Hong Kong and Bollywood: Globalization of Asian Cinemas (Global Cinema)

This volume examines the transmission, reception, and reproduction of new cinematic styles, meanings, practices, and norms in early twenty-first-century Asia. __Hong Kong and Bollywood__ offers new answers to the field of inter-Asian cultural studies, which has been energized by the trends towards transnationalism and translatability. It brings together a team of international scholars to capture the latest development in the film industries of Hong Kong and Mumbai, and to explore similar cross-cultural, political, and socioeconomic issues. It also explains how Hong Kong and Bollywood filmmakers have gone beyond the traditional focus on nationalism, urbanity and biculturalism to reposition themselves as new cultural forces in the pantheon of global cinema. Acknowledgments -- Contents -- Notes on Contributors -- List of Figures -- Chapter 1: Situating Hong Kong and Bollywood Cinemas in the Global -- The Conceptualization of This Project -- Situating "Nation" and "World" in Asian Cinemas -- Recent Dynamics in Hong Kong and Bollywood -- Framing Hong Kong and Bollywood -- Organization of This Book -- Bibliography -- Part I: The Politics of Representation and Representation of Politics -- Chapter 2: The Trajectory of Bollywood Lyrics -- Introduction -- Lyrics and the Freedom Struggle -- Independence and the Progressive Moment -- The State Fights Back -- The Advent of Neoliberalization -- Neoliberalization: The Second Phase -- Conclusion -- Bibliography -- Chapter 3: Transformation of Hong Kong Gangster Movies Before and After CEPA -- Bibliography -- Chapter 4: Despair and Hope: Political Cinema in Hong Kong -- Introduction -- Utter Despair in Chaos -- Glimpse of Hope in Three Narrow Gates -- Conclusion -- Bibliography -- Chapter 5: Chinaman, Not Hindustani: Stereotypes and Solidarity in a Hong Kong Film on India -- Introduction -- Asian Popular Culture in a Global Setting -- Popular Culture and the Dematerialisation of Politics -- Case Study of Himalaya Singh (Dir. Wai Ka-Fai, 2005) -- Bibliography -- Chapter 6: 1911: Cinematic Contradictions of Greater China -- Introduction -- Filmic Representation of Greater China -- Controversial Responses to 1911 -- Conclusion -- Bibliography -- Part II: The Crisis of Representation and Representation of Crisis -- Chapter 7: What Is So Asian about Asian Parenting? Deconstructing "Tiger Moms" and "Tiger Dads" in Neoliberal Times Through Taare Zameen Par and I Not Stupid -- Introduction -- Are Tiger Moms for Real? Understanding Asian Parenting -- Parenting Styles in Taare Zameen Par and I Not Stupid -- The Challenges of Parenting in Neoliberal Times -- Bibliography Situating Hong Kong And Bollywood Cinemas In The Global / Satish Kolluri And Joseph Tse-hei Lee -- The Trajectory Of Bollywood Lyrics / Ali Mir And Raza Mir -- Transformation Of Hong Kong Gangster Movies Before And After Cepa / Yau Shuk-ting, Kinnia -- Despair And Hope: Political Cinema In Hong Kong / Joseph Tse-hei Lee / Chinaman, Not Hindustani: Stereotypes And Solidarity In A Hong Kong Film On India / S.v. Srinivas -- Cinematic Contradictions Of Greater China / Siu-keung Cheung -- What Is So Asian About Asian Parenting? Deconstructing Tiger Moms And Tiger Dads In Neoliberal Times Through Taare Zameen Par And I Not Stupid / Satish Kolluri -- Negotiating Cold War And Postcolonial Politics: Borders And Boundaries In 1950s Hong Kong Cinema / Jing Jing Chang -- Slum Extravaganza!: Cultural And Geopolitical Representation Of Dharavi In Celluloid India / Sony Jalarajan Raj And Rohini Sreekumar -- Life Without Principle: Financial Irregularities In Hong Kong / Siu-keung Cheung -- Discontents Of Modernity: Space, Consumption And Loss In Hong Kong New Wave And Bombay Parallel Cinema / Surajit Chakravarty -- Naqal And The Aesthetics Of The Copy / Anjali Roy -- Undercranking And Step-printing In Wong Kar-wai's Filmography / Patrick Sullivan -- Mirroring Alterity: The Imaginary China And The Comedic Self In Chandni Chowk To China / Michael A Mikita -- Hong Kong, Films, And The Building Of China's Soft Power: The Cross-promotion Of Chinese Films On Globally Oriented State Television / Lauren Gorfinkel And Xuezhong Su. Joseph Tse-hei Lee, Satish Kolluri, Editors. Includes Bibliographical References (pages 291-293) And Index. Front Matter....Pages i-xv Situating Hong Kong and Bollywood Cinemas in the Global....Pages 1-25 Front Matter....Pages 27-27 The Trajectory of Bollywood Lyrics....Pages 29-49 Transformation of Hong Kong Gangster Movies Before and After CEPA....Pages 51-68 Despair and Hope: Political Cinema in Hong Kong....Pages 69-84 Chinaman, Not Hindustani: Stereotypes and Solidarity in a Hong Kong Film on India....Pages 85-103 1911: Cinematic Contradictions of Greater China....Pages 105-118 Front Matter....Pages 119-119 What Is So Asian about Asian Parenting? Deconstructing “Tiger Moms” and “Tiger Dads” in Neoliberal Times Through Taare Zameen Par and I Not Stupid ....Pages 121-136 Negotiating Cold War and Postcolonial Politics: Borders and Boundaries in 1950s Hong Kong Cinema....Pages 137-161 Slum Extravaganza!: Cultural and Geopolitical Representation of Dharavi in Celluloid India....Pages 163-179 Life Without Principle: Financial Irregularities in Hong Kong....Pages 181-189 Front Matter....Pages 191-191 Discontents of Modernity: Space, Consumption and Loss in Hong Kong New Wave and Bombay Parallel Cinema....Pages 193-215 Naqal and the Aesthetics of the Copy....Pages 217-234 Undercranking and Step-Printing in Wong Kar-Wai’s Filmography....Pages 235-246 Mirroring Alterity: The Imaginary China and the Comedic Self in Chandni Chowk to China ....Pages 247-264 Hong Kong, Films, and the Building of China’s Soft Power: The Cross-Promotion of Chinese Films on Globally Oriented State Television....Pages 265-293 Back Matter....Pages 295-300