Relevant bibliographies by topics / Hong Kong horror fiction

Academic literature on the topic 'Hong Kong horror fiction'

Author: Grafiati
Published: 25 July 2024
Last updated: 26 July 2024

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Journal articles on the topic "Hong Kong horror fiction"

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Wang, Kai, and Nan Li. "ANALYSIS OF HONG KONG ZOMBIE MOVIES AUDIOVISUAL LANGUAGE IN THE 1980S." International Journal of Law, Government and Communication 7, no. 29 (September 1, 2022): 18–26. http://dx.doi.org/10.35631/ijlgc.729002.

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As a subcultural type of genre film, Hong Kong zombie films play an important role in Hong Kong films. Hong Kong zombie films through visual languages such as color, light, lens, and auditory language such as language, music, and audio create a horror atmosphere and infect the emotions of the audience. The use of audiovisual language also implies the ideological representation of the collision between China and the West in Hong Kong in the 1980s.
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Marchetti, Gina. "Documentary and democracy: An interview with Evans Chan." Asian Cinema 33, no. 2 (October 1, 2022): 257–75. http://dx.doi.org/10.1386/ac_00059_7.

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Gina Marchetti’s interview with NewYork-based Hong Kong independent filmmaker Evans Chan took place after Chan had said goodbye to his former home and to nearly three decades of filmmaking in the city, following the introduction of Hong Kong’s National Security Law in 2020. Her interview focuses on Chan’s non-fiction filmmaking, particularly his recent films dealing with Hong Kong’s two protest movements of 2014 and 2019, namely Raise the Umbrellas 撐傘 () and We Have Boots 我們有雨靴 (). While the latter part of the interview concerns Chan’s thoughts on the relationship between documentaries and democracy, it also explores the signature aesthetics of his films and an underlying ‘story of Hong Kong’, which the interviewer sees as a consistent thread running through his fiction and non-fiction filmography. A wide range of cinematic, literary, sociopolitical and philosophical influences in his work emerge in the course of this in-depth interview with the filmmaker.
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Sia, Tiffany. "New Territories." Film Quarterly 76, no. 4 (2023): 9–21. http://dx.doi.org/10.1525/fq.2023.76.4.9.

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What is the “Hong Kong” cathected through film, both past and present? The central project shared by parallel visions of Hong Kong––former and contemporary, narrative fiction and nonfiction documentary, commercial and independent––is that of how to encounter and (re)vivify the past through cinema. But how is it possible to move toward the past, especially the recent past, without a nostalgia tinged by sentimentality or an inherent longing for a fantasy of the past? Chan Tze-woon’s Blue Island offers up a unique challenge to Hong Kong cinema, contesting the former tropes of the sentimental and all its nostalgic reckonings with the past. In theorizing towards a new Hong Kong cinema, this article examines the legacy of its golden age against emerging counterpublics––fugitive, exilic and postnational––that profoundly reshape Hong Kong cinema today within and beyond the local.
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Yeung, Jessica Siu-yin. "Hong Kong Literature and the Taiwanese Encounter: Literary Magazines, Popular Literature and Shih Shu-Ching's Hong Kong Stories." Cultural History 12, no. 2 (October 2023): 224–50. http://dx.doi.org/10.3366/cult.2023.0288.

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This article examines the ways literary adaptations between Hong Kong and Taiwanese writers shape literary cultures in both places during the Cold War period. The 1950s and 1960s were the time when Hong Kong and Taiwan literary cultures were starting to thrive. An influx of literati into both places collaborated with each other and the locals to experiment with literary forms in literary magazines. The 1950s and 1960s were also the time when Hong Kong and Taiwan cinema experienced the first waves of adapting literary works into film in the postwar period. After the literary magazine culture dwindled in the 1970s, a new generation of writers in both places emerged. In Hong Kong, these new writers may not be native, but they take Hong Kong as their main subject in their writings. The Taiwanese writer Shih Shu-ching is one of them. In studying Hong Kong-Taiwan literary adaptation histories, one may easily overlook the adaptation from fiction to screenplay, as in Shih and the Taiwanese playwright Wang Chi-mei's case. By understanding the literary relationship between Hong Kong and Taiwan in the Cold War, together with their adaptation histories, we can acquire a clearer sense of how these literary cultures developed.
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Bachner, Andrea. "From China to Hong Kong with Horror Transcultural Consumption in Fruit Chan’sDumplings." Interventions 20, no. 8 (April 11, 2018): 1137–52. http://dx.doi.org/10.1080/1369801x.2018.1460217.

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Xin Yi, Wong, Mansour Amini, and Maryam Alipour. "Genre and Translation Style in Chinese Translation of Hollywood Blockbuster Movie Titles in Mainland China and Hong Kong." Journal of Modern Languages 33, no. 2 (December 16, 2023): 120–43. http://dx.doi.org/10.22452/jml.vol33no2.7.

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The title of a movie is the first to attract the audience's attention. Poorly translated movie titles may result in a “low box office”, as translators in different countries have their styles and preferences in translating film titles, which might eventually result in different translations of the same movie title and cause confusion to the audience. This qualitative research used exploratory induction to investigate the influence of genre and translation style on the Chinese translation of Hollywood blockbuster movie titles in Mainland China and Hong Kong. Titles of 300 Chinese movies produced between 2001 and 2020 were purposefully selected from the top 50 Hollywood movies in the adventure, horror, and action genres. Genre was found to be slightly effective in the choice of translation style and strategies. Among the three genres, horror was found to have the greatest influence on the choice of translation strategy. It was concluded that translators from Mainland China were more conservative in title translation compared to translators from Hong Kong, whose attempt was to create innovative translations. The findings may have some theoretical and practical implications for film translators, book translators, advertising translators, translation trainers, and trainees.
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Yee Lin Ho, Elaine. "Women in Exile: Gender and Community in Hong Kong Fiction." Journal of Commonwealth Literature 29, no. 1 (March 1994): 29–46. http://dx.doi.org/10.1177/002198949402900104.

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Shen, Shuang. "Popular Literature in the Inter-imperial Space of Hong Kong and Singapore/Malaya." Prism 19, no. 2 (September 1, 2022): 301–18. http://dx.doi.org/10.1215/25783491-9966657.

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Abstract This article addresses the neglect toward popular literary networks with Hong Kong in the Cold War period by influential Mahua scholars. Aiming to make way for a more robust discourse of cultural politics in tandem with a regional conceptualization of Sinophone cultural production, the article proposes to understand popular forms such as romance fiction as arising from and coconstituting a regional Sinosphere that can only be understood, following Laura Doyle's recent study, as inter-imperial. Offering a reading of the Hong Kong writer Liu Yichang's romantic fiction and immigrant stories, I show how the stories signify a geopolitical reckoning with the Cold War patterning of the world. This perspective offers more ways for us to evaluate how the regional literary field intersected with the Cold War beyond the singular defense of its “literariness.”
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Yung, Faye Dorcas. "The Silencing of Children's Literature Publishing in Hong Kong." International Research in Children's Literature 13, Supplement (July 2020): 159–74. http://dx.doi.org/10.3366/ircl.2020.0344.

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Children's literature publishing in Hong Kong is supposed to enjoy the freedom of a free market economy and legal autonomy. However, the market structure and the titles available in the market dominated by imported titles reveal that children's books published in Hong Kong have little room to feature the local voice. The market conditions are tough and publishers are incentivised to publish for the larger Sinosphere market. As a result, Cantonese is absent in imported texts annotated with either Mandarin phonetics ruby characters in Hanyu Pinyin or Zhuyin symbols. Non-fiction picturebooks feature a version of history that is biased towards the Chinese Communist Party political rhetoric. Hong Kong subjectivity thus struggles to find space to be represented; usually it is found in publications by smaller independent publishers.
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WU, Meng. "Fanning Out Possibilities: Dung Kai-cheung and the Multiplicities of Time." Modern Chinese Literature and Culture 34, no. 2 (December 2022): 420–44. http://dx.doi.org/10.3366/mclc.2022.0020.

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Hong Kong has brought to world literature some of the most prolific and best-loved fiction writers in modern Chinese history. Dung Kai-cheung is one of them — a Hong Kong-based writer who has found the city to be a constant source of inspiration. This article discusses the significance of multiplicity in Dung’s fictional representation of Hong Kong (“the V-City”), focusing on his 2007 novel Histories of Time: The Luster of Mute Porcelain. In this novel, Dung explores the narrative possibility of perceiving Hong Kong as a multi-historical space through the lens of multiplying temporalities. I have coined the term “V-shaped time” to refer to this multiplication of characters and archaeology of ideas. Time, in Dung’s work, fans out with multiple possibilities of individual and collective experiences in history, with mirrored Vs resembling an hourglass. In this stratified narrative, characters create their fictional selves in their own writing. Identifying the creative self as a literary architect, Dung’s fictional writing challenges the reader to rethink a local history that has been marginalized in the linear narrative of colonial modernity.
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Dissertations / Theses on the topic "Hong Kong horror fiction"

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Yau, Suk-ying Shirley, and 邱淑瑩. "Where has all the horror gone?: a study of horror in contemporary cinema." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B42575175.

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Lam, Yat-lim, and 林逸濂. "The society of Hong Kong in Lilian Lee's fiction =." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B43208629.

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Lau, Cheung-cheung, and 劉章璋. "A study of Manga and adolescent popular fiction in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31221142.

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Lau, Cheung-cheung. "A study of Manga and adolescent popular fiction in Hong Kong /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20354010.

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Yeung, Mei-yee. "Searching for a cultural identity : Hong Kong fiction from the fifties to the nineties /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19605389.

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Ma, Guoming, and 馬國明. "Hong Kong martial art novels: the case of Louis Cha." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31212566.

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Wong, Yee-ling, and 黃綺玲. "Cyborgs, capitalism, hope: a study of Hong Kong and Hollywood science fiction films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50900146.

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Posthuman representations in selected Hollywood and Hong Kong science fiction films show new interconnections in “techno-globalization.” They also exhibit a waning relationship between the “center” and the “margin” of technoculture. This study discusses the relation of technology, humanity, affect, and aesthetics in selective science fiction films produced from 1984 to 2010. The science fiction features were made in the United States and in Hong Kong. They include: The Terminator (1984), Terminator2 (1991), Terminator Salvation (2009), A.I. Artificial Intelligence (2002), I Love Maria (1988), Kung Fu Cyborg (2009) and Future X-Cops (2010). In particular, Kung Fu Cyborg merges the popular genre conventions of martial arts and technoculture, and manifests a different imagination at work wherein Hong Kong’s martial arts cinema stands in the place of a scientific-based Western technoculture absent in Hong Kong science fiction films. This study presents several key critical frames elaborated by scholars of science fiction who have assessed the recurrent themes and figures of science fiction films. The discussion of films identifies the resemblances, the differences, and the competitive dynamic between American science fiction films and Hong Kong action features. The absence of utopian or dystopian figures in posthuman filmic representations in Hong Kong cinema is considered an important difference from Western science fiction films. This thesis examines the figure of the cyborg and argues for the important place of emotions and the power to emote and hope as having a complex relationship to technology, humans and humanness. The compassionate cyborg has temporal and moral dimensions relating to belief and religion in this important genre. Thus, this thesis examines the backdrop for science fiction affect, which is one of oppression and crisis that speaks to the conditions of capitalism and modernity. The affective cyborgs make an important figure in the science fiction films that concern the crisis conditions, the appeal of technology, and the conventions of science fiction genre in commercial cinema.
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Chen, Qin. "The Others: Desire, Anxiety, and the Politics of Chinese Horror Cinema (1989-2015)." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1469178422.

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Lu, Pei'er. "Xu shu "jiu qi" : Xianggang xiao shuo zhong de shi jian yu xu shi = Narrating "1997" : time and narrative in Hong Kong novels /." click here to view the fulltext click here to view the abstract and table of contents, 2006. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisft.pl?pdf=b19843926f.pdf.

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Chak, Winnie. "The Sixth Try." Chapman University Digital Commons, 2020. https://digitalcommons.chapman.edu/creative_writing_theses/5.

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Books on the topic "Hong Kong horror fiction"

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Berry, Anne. The hungry ghosts. [Bath]: Windsor/Paragon, 2010.

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Berry, Anne. The hungry ghosts. London: Blue Door, 2010.

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Coonts, Stephen. Hong Kong. Lon: Orion, 2001.

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Coonts, Stephen. Hong Kong. London: Orion, 2001.

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Coonts, Stephen. Hong Kong. London: Orion, 2001.

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Coonts, Stephen. Hong Kong. New York, NY: St. Martin, 2000.

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Coonts, Stephen. Hong Kong. New York, NY: St. Martin, 2000.

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Coonts, Stephen. Hong Kong. New York, NY: St. Martin, 2000.

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Arnote, Ralph. Hong Kong, China. New York: Forge, 1996.

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Margaret, Barker. Hong Kong surgeon. London: Mills & Boon, 1986.

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Book chapters on the topic "Hong Kong horror fiction"

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Todorova, Marija. "Hong Kong Diversity in Anglophone Children’s Fiction." In Cultural Conflict in Hong Kong, 71–86. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-7766-1_5.

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Lee, Sangjoon. "Dracula, Vampires, and Kung Fu Fighters: The Legend of the Seven Golden Vampires and Transnational Horror Co-production in 1970s Hong Kong." In Transnational Horror Cinema, 65–80. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-58417-5_4.

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Au, C. T. "Reading Colonial Dis-ease/Disease in Hong Kong Modernist Fiction." In New Directions in Literature and Medicine Studies, 267–80. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-51988-7_15.

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Piocos III, Carlos M. "Sexuality, Shame and Subversions in Indonesian Migrant Women’s Fiction." In Gender, Islam and Sexuality in Contemporary Indonesia, 145–68. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-5659-3_8.

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AbstractThis contribution examines malu (shame) as an effect of Indonesian women’s migration, illustrating how gendered moral discourses shape the problematic politics of labour migration in the country. It argues that shame not only reinforces several problematic gender and moral discourses imposed on Indonesian migrant women but also heightens their precarious role and place in their home and host countries.This essay probes into the possibilities opened by Indonesian migrant domestic workers themselves as they write, publish and circulate their own stories in Hong Kong, Singapore and Taiwan as part of the emerging cultural production of Sastra Buruh Migran Indonesia, Indonesian Migrant Workers’ Literature. It makes an innovative contribution to this collection by analysing how, in five short fiction anthologies of Indonesian migrant domestic workersin Hong Kong, Singapore and Taiwan, instances of shame and shaming matter in the representation of their daily lives and how they narrate their encounters and practices of queer sexual identities and interracial intimacies in transnational spaces. Through migrant women’s understanding of what counts as malu, I argue that their stories present a more complex negotiation of their precariousness, as they exhibit instances of agencyand mobility that go beyond traditional gender discourses upheld back home.
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Diffrient, David Scott. "Spooky Encounters of the Humorously Disgusting Kind." In Body Genre, 235–62. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496847966.003.0009.

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As disgusting as it is to imagine smelling the horrible things referenced in the previous two chapters, including exposed organs and rotting corpses that attract flies, touching that slick and squishy stuff might be even more unappetizing to viewers. Thankfully, no matter how immersed in a cinematic fiction one may be, including a film that intentionally or unintentionally foregrounds its own artifice as a work reliant on fake excrement, prop vomit, stage blood, and prosthetic makeup effects to depict moments of death, decay, disease, illness, and other pathological states, actual immersion in that liquid unpleasantness is an impossibility that hardly requires further elaboration. Nevertheless, as indicated in this chapter’s case studies (including classic Hollywood productions as well as more recent Hong Kong films featuring reanimated hands and “hopping corpses”), audiences can still be made to feel the surfaces of a diegetic world littered with touchable things that exist in the real world. Indeed, horror disturbs us partly because its textures are so tactile and terribly familiar, and no amount of integumentary protection can shield our skin from the memory of accidentally brushing up against something barbed, lumpy, mushy, scummy, viscid, or otherwise disgusting in real life.
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Turnbull, C. Mary. "Hong Kong." In Asia in Western fiction. Manchester University Press, 2017. http://dx.doi.org/10.7765/9781526123534.00013.

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"Post-Socialism in Hong Kong." In Urban Horror, 146–83. Duke University Press, 2020. http://dx.doi.org/10.1215/9781478009108-005.

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"Post-Socialism in Hong Kong." In Urban Horror, 146–83. Duke University Press, 2020. http://dx.doi.org/10.2307/j.ctv11smhkk.8.

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Tsang, Raymond. "1 What Can a Neoi Gwei Teach Us? Adaptation as Reincarnation in Hong Kong Horror of the 1950s." In Hong Kong Horror Cinema, 17–33. Edinburgh University Press, 2018. http://dx.doi.org/10.1515/9781474424608-004.

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Chan, Kenneth. "8 Tsui Hark’s Detective Dee Films: Police Procedural Colludes with Supernatural-Martial Arts Cinema." In Hong Kong Horror Cinema, 133–46. Edinburgh University Press, 2018. http://dx.doi.org/10.1515/9781474424608-011.

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