Historical Dictionary of Hong Kong Cinema

Filmmakers and moviegoers interested in more than a century of Asian cinema can find what they are looking for in this new reference book. Lisa Stokes, a humanities and film professor who also wrote “City on Fire: Hong Kong Cinema,” includes enough background information to educate newcomers, while adding a wealth of academic knowledge to enlighten movie lovers. devotees, industry professionals and even Hong Kong filmmakers.

This extensive reference begins with a timeline tracing the history of the area from its 1841 occupation by the British to the 2005 Hong Kong Entertainment Expo, which brought together eight creative events, including the Hong Kong International Film Festival and the Hong Kong Film Awards. Hong Kong. A fascinating introduction follows the chronology, highlighting the motors and shakers of Asian cinema, as well as the economic, social and political factors that influenced filmmaking there over the years.

Most of the book, of course, is the dictionary itself, which describes and defines the directors, actors, writers, films, production companies, genres, and other important people, places, and things that surround this niche market. For example, let’s say a reader wants to learn 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. In addition to brief mentions in the main subject, his list under “Chiau” provides his name in various languages, date of birth, personal and professional background, a list of his awards, a partial list of numerous television and film credits, descriptions of his acting / directing. style and insider information on his two biggest international hits Shaolin Soccer and Kung Fu Hustle.

Readers also learn that he is called “The Chinese Jim Carrey” because of his antics and nonsense. Items in bold listed below each dictionary entry (in the case of Stephen Chiau: Tony Leung-wai, Danny Lee, television, Golden Horse Awards, Michael Hui, Ng Man-tat, kung fu, martial arts, and Hong Kong Film Awards) represent cross references to their own listings.

In the center of the book there is a short section with photographs of films and filmmakers cited in the text. The “Hong Kong Film Historical Dictionary” concludes with a bibliography listing online sources, magazines, magazines, and books used to compile the text.

Stokes writes in the preface that his aim is to provide “a comprehensive and detailed overview of Hong Kong’s immense contribution to film culture.” She surely succeeds in this endeavor, as the book will serve fans, filmmakers, and academics ready to delve into the intricacies and quirks of this unique cinematic style.