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Hong Kong Film, Hollywood and the New Global Cinema: No Film is an Island

Hong Kong Film, Hollywood and the New Global Cinema: No Film is an Island 970 Book Reviews / Asian Journal of Social Science 37 (2009) 953–976 G. Marchetti and S. K. Tan (eds.) (2007) Hong Kong Film, Hollywood and the New Global Cinema: No Film is an Island . London: Routledge. 304 pages. ISBN: 978-0-415-38068-3. This book is more than just a history of Hong Kong cinema and, judging from the scope of the topics covered, it shows how previous studies have failed to place Hong Kong film in the global circulation of culture. The thesis of this collection is that Hong Kong film has become more global through transnational connections and the diversification of its cultural permutations. This is in empirical agreement with the broader thesis of Lash and Lury (2007) 1 about the current form of the global cultural industries and the merging of culture and things. Marchetti has previously written extensively on film, most recently in From Tian’anmen to Times Square (2006), a brilliant study of the global nature of Chinese film drawing on rich narratives. Tan, is also a central proponent of Chinese film, with a rich knowledge of Hong Kong film. Grouped under the broad categories of Hong Kong and Chinese filmmakers (part one), genre and how http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Journal of Social Science Brill

Hong Kong Film, Hollywood and the New Global Cinema: No Film is an Island

Asian Journal of Social Science , Volume 37 (6): 970 – Jan 1, 2009

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Publisher
Brill
Copyright
© 2009 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
1568-4849
eISSN
1568-5314
DOI
10.1163/156848409X12526657425668
Publisher site
See Article on Publisher Site

Abstract

970 Book Reviews / Asian Journal of Social Science 37 (2009) 953–976 G. Marchetti and S. K. Tan (eds.) (2007) Hong Kong Film, Hollywood and the New Global Cinema: No Film is an Island . London: Routledge. 304 pages. ISBN: 978-0-415-38068-3. This book is more than just a history of Hong Kong cinema and, judging from the scope of the topics covered, it shows how previous studies have failed to place Hong Kong film in the global circulation of culture. The thesis of this collection is that Hong Kong film has become more global through transnational connections and the diversification of its cultural permutations. This is in empirical agreement with the broader thesis of Lash and Lury (2007) 1 about the current form of the global cultural industries and the merging of culture and things. Marchetti has previously written extensively on film, most recently in From Tian’anmen to Times Square (2006), a brilliant study of the global nature of Chinese film drawing on rich narratives. Tan, is also a central proponent of Chinese film, with a rich knowledge of Hong Kong film. Grouped under the broad categories of Hong Kong and Chinese filmmakers (part one), genre and how

Journal

Asian Journal of Social ScienceBrill

Published: Jan 1, 2009

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