Dr See Kam Tan is Associate Professor in the Department of English at the University of Macau.

• Acknowledgements A Note on LanguageGlossary I: Chinese-language Film TitlesGlossary II: Chinese-language Names (Persons, Film Companies, etc.)Glossary III: Chinese-language Terms and PhrasesIllustrationsPreface I NEW BEGINNINGSChapter One - Locating Sinophone Cinema Chapter Two – The Sinification of Early Shanghai and Hong Kong Cinema II NEW DIRECTIONS Chapter Three - Huangmei diao pian Chapter Four - Caizi/Jiaren Romance in Disguise Chapter Five - Fanchuan Acting: Cross-dressing and Performative Transexualities III NEW IMAGINARIESChapter Six - Tongzhi Articulations in Fengyue Films Chapter Seven - Transness: Hong Kong’s Bond Movies (Bangpian) IV NEW WAVESChapter Eight - Tsui Hark: Accented Cinema Chapter Nine - Tsui Hark: Time-Bomb Cinema Chapter Ten - Tsui Hark: New Localisms AfterwordAppendix - A Selection of Chinese-language Opera Film Avatars Filmography and TV ResourcesReferences

Tan offers a welcome and insightful survey of Hong Kong and Shanghai cinema from the 1930s to the 1980s, arguing for changing concepts of “nation,” “China,” and “Chineseness.” [...] The book offers a thorough analysis of Sinophone culture and cinema through a nonessentialist lens, resulting in a model for transnational cinema studies, rejecting the “nation” as a model for organization. Recommended.

Dr See Kam Tan is Associate Professor in the Department of English at the University of Macau.

• Acknowledgements A Note on LanguageGlossary I: Chinese-language Film TitlesGlossary II: Chinese-language Names (Persons, Film Companies, etc.)Glossary III: Chinese-language Terms and PhrasesIllustrationsPreface I NEW BEGINNINGSChapter One - Locating Sinophone Cinema Chapter Two – The Sinification of Early Shanghai and Hong Kong Cinema II NEW DIRECTIONS Chapter Three - Huangmei diao pian Chapter Four - Caizi/Jiaren Romance in Disguise Chapter Five - Fanchuan Acting: Cross-dressing and Performative Transexualities III NEW IMAGINARIESChapter Six - Tongzhi Articulations in Fengyue Films Chapter Seven - Transness: Hong Kong’s Bond Movies (Bangpian) IV NEW WAVESChapter Eight - Tsui Hark: Accented Cinema Chapter Nine - Tsui Hark: Time-Bomb Cinema Chapter Ten - Tsui Hark: New Localisms AfterwordAppendix - A Selection of Chinese-language Opera Film Avatars Filmography and TV ResourcesReferences

Tan offers a welcome and insightful survey of Hong Kong and Shanghai cinema from the 1930s to the 1980s, arguing for changing concepts of “nation,” “China,” and “Chineseness.” [...] The book offers a thorough analysis of Sinophone culture and cinema through a nonessentialist lens, resulting in a model for transnational cinema studies, rejecting the “nation” as a model for organization. Recommended.

Dr See Kam Tan is Associate Professor in the Department of English at the University of Macau.

• Acknowledgements A Note on LanguageGlossary I: Chinese-language Film TitlesGlossary II: Chinese-language Names (Persons, Film Companies, etc.)Glossary III: Chinese-language Terms and PhrasesIllustrationsPreface I NEW BEGINNINGSChapter One - Locating Sinophone Cinema Chapter Two – The Sinification of Early Shanghai and Hong Kong Cinema II NEW DIRECTIONS Chapter Three - Huangmei diao pian Chapter Four - Caizi/Jiaren Romance in Disguise Chapter Five - Fanchuan Acting: Cross-dressing and Performative Transexualities III NEW IMAGINARIESChapter Six - Tongzhi Articulations in Fengyue Films Chapter Seven - Transness: Hong Kong’s Bond Movies (Bangpian) IV NEW WAVESChapter Eight - Tsui Hark: Accented Cinema Chapter Nine - Tsui Hark: Time-Bomb Cinema Chapter Ten - Tsui Hark: New Localisms AfterwordAppendix - A Selection of Chinese-language Opera Film Avatars Filmography and TV ResourcesReferences

Tan offers a welcome and insightful survey of Hong Kong and Shanghai cinema from the 1930s to the 1980s, arguing for changing concepts of “nation,” “China,” and “Chineseness.” [...] The book offers a thorough analysis of Sinophone culture and cinema through a nonessentialist lens, resulting in a model for transnational cinema studies, rejecting the “nation” as a model for organization. Recommended.