This collection of exciting essays explores how the representations
and the ideologies of masculinities can be productively studied in
the context of Hong Kong cinema. It has two objectives: first, to
investigate the multiple meanings and manifestations of
masculinities in Hong Kong cinema that compliment and contradict
each other. Second, to analyze the social and cultural environments
that make these representations possible and problematic.
Masculinities and Hong Kong Cinema presents a comprehensive picture
of how Hong Kong mainstream cinematic masculinities are produced
within their own socio-cultural discourses, and how these
masculinities are distributed, received, and transformed within the
setting of the market place.
This volume is divided into three interrelated parts: the local
cinematic tradition; the transnational context and reverberations;
and the larger production, reception, and mediation environments.
The combination of these three perspectives will reveal the
dynamics and tensions between the local and the transnational,
between production and reception, and between text and context, in
the gendered manifestations of Hong Kong cinema.
Table of Contents
You are viewing the table of contents
You do not have access to this
on JSTOR. Try logging in through your institution for access.