Edited by Esther M. K. Cheung, Gina Marchetti, and Tan See Kam

Part I: Voices of the Hong Kong New Wave

1. Do We Hear the City?: Voices of the Stranger in Hong Kong Cinema – Esther M. K. CHEUNG

2. Surfing with the Surreal in Tsui Hark's Wave: Collage Practice, Diasporic Hybrid Texts, and Flexible Citizenship – TAN See-Kam

3. Ann Hui at the Margin of Mainstream Hong Kong Cinema – Mirana M. SZETO

4. Interview with Ann Hui: On the Edge of the Mainstream – Esther M. K. CHEUNG, Gina MARCHETTI, and TAN See-Kam

5. Urban Nomads, Exilic Reflections: The Cine-Modernism of Patrick Tam – Esther C. M. YAU

Part II: Independent Connections

6. Performing the Margins: Locating Independent Cinema in Hong Kong – Nicole KEMPTON

7. Re-imagining Hong Kong–China from the Sidelines: Fruit Chan's Little Cheung and Durian Durian – Wendy GAN

8. Alternative Perspectives/Alternative Cinemas: Modern Films and the Hong Kong Experimental Scene – Roger GARCIA, John WOO, and Jessica HAGEDORN

9. Specters of Memory: An Artist Statement (Displaced) – Ming-Yuen S. MA

10. Documenting Hong Kong: Interview with Tammy Cheung – Esther M. K. CHEUNG, Nicole KEMPTON, and Amy LEE

11. Between Times and Spaces: Interview with Evans Chan – Esther M. K. CHEUNG and Nicole KEMPTON

12. Hong Kong Cinema and the Film Essay: A Matter of Perception – Mike INGHAM

Part III: Sex in the Asian City

13. Between Comrade and Queer: Stanley Kwan's Hold You Tight – Gina MARCHETTI

14. Interview with Yau Ching: Filming Women in Hong Kong's Queerscape – Gina MARCHETTI

15. On Isaac Leung, Cyber Sex as Pseudo-Science: The Artist's Search for Sex Spaces in Hong Kong (and Beyond) – Katrien JACOBS

16. The Mistress and Female Sexuality – Patricia Brett ERENS

Global connections and screen innovations converge in Hong Kong cinema. Energized by transnational images and human flows from China and Asia, Hong Kong's commercial filmmakers and independent pioneers have actively challenged established genres and narrative conventions to create a cultural space independent of Hollywood. The circulation of Hong Kong films through art house and film festival circuits, as well as independent DVDs and galleries and internet sites, reveals many differences within global cultural distributions, as well as distinctive tensions between experimental media artists and traditional screen architects.

Covering the contributions of Hong Kong New Wave directors such as Wong Kar-wai, Stanley Kwan, Ann Hui, Patrick Tam, and Tsui Hark, the volume links their spirit of innovation to work by independent, experimental, and documentary filmmakers, including Fruit Chan, Tammy Cheung, Evans Chan, Yau Ching and digital artist Isaac Leung. Within an interdisciplinary frame that highlights issues of political marginalization, censorship, sexual orientation, gender hierarchies, "flexible citizenship" and local/global identities, this book speaks to scholars and students within as well as beyond the field of Hong Kong cinema. (Provided by the publisher)

-Esther M. K. CHEUNG is chair of the Department of Comparative Literature and director of the Center for the Study of Globalization and Cultures (CSGC) at the University of Hong Kong.

-TAN See-Kam presently works and researches at the University of Macau.

-Gina MARCHETTI teaches in the Department of Comparative Literature at the University of Hong Kong (provided by the publisher). MARCHETTI also is HKCinemagic.com correspondent in Hong Kong.

Hong Kong independent and non-mainstream films rarely have had such treatment, although alternative and experimental cinema has existed for a long time and can be tracked back as far as the 1950s and the 1960s.

Film in HK is indeed very diverse. Ignored or overlooked, this diversity will surprise those who thought the local cinema only equates with mainstream entertainment products. In Hong Kong Screenscapes , the three editors and the thirteen contributors explore filmmaking on the fringe of commercial cinema (Ann Hui), new wave cinema (Tsui Hark, Patrick Tam), independent cinema (Fruit Chan, Evans Chan), documentary filmmaking (Tammy Cheung), avant-garde films (Roger Garcia) and experimental multimedia exhibitions (Isaac Leung). Doing so, they reflect on politics, censorship, sexuality, gender, transnationalism and identities.