Described as the 'lost genre', the tradition of documentary film making in Hong Kong is far less known than its martial arts films. However documentary film has always existed in Hong Kong and often trenchantly represents its troubled relationship to itself, China and the west. Including the period of colonial film-making, the high points of television documentary and the tradition of independent documentary film-making, this book is the first to present a comprehensive study of this lost genre. It explores the role of public-service television (including representations of the massacre at Tiananmen Square) and presents critical analysis of key films. Based on original archival research, it will be an invaluable resource for students and academics who work in the fields if film studies, colonial studies and Hong Kong cinema.

A Companion to Hong Kong Cinema provides the first comprehensive scholarly exploration of this unique global cinema. By embracing the interdisciplinary approach of contemporary film and cultural studies, this collection navigates theoretical debates while charting a new course for future research in Hong Kong film. Examines Hong Kong cinema within an interdisciplinary context, drawing connections between media, gender, and Asian studies, Asian regional studies, Chinese language and cultural studies, global studies, and critical theory Highlights the often contentious debates that shape current thinking about film as a medium and its possible future Investigates how changing research on gender, the body, and sexual orientation alter the ways in which we analyze sexual difference in Hong Kong cinema Charts how developments in theories of colonialism, postcolonialism, globalization, neoliberalism, Orientalism, and nationalism transform our understanding of the economics and politics of the Hong Kong film industry Explores how the concepts of diaspora, nostalgia, exile, and trauma offer opportunities to rethink accepted ways of understanding Hong Kong’s popular cinematic genres and stars

This book explores 2010s Hong Kong film industry, focusing on its (presumably) independent sector. Although frequently mentioned in global film industry studies, the term ‘independent film’ does not always carry a clear meaning. Starting with this point, this book studies closely Hong Kong’s new indie cinema of the 2010s from political, economic, social, cultural, and film industrial perspectives, arguing that this indie cinema was vital to the long-term sustainability of the city’s film industry.

Hong Kong has become a by-word for all that is modern and sparkling in Asia today. Yet tourist brochures still play with the old cliche of Hong Kong as a place where 'East meets West'. Images of so-called 'traditional' China, junks sailing Victoria Harbour or old women praying to gods in smoky temples, mingle with those portraying Hong Kong as a consumer and business paradise. This collection of essays attempts to transcend the old polarities. It looks at modern Hong Kong in all its splendour and diversity in the run-up to its re-absorption into Greater China in mid-97, through the mediums of film, food, architecture, rumours and slang. It explores the question of a distinct, modern Chinese identity in Hong Kong, and even when it explores the traditional stamping ground of the older anthropology in the New Territories it finds a dramatically changed context, in particular for women. This collection presents an intriguing insight into the process of transition from 'tradition' to 'modernity' in this Modern Chinese Metropolis.

This new book provides graduate students, scholars and professionals with critical and detailed insights into recent, yet significant, independent documentary makers and their varied works, practices and uses.

The rapid development of Hong Kong has occasioned the demolition of buildings and landscapes of historic significance, but film acts as a repository for memories of lost places, vanished vistas and material objects. Location shoots in Hong Kong have preserved many disappearing landmarks of the city, and the resulting films function as valuable and irreplaceable archives of the city’s evolution. Far more than a simple collection of movie locations, this book delivers a rare glimpse into the history of film production practices in Hong Kong. The locations described here are often not the most iconic; rather, they are the anonymous streets and back alleys used by local film studios in the 1960s and 70s. They are the garden cafes with outdoor seating near the Chinese University of Hong Kong where moments of conflict in romantic comedies erupt and dissipate. They are the old Kai Tak Airport, which channels rage and desire, and the tenement housing, which splits citizens into greedy landlords and the diligent working class and embodies old-day communal values. Modern Hong Kong horror films draw their power from the material character of home-grown convenient stores, shopping arcades and lost mansions found under modern high rises. As in the films of Wong Kar-wai and Johnnie To, readers will drift and dash through the streets of Central to the district’s periphery, almost recklessly, automatically, or for the sheer pleasure of roaming. The first of its kind in English, this book is more than a city guide to Hong Kong through the medium of film; it is a unique exploration of relationship between location and place and genre innovations in Hong Kong cinema.

This book provides the first comprehensive overview of the global landscape of documentary film festivals. Contributors from across the globe offer in-depth analysis of both internationally renowned and more alternative festivals, including Hot Docs (Canada), Nyon (Switcherland), Yamagata (Japan), DocChina, Full Frame (US), Belgrade (former Yugoslavia), Vikalp (India), and DocsBarcelona (Catalonia, Spain), among others. With a special focus on historical and political developments, this first volume draws a map of documentary festivals operating today, and then looks at their origins and evolution. This volume is organized in three sections: the first addresses methodological problems film historians and social scientists face when researching documentary film festivals, the second looks at the historical development of this circuit within the wider frame of history of world and national cinemas, and the third reflects on how politics find their way through festival programs and actions. Curatorial, organizational, industrial and political changes occurred in the festival realm addressed in this book help better understand how these affected documentary production, distribution, curation, exhibition and reception up to this day.

Based on rare archival documents and films, this anthology is the first to focus primarily on the use of official and colonial documentary films in the South and South-East Asian regions. Drawing together a range of international scholars, the book sheds new light on historical, theoretical and empirical issues pertaining to the documentary film, in order to better comprehend the significant transformations of the form in the colonial, late colonial and immediate post-colonial period. Covering diverse geographical and colonial contexts in countries like Singapore, Malaysia, the Philippines and Hong Kong, and focusing on under-researched or little-known films, it demonstrate the complex set of relations between the colonisers and the colonised throughout the region.

This book is the first anthology of research devoted to the booming world of Chinese film festivals, covering both mainstream and independent films. It also explores festivals in the Chinese-speaking world and festivals of Chinese films in the rest of the world. The book asks how Chinese film festivals function as sites of translation, translating Chinese culture to the world and world culture to Chinese-speaking audiences, and also how the international film festival model is being transformed as it is translated into the Chinese-speaking world.

Constructs an original dialogue between constitutional law, film, and identity by using Hong Kong as a case study.