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Study Guide

Gendered and Sexualized Bodies in Hong Kong Cinema

Text / Siu Heng

Table of Content

4.1 Mary Shuk-han Wong, "Patrick Tam's Exploration: Creating a 'New Woman' Image Twenty Years Ago".

4.2 Julian Stringer, "Your Tender Smiles Give Me Strength: Paradigms of Masculinity in John Woo's A Better Tomorrow and The Killer"

4.3 Helen Hok-sze Leung, "Queerscapes in Contemporary Hong Kong Cinema"

4.4 Cui Shuqin, "Stanley Kwan's Center Stage: The (Im)possible Engagement between Feminism and Postmodernism"

Full text available online. [Link]

About the Study Guide

Editors: Esther Cheung, Emily Ko
Authors: Jean Sze, Michelle Kwok, Emily Luk, Siu Heng

The study guide of this book comprises of a summary of each article in this anthology, as well as suggested furthering readings, and further questions that go along with the articles. You can find the study guide here, and the hyperlinks to specific chapters may be found below.

About the Book

This present volume of essays anthologizes a recent body of critical works written in English on the cinema of Hong Kong in the midst of the phenomenal rise of Hong Kong cinema as a worthy object of academic study. It is also an effort to give the cinema a name. The analytical category is the 'crisis cinema' which is not only thematically linked with the other two categories, namely 'national' and 'transnational' cinemas, but also shares their critical concerns. To put it figuratively by invoking the key trope in the book title Between Home and World, this volume suggests that any departure from 'home' engenders a 'crisis' - threat to our ontological security. What underlines the concern is how the aesthetics of film corresponds directly and indirectly to the politics of identity in a transitory moment and space, one that is between 'home' and 'world'.

(Source: Inside cover of the book)




本書採用了「危機電影」 (Crisis Cinema) 的這個概念來分析香港電影。誠如書名「越界」二字所言,越過家門,危機四伏;香港人身處轉變中的時間和空間,其實經已跨過家國界限,踏足江湖。此時此刻,香港電影的美學怎樣直接或間接地回應箇中複雜的身份政治?



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