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I wish to acknowledge the kind support and assistance, valuable encouragement and shrewd insight of the following in the process of writing and publication of this book: A.N. Other (my anonymous manuscript reviewer); Ackbar Abbas; Bing Baraoidan; Sharon Chan; Colin Day; Michael Duckworth; John Elsom; Shan Ding; Mette Hjørt; Dawn Lau; Gina Marchetti; Meaghan Morris; Daisy Ng; Tiffany Ng; Jean-Michel Sourd; Stephen Teo; Johnnie To Kei-fung; Kate Whitehead; Jessica Yeung; Yvonne Young; Xu Xi. They have all been instrumental in the writing and publication of this volume, whether wittingly or unwittingly, and I am greatly indebted to them. Working on any kind of writing project can be a very solitary business, so I feel extremely fortunate to have benefited from their experience and assistance. For some, their valuable contribution is manifest in the book itself, while for others the generosity of their contribution is less obvious, but their kindness and expertise are equally appreciated. Any omissions, oversights Acknowledgements´ L xii JOHNNIE TO KEI-FUNG’S PTU or inadequacies in the final text are mine alone; their various contributions to the project as a whole have been exclusively benign ininfluenceandoutcome.ColinDayandMichaelDuckworthatHong Kong University Press have exercised an unfailingly benevolent, though constructively critical, supervision of the production of the manuscript and boosted morale when most needed, while at the same time knowing intuitively when to leave well alone. I cannot thankthembothenough.JohnnieTo’ssometimescrypticbutalways stimulating comments in relation to PTU during the interview he so kindly gave me helped to kick-start my writing, spurred on as I was by his canny but passionate approach to cinema. Finally I would like to extend my thanks to the people (personally unknown to me) who collaborated on the film production of PTU for their share in producing this small gem of a movie. No matter how many times I watched, I always found some formal or aesthetic detail to add to my enjoyment of the film. ...

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