This is the first full-length English-language study of one of the world's most exciting and innovative cinemas. Covering a period from 1909 to 'the end of Hong Kong cinema' in the present day, this book features information about the films, the studios, the personalities and the contexts that have shaped a cinema famous for its energy and style. It includes studies of the films of King Hu, Bruce Lee and Jackie Chan, as well as those of John Woo and the directors of the various 'New Waves'. Stephen Teo explores this cinema from both Western and Chinese perspectives and encompasses genres ranging from melodrama to martial arts, 'kung fu', fantasy and horror movies, as well as the international art-house successes.

The trajectory of Hong Kong films had been drastically affected long before the city’s official sovereignty transfer from the British to the Chinese in 1997. The change in course has become more visible in recent years as China has aggressively developed its national film industry and assumed the role of powerhouse in East Asia’s cinematic landscape. The author introduces the “Cinema of Transitions” to study the New Hong Kong Cinema and on- and off-screen life against this background. Using examples from the 1980s to the present, this book offers a fresh perspective on how Hong Kong-related Chinese-language films, filmmakers, audiences, and the workings of film business in East Asia have become major platforms on which “transitions” are negotiated.

This definitive study of Hong Kong cinema examines the work of directors such as Tsui Hark, John Woo, Ringo Lam, Johnnie To, King Hu, and Wong Kar Wai.

This volume examines Hong Kong cinema in transnational, historical, and artistic contexts.

Starting with the first "Western shadow plays" shown in the late 1890s, motion pictures have played a significant role in China's cultural existence for more than a century. Initially centered in Shanghai, Chinese cinema boomed in Hong Kong in the 1930s, aided by the advent of talkies and the influx of talent and investment from mainland China, Southeast Asia, and America. From the late 1940s, the territory supplanted Shanghai as the "Hollywood of China." In Hong Kong Cinema: A Cross-Cultural View, authors Law Kar and Frank Bren follow the story from Hong Kong's early silent, Chuang Tsi Tests His Wife, through the martial arts craze of the 1970s, to the medium's continued appeal to contemporary international audiences. Rather than provide a sweeping history, the authors focus on the impact of individual personalities, particularly local filmmakers and movie stars. They also consider Eastern and Western influences and examine major developments, including the changing role of women. By profiling key figures and events of the 20th century, this overview is the perfect introduction for anyone interested in Hong Kong's contribution to world cinema. Illustrated with photos.

From the dazzling choreography of martial arts movies to the gore of the "heroic bloodshed" genre, Hong Kong action films are masterpieces of style and fury, and a prime source of inspiration for Hollywood. Tracing the background of this enticing film genre from the influences of Chinese opera to the mixture of fantasy and fast-paced action of the present day style, this is essential reading for both the intrigued layman and the die-hard Hong Kong fan. Photos, 95 in color.

Breathtaking swordplay and nostalgic love, Peking opera and Chow Yun-fat's cult followers -- these are some of the elements of the vivid and diverse urban imagination that find form and expression in the thriving Hong Kong cinema. All receive their due in At Full Speed, a volume that captures the remarkable range and energy of a cinema that borrows, invents, and reinvents across the boundaries of time, culture, and conventions. At Full Speed gathers film scholars and critics from around the globe to convey the transnational, multilayered character that Hong Kong films acquire and impart as they circulate worldwide. These writers scrutinize the films they find captivating: from the lesser known works of Law Man and Yuen Woo Ping to such film festival notables as Stanley Kwan and Wong Kar-wai, and from the commercial action, romance, and comedy genres of Jackie Chan, Peter Chan, Steven Chiau, Tsui Hark, John Woo, and Derek Yee to the attempted departures of Evans Chan, Ann Hui, and Clara Law. In this cinema the contributors identify an aesthetics of action, gender-flexible melodramatic excesses, objects of nostalgia, and globally projected local history and identities, as well as an active critical film community. Their work, the most incisive account ever given of one of the world's largest film industries, brings the pleasures and idiosyncrasies of Hong Kong cinema into clear close-up focus even as it enlarges on the relationships between art and the market, cultural theory and the movies.