East Asian cinema is among the most exciting and influential in the world. The popularity of Chinese martial arts films, Japanese horror, and new Korean cinema has attracted popular and critical attention on a global scale, with films from the region circulating as arthouse, cult, blockbuster and "extreme" cinema, or as Hollywood remakes. This book explores developments in the global popularity of East Asian cinema, with particular emphasis on crossovers, remakes, hybrids and co-productions. It examines changing cinematic traditions in Asia alongside the "Asianisation" of western cinema. It explores the dialogue not only between "East" and "West," but between different cinemas in the Asia Pacific. What do these trends mean for global cinema? How are co-productions and crossover films changing the nature of Hollywood and East Asian cinemas? Individual essays include case studies of Park Chan-wook, "Infernal Affairs," "Seven Samurai," "Princess Mononoke" and "Kill Bill."
East Asian cinema is among the most exciting and influential in the world. The popularity of Chinese martial arts films, Japanese horror, and new Korean cinema has attracted popular and critical attention on a global scale, with films from the region circulating as arthouse, cult, blockbuster and "extreme" cinema, or as Hollywood remakes. This book explores developments in the global popularity of East Asian cinema, with particular emphasis on crossovers, remakes, hybrids and co-productions. It examines changing cinematic traditions in Asia alongside the "Asianisation" of western cinema. It explores the dialogue not only between "East" and "West," but between different cinemas in the Asia Pacific. What do these trends mean for global cinema? How are co-productions and crossover films changing the nature of Hollywood and East Asian cinemas? Individual essays include case studies of Park Chan-wook, "Infernal Affairs," "Seven Samurai," "Princess Mononoke" and "Kill Bill."
CONTENTS1. Leon Hunt and Leung Wing-Fai, 'Introduction'Part One: Global Encounters of the First Kind2. David Desser, 'Remaking Seven Samurai in World Cinema'3. Gary Needham, 'Fashioning Social Change in the Hong Kong Musical 1957-1964'4. Charles Leary, 'The Shadow of an Airplane over East Asia: Worldly Hong Kong Cinema'Part Two: All Changing on the Eastern Front5. Leung Wing-Fai, 'Infernal Affairs and Kung Fu Hustle: Panacea, Placebo and Hong Kong Cinema'6. Chris Howard, 'Contemporary South Korean Cinema: National Conjunction and Diversity'7. Rayna Denison, 'The Language of the Blockbuster: Promotion, Princess Mononoke and the Daihitto in Japanese Film Culture'Part Three: Made in Translation - Transnational Identities8. Adam Knee, 'Suriyothai Becomes Legend: National Identity as Global Currency'9. Brian Ruh, 'Last Life in the Universe: Nationality, Technology, Authorship'10. David Scott Diffrient, 'From Three Godfathers to Tokyo Godfathers:Signifying Social Change in a Transnational Context'11. Theresa Geller, 'Transnational Noir: Style and Substance in Kaizo Hayashi's The Most Terrible Time of My Life'Part Four: How the West Was Won? Asianisation and Beyond12. Gang Gary Xu, 'Remaking East Asia, Outsourcing Hollywood'13. Nikki J.Y. Lee, 'Salute to Mr Vengeance: Oldboy and the Making of a Transnational Auteur'14. Leon Hunt, 'Asiaphilia, Asianisation and the Gatekeeper Auteur: Quentin Tarantino and Luc Besson'15. Sheng-mei Ma, 'Brush and Blade in East-West Cultures'
Leon Hunt is a Senior Lecturer in Film and TV Studies, Brunel University. His books include 'Kung Fu Cult Masters: From Bruce Lee to Crouching Tiger'. Leung Wing-Fai is Learning Development Officer (Film) at the National Museum of Photography, Film & Television, Bradford. Her 'Lost in Translation' column appears on the Hong Kong Express website.
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