This book adopts an integrative research framework that primarily combines industrial and discourse analysis to investigate the company Milkyway Image, drawing upon literature that studies film studios and the practices of film production, distribution, and reception. The history of the Hong Kong-based film production company Milkyway Image from its founding in 1996 to the present exemplifies the metamorphosis of the post-return Hong Kong film industry to an era characterised by Hong Kong’s integration into a Chinese national context and the transnationalisation of world cinema. It shows that contemporary Hong Kong cinema’s transition resists a monolithic chronicle and instead represents a narrative combining the perspectives of different interest groups and a complex process of compliance and resistance, negotiation and contestation. The meaning of Milkyway’s films shifts as they are circulated across cultures and viewed within diverse frameworks, and our understanding of Hong Kong cinema is subject to varying contexts and historical configurations.
For researchers in film and media studies and those who have a general interest in Hong Kong cinema, Asian cinema, or contemporary film culture, this book reveals how a variety of industry and cultural bodies have become co-creators of meaning for a film production house, and how the company operates as a co-creator of the discourse that surrounds it.
สารบัญ
1 The Film Production Company.- 2 Hong Kong Film Industry in Transition.- 3 Bringing the Old to the New: Formation and Development of Milkyway.- 4 From Hong Kong to the Mainland: Milkyway’s Production and Business Practices.- 5 In Defence of Hong Kong: Milkyway Films’ Domestic Critical Reception.- 6 Shaping Hong Kong Cinema’s New Icon: Milkyway at International Film Festivals.- 7 Defining Hong Kong Cinema through Distribution: Milkyway Films in the United States.- 8 Building a Hong Kong Studio Brand: Milkyway’s Changing Image in Overseas Critical Reception.
เกี่ยวกับผู้แต่ง
Yi Sun is Lecturer in the College of Media and International Culture at Zhejiang University. Her research interests include screen industries, Chinese-language cinema, film genre, film authorship, and film historiography. She has published in journals such as Asian Cinema, Transnational Cinemas, Canadian Journal of Film Studies, Inter-Asia Cultural Studies, Modern Chinese Literature and Culture, and Adaptation. She has received the 2018 Peter Morris Prize presented by the Film Studies Association of Canada for the best essay published in Canadian Journal of Film Studies.
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