The most recent addition to the New Hong Kong Cinema Series published by Hong Kong University Press is dedicated to The Killer (1989), the film that virtually blasted open the way to Hollywood for famed Hong Kong director John Woo and his favourite star, Chow Yun-fat. In this film Chow is a lone assassin, who after accidentally blinding a singer (Sally Yeh) takes on one last assignment in order to pay for the eye surgery she needs. Things do not go quite as planned, and the killer finds himse..
Favraud Georges, Van Den Troost Kristof. Stephen Teo, Director in Action : Johnnie To and the Hong K...
Ever since 2000s, the mainland Chinese film industry is becoming increasingly globalised, implementi...
Korea Session 195: Collaboration, Co-operation, and Co-production in South Korea's East Asian Cinema...
Hong Kong has the world’s third largest film industry after Hollywood and Bollywood. For...
Hong Kong Chinese filmmaker John Woo has been “misread” and his work “misappropriated” by exoteric f...
One of the most prominent directors in Hong Kong at the moment, Johnnie To Kei-fung, has over the pa...
Michael Ingham, an associate professor at Hong Kong’s Lingnan University, continues the work begun b...
Anyone who is interested in Hong Kong cinema must be familiar with one name: Chow Yun-fat (b. 1955)....
During the 1980s and 1990s, major political and social events underpinned the work of a generation o...
Book Summary: Commended for their social relevance and artistic value, Chinese films remain at the f...
REVERTING TOSOCIAL ORDER BY CONTAINMENT: JOHNNIE TO KEI-FUNG'S WHERE A GOOD MAN GOES The 1999 Hong K...
The cinematic landscapes of both China and Hong Kong were significantly changed after CEPA, the Main...
© 2019 John Wiley & Sons, Inc. The films Tsui Hark has either produced, directed, or both, have fr...
SINCE 1985 THE HONG KONG INTERNATIONAL FILM FESTIVAL (HKIFF) has been the guardian of Asian cinema. ...
This study centres on a recent development in the filmmaking career of the well- known Hong Kong com...
Favraud Georges, Van Den Troost Kristof. Stephen Teo, Director in Action : Johnnie To and the Hong K...
Ever since 2000s, the mainland Chinese film industry is becoming increasingly globalised, implementi...
Korea Session 195: Collaboration, Co-operation, and Co-production in South Korea's East Asian Cinema...
Hong Kong has the world’s third largest film industry after Hollywood and Bollywood. For...
Hong Kong Chinese filmmaker John Woo has been “misread” and his work “misappropriated” by exoteric f...
One of the most prominent directors in Hong Kong at the moment, Johnnie To Kei-fung, has over the pa...
Michael Ingham, an associate professor at Hong Kong’s Lingnan University, continues the work begun b...
Anyone who is interested in Hong Kong cinema must be familiar with one name: Chow Yun-fat (b. 1955)....
During the 1980s and 1990s, major political and social events underpinned the work of a generation o...
Book Summary: Commended for their social relevance and artistic value, Chinese films remain at the f...
REVERTING TOSOCIAL ORDER BY CONTAINMENT: JOHNNIE TO KEI-FUNG'S WHERE A GOOD MAN GOES The 1999 Hong K...
The cinematic landscapes of both China and Hong Kong were significantly changed after CEPA, the Main...
© 2019 John Wiley & Sons, Inc. The films Tsui Hark has either produced, directed, or both, have fr...
SINCE 1985 THE HONG KONG INTERNATIONAL FILM FESTIVAL (HKIFF) has been the guardian of Asian cinema. ...
This study centres on a recent development in the filmmaking career of the well- known Hong Kong com...
Favraud Georges, Van Den Troost Kristof. Stephen Teo, Director in Action : Johnnie To and the Hong K...
Ever since 2000s, the mainland Chinese film industry is becoming increasingly globalised, implementi...
Korea Session 195: Collaboration, Co-operation, and Co-production in South Korea's East Asian Cinema...