Surveillance in Asian Cinema

Karen Fang is Associate Professor at the Department of English at the University of Houston, USA, where she teaches literature and film studies. Her previous publications include Arresting Cinema: Surveillance in Hong Kong Film (2017) and John Woo’s A Better Tomorrow (2004).

• Introduction: Asian Cinema and the "Surveillance Archipelago" [Karen Fang]Part I: Cold War1. The Might of the People: Counter-Espionage Films and Participatory Surveillance in the Early PRC[Xiaoning Lu]2. Closely Watched Films: Surveillance and Postwar Hong Kong Leftist Cinema[Man-fung Yip]3. The Dis/appearance of Animals in Animated Film during the Chinese Cultural Revolution, 1966-1976 [Daisy Yan Du]Part II: Market Reform4. Under Western Eyes? Colonial Bureaucracy, Surveillance and the Birth of the Hong Kong Crime Film [Kristof Van den Troost]5. Taiwan’s Cold War Geopolitics in in Edward Yang’s The Terrorizers[Catherine Liu]6. Sovereignty, Surveillance and Spectacle in the The Saigon Fabulous Four [Duy Lap Nguyen]7. Sonic Secrets as Counter-Surveillance in Wong Kar-wai’s In the Mood for Love [Timmy Chen Chih-ting]Part III: Global Capital8. Dividuated Korean Cinema: Recent Body Switch Films in the Overwired Age [Kyung Hyun Kim]9. Implication through Dissociation: Cinematic Enactment Tactics of State Surveillance in Cold Eyes [Helen Shin]10. Wasted! Power versus civilization in a martial arts action movie, viewed with Indonesian/Western eyes [Tony Day]11. Discreet Camera-Eye, Spectacle, and Stranger Sociality: On the Shift to Prosumer Digital Surveillance in China[Renren Yang]

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