America’s shadow warriors are fighting without their leader. Imprisoned in a covert facility, Captain Grmela, with a death sentence looming and new life stirring within her, is the target of the Federal Law Enforcement Agency’s ruthless ambition. They are desperate to uncover the identities of Command’s warriors who dare to challenge the political hierarchy. A conspiracy among the nation’s most powerful threatens to establish a new order. If the FLEA’s power goes unchecked, they will tighten their grip on our liberties. The Gestapo, too, started small. The influx of Fentanyl from China is already undermining North America’s resolve. In the absence of their leader, Mack, Bernice, and the Secondhand Warriors rise to the challenge, defending their homeland against threats both foreign and domestic. But can they prevent their own souls from succumbing to the darkness in this relentless war? Embark on an adrenaline-fueled journey as they sweep through exotic playgrounds in their mission to eradicate threats to America. One man’s criminal is another’s hero. Warning to the mild-mannered; F-words and some steamy scenes.

From the bestselling author of Searching for Sylvie Lee and Girl in Translation, an inspiring novel about a young woman torn between her family duties in Chinatown and her escape into a more Western world. Twenty-two-year-old Charlie Wong grew up in New York’s Chinatown, the older daughter of a Beijing ballerina and a noodle maker. Though an ABC (American-born Chinese), Charlie’s entire life has been limited to this small area. Now grown, she lives in the same tiny apartment with her widower father and her eleven-year-old sister, and works—miserably—as a dishwasher. But when she lands a job as a receptionist at a ballroom dance studio, Charlie gains access to a world she hardly knew existed, and everything she once took to be certain turns upside down. Gradually, at the dance studio, awkward Charlie’s natural talents begin to emerge. With them, her perspective, expectations, and sense of self are transformed—something she must take great pains to hide from her father and his suspicion of all things Western. As Charlie blossoms, though, her sister becomes chronically ill. As Pa insists on treating his ailing child exclusively with Eastern practices to no avail, Charlie is forced to try to reconcile her two selves and her two worlds—Eastern and Western, old world and new—to rescue her little sister without sacrificing her newfound confidence and identity.

Following World War II, film noir became the dominant cinematic expression of Cold War angst, influencing new trends in European and Asian filmmaking. International Noir examines film noir's influence on the cinematic traditions of Britain, France, Scandinavia, Japan, Hong Kong, Korea, and India. This book suggests that the film noir style continues to appeal on such a global scale because no other cinematic form has merged style and genre to effect a vision of the disturbing consequences of modernity. International noir has, however, adapted and adopted noir themes and aesthetic elements so that national cinemas can boast an independent and indigenous expression of the genre. Ranging from Japanese silent films and women's films to French, Hong Kong, and Nordic New Waves, this book also calls into question critical assessments of noir in international cinemas. In short, it challenges prevailing film scholarship to renegotiate the concept of noir. Ending with an examination of Hollywood's neo-noir recontextualization of the genre, and post-noir's reinvigorating critique of this aesthetic, International Noir offers Film Studies scholars an in-depth commentary on this influential global cinematic art form, further offering extensive bibliography and filmographies for recommended reading and viewing.

In Chinese Cinema: Identity, Power, and Globalization, a variety of scholars explore the history, aesthetics, and politics of Chinese cinema as the Chinese film industry grapples with its place as the second largest film industry in the world. Exploring the various ways that Chinese cinema engages with global politics, market forces, and film cultures, this edited volume places Chinese cinema against an array of contexts informing the contours of Chinese cinema today. The book also demonstrates that Chinese cinema in the global context is informed by the intersections and tensions found in Chinese and world politics, national and international co-productions, the local and global in representing Chineseness, and the lived experiences of social and political movements versus screened politics in Chinese film culture. This work is a pioneer investigation of the topic and will inspire future research by other scholars of film studies. “This edited volume offers a much-needed account of alternative ways of envisioning Chinese cinema in the special context of China and the world. Its vigorous theoretical framework, which puts emphasis on interactions in the context of China and the world, will complement and update publications in related areas.” —Yiu-Wai Chu, The University of Hong Kong; author of Main Melody Films: Hong Kong Directors in Mainland China “Chinese Cinema: Identity, Power, and Globalization offers a collection of studies of modern Chinese films and their global connections, with a contemporary emphasis. Its authors’ insightful analyses of films—famous, obscure, and new to the twenty-first-century screen—elucidate numerous contextual factors relevant for understanding the history and aesthetics of Chinese cinemas.” —Christopher Rea, The University of British Columbia; author of Chinese Film Classics, 1922–1949

South Korea in the 1950s was home to a burgeoning film culture, one of the many “Golden Age cinemas” that flourished in Asia during the postwar years. Cold War Cosmopolitanism offers a transnational cultural history of South Korean film style in this period, focusing on the works of Han Hyung-mo, director of the era’s most glamorous and popular women’s pictures, including the blockbuster Madame Freedom (1956). Christina Klein provides a unique approach to the study of film style, illuminating how Han’s films took shape within a “free world” network of aesthetic and material ties created by the legacies of Japanese colonialism, the construction of US military bases, the waging of the cultural Cold War by the CIA, the forging of regional political alliances, and the import of popular cultures from around the world. Klein combines nuanced readings of Han’s sophisticated style with careful attention to key issues of modernity—such as feminism, cosmopolitanism, and consumerism—in the first monograph devoted to this major Korean director. A free open access ebook is available upon publication. Learn more at www.luminosoa.org.

The first three books of the Secondhand Warriors series combined for a discount. ‘To serve America’ was their siren call. When soldiers were wounded and pushed aside by the military, a mysterious Command gave them a second chance. College students, Mack and Bernice, weren't asked if they wanted a first chance. They were drafted. Some things never change. Laws are scoffed across oceans and continents by this collection of badass people shielding America from its enemies with no holds barred. One man’s criminal is another man’s patriot. But there have always been some who are just criminals. Warning to the mild-mannered; F-words and some steamy scenes.

This introduction to Chinese national cinema covers three 'Chinas': mainland China, Hong Kong and Taiwan. Historical and comparative perspectives bring out the parallel developments in these three Chinas, while critical analysis explores thematic and stylistic changes over time. As well as exploring artistic achievements and ideological debates, Yingjin Zhang examines how - despite the pressures placed on the industry from state control and rigid censorship - Chinese national cinema remains incapable of projecting a single unified picture, but rather portrays many different Chinas.