cinema to Rewriting Chinese Film History 523Ain]ling Wong23 The Documentary Film in Hong Kong 539Ian Aitken and Mike Ingham24 Representations of Law in Hong Kong Cinema 560Marco WanCommentary: Cinema and the Cultural Politics of Identity: Hong Kong No More? A Commentary on the Verge of Postcolonial Locality 577Stephen Ching]kiu ChanFilmography 585Index 602

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Esther M.K. Cheung is Department Chairperson, Department of Comparative Literature, School of Humanities, at the University of Hong Kong. She is the author of Fruit Chan’s Made in Hong Kong (2009) and In Pursuit of Independent Visions in Hong Kong Cinema (2010). Gina Marchetti is Professor, Department of Comparative Literature, School of Humanities, at the University of Hong Kong. Her books include Romance and the "Yellow Peril": Race, Sex and Discursive Strategies in Hollywood Fiction (1993) and Andrew Lau and Alan Mak’s INFERNAL AFFAIRS—The Trilogy (2007). Esther C.M. Yau is Associate Professor, Department of Comparative Literature, School of Humanities, at the University of Hong Kong. Her books include At Full Speed: Hong Kong Cinema in a Borderless World (editor, 2001) and New Chinese Cinemas: Forms, Identities, Politics (co-editor, 1996).

• Acknowledgments xNotes on Contributors xiForeword xviiiAckbar AbbasIntroduction 1Esther M.K. Cheung, Gina Marchetti, and Esther C.M. YauPart I Critical Paradigms: Defining Hong Kong Cinema Studies 151 Watchful Partners, Hidden Currents: Hong Kong Cinema Moving into the Mainland of China 17Esther C.M. Yau2 The Urban Maze: Crisis and Topography in Hong Kong Cinema 51Esther M.K. Cheung3 Hong Kong Cinema as Ethnic Borderland 71Kwai]cheung Lo4 Hong Kong Cinema in the Age of Neoliberalization and Mainlandization: Hong Kong SAR New Wave as a Cinema of Anxiety 89Mirana May Szeto and Yun]chung ChenCommentary: Dimensions of Hong Kong Cinema 116Sheldon LuPart II Critical Geographies 1215 Hong Kong Cinema’s Exotic Others: Re]examining the Hong Kong Body in the Context of Asian Regionalism 123Olivia Khoo6 Animating the Translocal: The McDull Films as a Cultural and Visual Expression of Hong Kong 140Kimburley Wing-yee Choi and Steve Fore7 Globalizing Hong Kong Cinema Through Japan 168David Desser8 Creative Cinematic Geographies Through the Hong Kong International Film Festival 185Cindy Hing]yuk Wong9 Postmodernity, Han Normativity, and Hong Kong Cinema 207Evans ChanCommentary: Critical Geographies 225Stephen Yiu]wai ChuPart III The Gendered Body and Queer Configurations 23510 Feminism, Postfeminism, and Hong Kong Women Filmmakers 237Gina Marchetti11 Love In The City: The Placing of Intimacy in Urban Romance Films 265Helen Hok]sze Leung12 Regulating Queer Domesticity in the Neoliberal Diaspora 284Audrey YueCommentary: To Love is to Demand: A Very Short Commentary 303Shu]mei ShihPart IV Hong Kong Stars 30513 Return of the Dragon: Handover, Hong Kong Cinema, and Chinese Ethno]nationalism 307Paul Bowman14 Transitional Stardom: The Case of Jimmy Wang Yu 322Tony Williams15 Camp Stars of Androgyny: A Study of Leslie Cheung and Anita Mui’s Body Images of Desire 341Natalia Siu]hung Chan16 Cooling Faye Wong: A Cosmopolitical Intervention 359Kin]Yan SzetoCommentary: Hong Kong Stars and Stardom 379Gary BettinsonPart V Narratives and Aesthetics 38917 Making Merry on Time: A Feast of Nostalgia in Watching Chinese New Year Films 391Fiona Yuk]wa Law18 A Pan]Asian Cinema of Allusion: Going Home and Dumplings 410Bliss Cua Lim19 Double Agents, Cameos, and the Poor Man’s Orchestra: Music and Place in Chungking Express 440Giorgio Biancorosso20 Documenting Sentiments in Video Diaries around 1997: Archeology of Forgotten Screen Practices 462Linda Chiu]han LaiCommentary: The Dynamics of Off]Centeredness in Hong Kong Cinema 489Yingjin ZhangPart VI Screen Histories and Documentary Practices 49921 The Lightness of History: Screening the Past in Hong Kong Cinema 501Vivian P.Y. Lee22 The Tales of Fang Peilin and Zhu Shilin: From Rethinking Hong Kong Cinema to Rewriting Chinese Film History 523Ain]ling Wong23 The Documentary Film in Hong Kong 539Ian Aitken and Mike Ingham24 Representations of Law in Hong Kong Cinema 560Marco WanCommentary: Cinema and the Cultural Politics of Identity: Hong Kong No More? A Commentary on the Verge of Postcolonial Locality 577Stephen Ching]kiu ChanFilmography 585Index 602

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Esther M.K. Cheung is Department Chairperson, Department of Comparative Literature, School of Humanities, at the University of Hong Kong. She is the author of Fruit Chan’s Made in Hong Kong (2009) and In Pursuit of Independent Visions in Hong Kong Cinema (2010). Gina Marchetti is Professor, Department of Comparative Literature, School of Humanities, at the University of Hong Kong. Her books include Romance and the "Yellow Peril": Race, Sex and Discursive Strategies in Hollywood Fiction (1993) and Andrew Lau and Alan Mak’s INFERNAL AFFAIRS—The Trilogy (2007). Esther C.M. Yau is Associate Professor, Department of Comparative Literature, School of Humanities, at the University of Hong Kong. Her books include At Full Speed: Hong Kong Cinema in a Borderless World (editor, 2001) and New Chinese Cinemas: Forms, Identities, Politics (co-editor, 1996).

• Acknowledgments xNotes on Contributors xiForeword xviiiAckbar AbbasIntroduction 1Esther M.K. Cheung, Gina Marchetti, and Esther C.M. YauPart I Critical Paradigms: Defining Hong Kong Cinema Studies 151 Watchful Partners, Hidden Currents: Hong Kong Cinema Moving into the Mainland of China 17Esther C.M. Yau2 The Urban Maze: Crisis and Topography in Hong Kong Cinema 51Esther M.K. Cheung3 Hong Kong Cinema as Ethnic Borderland 71Kwai]cheung Lo4 Hong Kong Cinema in the Age of Neoliberalization and Mainlandization: Hong Kong SAR New Wave as a Cinema of Anxiety 89Mirana May Szeto and Yun]chung ChenCommentary: Dimensions of Hong Kong Cinema 116Sheldon LuPart II Critical Geographies 1215 Hong Kong Cinema’s Exotic Others: Re]examining the Hong Kong Body in the Context of Asian Regionalism 123Olivia Khoo6 Animating the Translocal: The McDull Films as a Cultural and Visual Expression of Hong Kong 140Kimburley Wing-yee Choi and Steve Fore7 Globalizing Hong Kong Cinema Through Japan 168David Desser8 Creative Cinematic Geographies Through the Hong Kong International Film Festival 185Cindy Hing]yuk Wong9 Postmodernity, Han Normativity, and Hong Kong Cinema 207Evans ChanCommentary: Critical Geographies 225Stephen Yiu]wai ChuPart III The Gendered Body and Queer Configurations 23510 Feminism, Postfeminism, and Hong Kong Women Filmmakers 237Gina Marchetti11 Love In The City: The Placing of Intimacy in Urban Romance Films 265Helen Hok]sze Leung12 Regulating Queer Domesticity in the Neoliberal Diaspora 284Audrey YueCommentary: To Love is to Demand: A Very Short Commentary 303Shu]mei ShihPart IV Hong Kong Stars 30513 Return of the Dragon: Handover, Hong Kong Cinema, and Chinese Ethno]nationalism 307Paul Bowman14 Transitional Stardom: The Case of Jimmy Wang Yu 322Tony Williams15 Camp Stars of Androgyny: A Study of Leslie Cheung and Anita Mui’s Body Images of Desire 341Natalia Siu]hung Chan16 Cooling Faye Wong: A Cosmopolitical Intervention 359Kin]Yan SzetoCommentary: Hong Kong Stars and Stardom 379Gary BettinsonPart V Narratives and Aesthetics 38917 Making Merry on Time: A Feast of Nostalgia in Watching Chinese New Year Films 391Fiona Yuk]wa Law18 A Pan]Asian Cinema of Allusion: Going Home and Dumplings 410Bliss Cua Lim19 Double Agents, Cameos, and the Poor Man’s Orchestra: Music and Place in Chungking Express 440Giorgio Biancorosso20 Documenting Sentiments in Video Diaries around 1997: Archeology of Forgotten Screen Practices 462Linda Chiu]han LaiCommentary: The Dynamics of Off]Centeredness in Hong Kong Cinema 489Yingjin ZhangPart VI Screen Histories and Documentary Practices 49921 The Lightness of History: Screening the Past in Hong Kong Cinema 501Vivian P.Y. Lee22 The Tales of Fang Peilin and Zhu Shilin: From Rethinking Hong Kong Cinema to Rewriting Chinese Film History 523Ain]ling Wong23 The Documentary Film in Hong Kong 539Ian Aitken and Mike Ingham24 Representations of Law in Hong Kong Cinema 560Marco WanCommentary: Cinema and the Cultural Politics of Identity: Hong Kong No More? A Commentary on the Verge of Postcolonial Locality 577Stephen Ching]kiu ChanFilmography 585Index 602

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