The Cinema of Ann Hui
Bloomsbury Academic (Verlag)
978-1-350-51444-7 (ISBN)
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Each of the essays, written by an international group of contributors, offer a comprehensive analysis of Hui's filmmaking, ranging from her early televisual works such as The Boy from Vietnam (1978), to her most recent documentary, Elegies (2023). In analysing her formal and aesthetic choices, they argue that these cannot be separated from the specific historical and cultural context of Hong Kong and its film industry.
They go on to examine Hui's focus on gender and sexuality in films such as Summer Snow (1995), All About Love (2010) and Our Time Will Come (2017), underscoring her creative agency as a female auteur in reappropriating Chinese aesthetic traditions to reconstruct femininity and female subjectivity. In doing so, this book positions Hui's work as an open-ended, multifaceted entity to enhance our understanding of the evolution of Hong Kong and Chinese-language cinema, the representation of women in film, and the reshaping of Hong Kong’s identity through the works of a globally recognised filmmaker.
Weiting Fan is an assistant professor at Chongqing University, China. She received her Ph.D. in film theory and film philosophy at King’s College London. Her research interests include East Asian cinema, Chinese film theory, and Chinese intellectual histories. Xueyan Cheng is a Ph.D. student at the National University of Singapore. Her research focuses on contemporary Chinese cinema, popular culture, and film festivals. Additionally, she is a part-time film critic specialising in Chinese cinema. Zhaoyu Zhu is a teaching fellow in Communication and Cultural Studies at the University of Nottingham Ningbo, China. He received the Katherine Singer Kovacs Essay Award from the Society of Cinema and Media Studies in 2022.
Introduction - Zhaoyu Zhu (University of Nottingham Ningbo China, China) and Xueyan Cheng (National University of Singapore, Singapore)
I Narrative and Aesthetics
1. The Experimentality in Narrative: The Aesthetics and Cultural Identity in Ann Hui’s Films - Chao Zhou (Ohio University, USA)
2. Narrative and Narrational Strategies in Ann Hui’s The Way We Are (2008) - Gary Bettinson (Lancaster University, UK)
3. Rethinking Realism in Early Ann Hui’s Televisual Work Boy from Vietnam (1978) - Raymond Tsang (University of Southern California, USA)
4. ‘Remember My Name’: Songs of the Book and Sword in Exile in Ann Hui’s Historical Cinema - Faye Hui Xiao (University of Kansas, USA)
5. Uncanny Aesthetics and the Sonic Horror in The Secret (1979) - Jiadi (Jady) Jiang (University of Southampton, UK)
6. Reconstructing Hong Kong’s Surroundings: Subtle Intervention, Self-Narrative, and Close Observation in Ann Hui’s Documentaries - Zhaoyu Zhu
II Gender and Femininity
7. Women, Space, Landscape: Classical Painting in Ann Hui’s Love in a Fallen City (1984) -Dailin Zhao (Renmin University, China)
8. Struggling in Between: Hong Kong Women as Postcolonial Subjects in Ann Hui’s Summer Snow (1995) - Yiran Ai (University of Birmingham, UK)
9. The Female Body of Qi: Redefining Feminist Cinema Through Ann Hui’s Tin-Shu-Wai Diptych - Weiting Fan (Chongqing University, China)
10. Reconstructing Sinophone Queerness: Representations of Female Queer Communities in Ann Hui’s All About Love (2010) - Xueyan Cheng (National University of Singapore, Singapore)
11. An Alternative Resistance Story: Female Subjectivity, Theatricality and the Ambiguity of Mainland-Hong Kong Geopolitics in Ann Hui’s Our Time Will Come (2017) - Han Li (Rhodes College, USA)
III Displacement: Postcoloniality, Homeland, and Diaspora
12. The Position of Hong Kong: On Material, Space and Memory in Ann Hui’s Vietnam Trilogy - Siao-Yun Chen (National Chung-Hsing University, Taiwan)
13. Exile or Vacation? Homeland in Ann Hui’s Song of the Exile (1990) and My American Grandson (1991) - Louise Suk Man YIP (University of Heidelberg, Germany)
14. Beyond Failed Adaptation: A Postcolonial Contextual Rereading of Ann Hui’s Film Adaptations of Eileen Chang - Gabriel F. Y. Tsang (Hong Kong Baptist University, Hong Kong)
15. Postcolonial Aging, Amah, and Diaspora in A Simple Life (2011) - Jessica K. Chan (University of Richmond, USA)
16. Displacement and Alienation: Reading Xiaohong’s Life of Exile through Ann Hui’s The Golden Era (2014) - Chenfeng Wang (University of California, San Diego, USA)
Endnotes
Bibliography
| Erscheint lt. Verlag | 6.8.2026 |
|---|---|
| Reihe/Serie | Global East Asian Screen Cultures |
| Zusatzinfo | 30 bw illus |
| Verlagsort | London |
| Sprache | englisch |
| Maße | 156 x 234 mm |
| Themenwelt | Kunst / Musik / Theater ► Film / TV |
| Sozialwissenschaften ► Kommunikation / Medien ► Medienwissenschaft | |
| ISBN-10 | 1-350-51444-6 / 1350514446 |
| ISBN-13 | 978-1-350-51444-7 / 9781350514447 |
| Zustand | Neuware |
| Informationen gemäß Produktsicherheitsverordnung (GPSR) | |
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