Titlebook: East Asian Cinemas; Regional Flows and G Vivian P. Y. Lee (Assistant Professor) Book 2011 Palgrave Macmillan, a division of Macmillan Publi

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J-Horror and Kimchi Western: Mobile Genres in East Asian Cinemasegotiation between indigenous traditions and what were considered “modern” cinematic codes in the evolution of film art. Chinese cinema scholarship has produced a fascinating account of how these various positions are argued, debated, rethought and revised, particularly the controversy over the exac

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Cinematic Imagination of Border-Crossing in Hong Kong and the Pearl River Delta: n is placed high on both the political and economic agenda for Hong Kong’s development in the twenty-first century.. For a long time, the relationship between Hong Kong and the PRD was defined largely in economic terms, that is, the dominant mode of “front shop, back factory” referring to a partners

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“Working Through China” in the Pan-Asian Film Network: Perspectives from Hong Kong and Singaporesing influence of Mainland China in the region, both as a lucrative market and an emerging film production center. Chinese-language films, and indeed popular mainstream cinema at large, nowadays can hardly avoid confronting, directly or indirectly, the cultural, economic, and political realities of

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In the Name of “Asia”: Practices and Consequences of Recent International Film Co-Productions in Eas., have been released. These films have not only integrated the regional film industries, capital, internationally known filmmaking personnel and popular stars to target the Asian market, but also forged ahead into the global film market by labeling themselves as “Asian productions” or “Asian films.”

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Framing Tokyo Media Capital and Asian Co-Productionhnologies. Yet co-productions do not only signal desires for the production of this ever-emergent Asia. If regionalism, like globalization, is a “complex, conflicting and indeterminate process,” then the regional co-production is also a window into its conflicts, complexities, and negotiations.