This second edition of Historical Dictionary of Hong Kong Cinema contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 600 cross-referenced entries on directors, producers, writers, actors, films, film companies, genres, and terminology. This book is an excellent resource for students, researchers, and anyone wanting to know more about Hong Kong cinema.
|Publisher:||Rowman & Littlefield Publishers, Inc.|
|Series:||Historical Dictionaries of Literature and the Arts Series|
|Edition description:||Second Edition|
|Product dimensions:||6.36(w) x 9.00(h) x 2.02(d)|
About the Author
Lisa Odham Stokes is Professor Emeritus of Humanities and Film Studies at Seminole State College in Central Florida, US; in an inter-disciplinary field, her study and publications have been inter-disciplinary. She is co-author (with Michael Hoover) of City on Fire: Hong Kong Cinema (1999; rpt. 2001) and author of Peter Ho-Sun Chan’s “He’s a Woman, She’s a Man” (2009). She has travelled extensively in China and Hong Kong, presenting papers at film conferences, and she has published numerous articles on film, literature and popular culture with a special interest in Chinese cinemas. She has been part of the selection process for the Florida Film Festival for more than 20 years. Her novel Catz, A Love Story appears under the pseudonym Lisa Tyler.
Rachel Braaten is a Humanities and Film Studies professor at Seminole State College of Florida. In addition to teaching, she has worked on the production side of the film and television industries, and has been a programmer for the Florida Film Festival, serving on the international features and documentary film committees. Her travels to Hong Kong, have inspired her teaching and writing about the Hong Kong Cinema film genre.
Contributors: Albert Valentin, Jean Lukitsh. Michael Hoover, and Tyler Stokes
Most Helpful Customer Reviews
This historical dictionary of Hong Kong Cinema appears at a price that only libraries may be able to afford. Despite this fact, the work represents an important investment for anyone seriously interested in Hong Kong Cinema. The editor has covered not only the 'usual suspects' of this field such as directors and genres but also illuminated the China-Shanghai connection to post-war colony cinema in a meticulously researched manner owing much to out-of-print Hong Kong Film Festival publications and the innovative work now appearing from the Hong Kong film archive. It is a very detailed reference work that will appeal to all serious students of this important national cinema. Although names such as Cynthia Khan, Moon Lee, and Yukari Oshima are missing, there are enough alternative publications existing that can fill in the gaps. The particular gaps Ms. Stokes has chosen to fill in are historical and relate to important cultural connections from the past that few have chosen to examine in detail. This is one of the most important studies of Hong Kong Cinema to have appeared this year by one of America's leading experts in this field. It is a worthy companion to the author's co-written work CITY ON FIRE and has the seal of approval from figures such as Terence Chang, John Woo, and Andrew Ross.