Notes

Historical Dictionary of Hong Kong Cinema

Filmmakers and film fans interested in greater than a century of Asian cinema will get what they're looking for in this new reference book. Lisa Stokes, a humanities and film professor who also wrote "City burning: Hong Kong Cinema," includes enough background information to teach newcomers, while also adding plenty of scholarly insight to enlighten devoted film buffs, industry professionals, and even Hong Kong filmmakers.

This extensive reference begins with a chronology that traces the area's history back to its 1841 occupation by the British to the 2005 Hong Kong Entertainment Expo, which brought together eight creative events like the Hong Kong International Film Festival and the Hong Kong Film Awards. A remarkable introduction follows the chronology, where the movers and shakers in Asian cinema are highlighted, besides economic, social, and political factors that influenced filmmaking there over the years.

The majority of the book, needless to say, is the dictionary itself, which describes together with defines the directors, actors, writers, films, production companies, genres, and other significant people, places, and things that surround this niche market. 香港娛樂城 For example, let's say a reader wants to know more about filmmaker Stephen Chiau, whose recent film Kung Fu Hustle broke box-office records in Hong Kong and enjoyed critical and economic success in the United States. Besides brief mentions in leading matter, his listing under "Chiau" provides his name in various languages, birth date, personal and professional background, a listing of his awards, partial report on numerous television and film credits, descriptions of his acting/directing style, and insider information regarding his two big international hits Shaolin Soccer and Kung Fu Hustle.

Readers also learn he is named "The Chinese Jim Carrey" because of his slapstick and pratfalls. Boldfaced items listed under each dictionary entry (regarding Stephen Chiau: Tony Leung-wai, Danny Lee, television, Golden Horse Awards, Michael Hui, Ng Man-tat, kung fu, fighting techinques, and Hong Kong Film Awards) represent cross-references making use of their own listings.

In the center of the book, a brief section is roofed with photographs of films and filmmakers cited in the written text. "Historical Dictionary of Hong Kong Cinema" concludes with a bibliography that lists online, magazine, journal, and book sources found in compiling the text.

Stokes writes in the preface that her goal would be to provide "a comprehensive and detailed overview of the immense contribution of Hong Kong to film culture." She surely succeeds in this endeavor, as the book will serve fans, filmmakers, and scholars ready to explore the intricacies and peculiarities of this unique cinematic style.
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