Output list
Book
Chinese documentaries: From dogma to polyphony
Published 2007
In China, unlike in Western cinema, documentary film, rather than fiction film, has been the dominant mode since 1949. In recent years, documentary TV programmes have experienced a meteoric rise. Arguing that there is a gradual process of 'democratization' in the media, in which documentaries play a significant role, this book discusses various types of Chinese documentaries, under both the planned and the market economy. It especially explores the relationship between documentaries and society, showing how, under the market economy, although the government continues to use the genre as propaganda to promote its ideologies and policies, documentaries are being used as a medium where public concerns and alternative voices can be heard.
Book
Hong Kong Cinema: Coloniser, Motherland and Self
Published 2003
Examining Hong Kong cinema from its inception in 1913 to the end of the colonial era, this work explains the key areas of production, market, film products and critical traditions. Hong Kong Cinema considers the different political formations of Hong Kong's culture as seen through the cinema, and deals with the historical, political, economic and cultural relations between Hong Kong cinema and other Chinese film industries on the mainland, as well as in Taiwan and South-East Asia. Discussion covers the concept of 'national cinema' in the context of Hong Kong's status as a quasi-nation with strong links to both the 'motherland' (China) and the 'coloniser' (Britain), and also argues that Hong Kong cinema is a national cinema only in an incomplete and ambiguous sense.
Book
Hong Kong Cinema: Coloniser, Motherland and Self
Published 2003
Hong Kong Cinema
Examining Hong Kong cinema from its inception in 1913 to the end of the colonial era, this work explains the key areas of production, market, film products and critical traditions. Hong Kong Cinema considers the different political formations of Hong Kong's culture as seen through the cinema, and deals with the historical, political, economic and cultural relations between Hong Kong cinema and other Chinese film industries on the mainland, as well as in Taiwan and South-East Asia. Discussion covers the concept of 'national cinema' in the context of Hong Kong's status as a quasi-nation with strong links to both the 'motherland' (China) and the 'coloniser' (Britain), and also argues that Hong Kong cinema is a national cinema only in an incomplete and ambiguous sense.