Part historical drama, part thriller, and part comedy, Tsui Hark’s Peking Opera Blues (1986) invites—if not demands—examinations from multiple perspectives. Tan See Kam rises to the challenge in this
Part historical drama, part thriller, and part comedy, Tsui Hark (徐克)’s Peking Opera Blues (“刀馬旦”) (1986) invites―if not demands―examinations from multiple perspectives. Tan See Kam rises to the chal
In recent years, with the establishment of the Hong Kong Film Archive and growing scholarly interest in the history of Hong Kong cinema, previously neglected historical documents and difficult-to-acce
In recent years, with the establishment of the Hong Kong Film Archive and growing scholarly interest in the history of Hong Kong cinema, previously neglected historical documents and difficult-to-acce
Global connections and screen innovations converge in Hong Kong cinema. Energized by transnational images and human flows from China and Asia, Hong Kong's commercial filmmakers and independent pioneer
This collection offers new approaches to theorizing Asian film in relation to the history, culture, geopolitics and economics of the continent. Bringing together original essays written by established
