Chi-Yun Shin is Senior Lecturer in Screen Studies, Sheffield Hallam University, UK and is on the editorial board of the Journal of Japanese and Korean Cinema. Mark Gallagher is Lecturer in Film and Television Studies at the University of Nottingham, UK.

• Acknowledgements ivNote on Names and Romanization vNotes on Contributors viIntroduction: A Very Rough Guide to East Asian Film Noir – Mark Gallagher 1Part One – Japan: From Post–World War Two Crime and Drama to Anime Dystopias1. Out of the Past: Film Noir, Whiteness and the End of the Monochrome Era in Japanese Cinema’ – Daisuke Miyao 272. Kurosawa’s Noir Quartet: Cinematic Musings on How to Be a Tough Man ­ Dolores Martinez 11113. The Japanese Los Angeles of The Crimson Kimono and Brother ­Suzanne Arakawa 11114. Ghost in the Shell: The Noir Instinct – Dan North 1111Part Two – South Korea: From Postwar Modernity to Crime and Detection on a Global Stage5. Allegorizing Noir: Violence, Body and Space in the Postwar Korean Film Noir’ – Hyun S. Park 11116. The True Colors of the ‘Action Kid’: Seung-wan Ryoo’s Urban Film Noir – Kyu Hyun Kim 11117. A Mess of Contradictions? Korean Noir in Myung-se Lee’s Nowhere to Hide and Duelist­ Daniel Martin 1111Part Three – Three Chinas (Mainland China, Hong Kong and Taiwan), Many Noirs8. From Urban Crime Thriller to Silent Ghost Story: Rebels of the Neon God and Taiwanese Neo-Noir ­ Erin Yu-Tien Huang 9. Film Noir, Hong Kong Cinema and the Limits of Critical Transplant ­ Andy Willis 111110. Life is Cheap: Chinese Neo-Noir and the Aesthetics of Disenchantment ­ Philippa Lovatt 111111. Tony Leung’s Noir Thrillers and Transnational Stardom ­ Mark Gallagher 111112. Double Identity: The Stardom of Xun Zhou and the Figure of the Femme Fatale ­ Chi-Yun Shin 1111

Chi-Yun Shin is Senior Lecturer in Screen Studies, Sheffield Hallam University, UK and is on the editorial board of the Journal of Japanese and Korean Cinema. Mark Gallagher is Lecturer in Film and Television Studies at the University of Nottingham, UK.

• Acknowledgements ivNote on Names and Romanization vNotes on Contributors viIntroduction: A Very Rough Guide to East Asian Film Noir – Mark Gallagher 1Part One – Japan: From Post–World War Two Crime and Drama to Anime Dystopias1. Out of the Past: Film Noir, Whiteness and the End of the Monochrome Era in Japanese Cinema’ – Daisuke Miyao 272. Kurosawa’s Noir Quartet: Cinematic Musings on How to Be a Tough Man ­ Dolores Martinez 11113. The Japanese Los Angeles of The Crimson Kimono and Brother ­Suzanne Arakawa 11114. Ghost in the Shell: The Noir Instinct – Dan North 1111Part Two – South Korea: From Postwar Modernity to Crime and Detection on a Global Stage5. Allegorizing Noir: Violence, Body and Space in the Postwar Korean Film Noir’ – Hyun S. Park 11116. The True Colors of the ‘Action Kid’: Seung-wan Ryoo’s Urban Film Noir – Kyu Hyun Kim 11117. A Mess of Contradictions? Korean Noir in Myung-se Lee’s Nowhere to Hide and Duelist­ Daniel Martin 1111Part Three – Three Chinas (Mainland China, Hong Kong and Taiwan), Many Noirs8. From Urban Crime Thriller to Silent Ghost Story: Rebels of the Neon God and Taiwanese Neo-Noir ­ Erin Yu-Tien Huang 9. Film Noir, Hong Kong Cinema and the Limits of Critical Transplant ­ Andy Willis 111110. Life is Cheap: Chinese Neo-Noir and the Aesthetics of Disenchantment ­ Philippa Lovatt 111111. Tony Leung’s Noir Thrillers and Transnational Stardom ­ Mark Gallagher 111112. Double Identity: The Stardom of Xun Zhou and the Figure of the Femme Fatale ­ Chi-Yun Shin 1111

Chi-Yun Shin is Senior Lecturer in Screen Studies, Sheffield Hallam University, UK and is on the editorial board of the Journal of Japanese and Korean Cinema. Mark Gallagher is Lecturer in Film and Television Studies at the University of Nottingham, UK.

• Acknowledgements ivNote on Names and Romanization vNotes on Contributors viIntroduction: A Very Rough Guide to East Asian Film Noir – Mark Gallagher 1Part One – Japan: From Post–World War Two Crime and Drama to Anime Dystopias1. Out of the Past: Film Noir, Whiteness and the End of the Monochrome Era in Japanese Cinema’ – Daisuke Miyao 272. Kurosawa’s Noir Quartet: Cinematic Musings on How to Be a Tough Man ­ Dolores Martinez 11113. The Japanese Los Angeles of The Crimson Kimono and Brother ­Suzanne Arakawa 11114. Ghost in the Shell: The Noir Instinct – Dan North 1111Part Two – South Korea: From Postwar Modernity to Crime and Detection on a Global Stage5. Allegorizing Noir: Violence, Body and Space in the Postwar Korean Film Noir’ – Hyun S. Park 11116. The True Colors of the ‘Action Kid’: Seung-wan Ryoo’s Urban Film Noir – Kyu Hyun Kim 11117. A Mess of Contradictions? Korean Noir in Myung-se Lee’s Nowhere to Hide and Duelist­ Daniel Martin 1111Part Three – Three Chinas (Mainland China, Hong Kong and Taiwan), Many Noirs8. From Urban Crime Thriller to Silent Ghost Story: Rebels of the Neon God and Taiwanese Neo-Noir ­ Erin Yu-Tien Huang 9. Film Noir, Hong Kong Cinema and the Limits of Critical Transplant ­ Andy Willis 111110. Life is Cheap: Chinese Neo-Noir and the Aesthetics of Disenchantment ­ Philippa Lovatt 111111. Tony Leung’s Noir Thrillers and Transnational Stardom ­ Mark Gallagher 111112. Double Identity: The Stardom of Xun Zhou and the Figure of the Femme Fatale ­ Chi-Yun Shin 1111