The first comprehensive collection on the subject of Hong Kong neo-noir cinema, this book examines the way Hong Kong has developed its own unique and culturally specific version of the neo-noir genre, while at the same time drawing on and adapting existing international noir cinemas.

'An indispensable study of a neglected genre, this anthology traces the cultural history of Hong Kong's noir cinema, identifies key figures in the genre's development, and furnishes incisive analyses of essential neo-noir films. Collectively, the book's chapters capture the artfulness, ingenuity and exuberance of this remarkable cinematic tradition.' Gary Bettinson, University of Lancaster The first comprehensive collection on Hong Kong neo-noir cinema, this book examines the way Hong Kong has developed its own unique version of noir since the late 1940s, while drawing upon and enriching global neo-noir cinemas. With a range of contributions from established and emerging scholars, this book illuminates the origins of Hong Kong neo-noir, its styles and contemporary manifestations, and its connection to mainland China before and after the 1997 Handover. Case studies include classics such as The Wild, Wild Rose (1960) and more recent films like Full Alert (1997), Exiled (2007) and Shinjuku Incident (2008). It provides a fresh look at the careers of iconic figures Johnnie To, Jackie Chan and Fruit Chan. By examining the films of émigré Shanghai directors, the cool women killers, the hybrids and noir cityscapes, Hong Kong Neo-Noir explores the complex connections between a vibrant cinema and global noir. Esther C. M. Yau teaches cinema studies in the School of Humanities at the University of Hong Kong. Tony Williams is Professor and Area Head of Film Studies, English Department, Southern Illinois University at Carbondale. Cover image: Election, Johnnie To, 2005 (c) China Star Ent/The Kobal Collection Cover design: [EUP logo] edinburghuniversitypress.com ISBN 978-1-4744-1266-7 Barcode