Mabel Cheung Yuen-Ting's An Autumn's Tale

Notes

Notes Preface to An Autumn's T; αle 1 Kwai-Cheung Lo, C宛如ese Face/O .ff: The 刃oansnational Popular Culture ofHong Kong (Urbana: University of Illinois Press, 2005), 16. 2 Lisa Lowe, Immigrant Acts: On Asian American Cultural Politics (Durham: Duke University Press, 1996), 101. Chapter 1 Introduction 1 Lisa Odham Stokes and Michael Hoover, C均I on Fire: Hong R加'!J Cinema (London: Verso, 1999), 28. 2 Stokes and Hoover, City on Fire, 106. 3 Stokes and Hoover, City on Fire, 28. 4 Ibid. 5 Stephen Teo, Hong Kong Cinema: The Extra Dimensions (London: British Film Institute Publishing, 1997), 188-189. “di發鐘。 NOTES FOR PP. 4-7 6 Esther M.K. Cheung and Chu Yiu-wai, Between Home and World: A Reader in Hong Kong Cinema (Hong Kong: Oxford University Press and Centre of Asian Studies, 2004), 417. 7 Cui Shuqin,“Stanley Kwan's Center Stage: The (Im)Possible Engagement Between Feminism and Postmodernism," in Between Home and Worlc4 487-488. 8 Law Kar and Frank Ben, Hong Kong Cinema: A Cross-Cultural View (Oxford: Scarecrow Press, 2004), 293. 9 See Stephen Teo, Hong Kong Cinema, 160. The signing of the Joint Declaration in 1984 by Beijing and London fueled anxiety about Hong Kong's future and accelerated emigration, referred to as “the brain drain." Many of those who worked in the Hong Kong film industry were a part ofthis migration. Often, their experiences became material for diaspora films, as many of the New Wave/Second Wave directors were educated overseas. 10 Stephen T凹， Hong Kong Cinema. 11 Gina Marchetti, From Tiananmen to Times Square: Transnational 。ina and the 仿inese Diaspora on Global Screens, 1989-1997 (Philadelphia: Temple University Press, 2006), 191. 12 Eliza W.Y. Lee,“lntroduction," in Eliza W.Y. Lee, ed. Gender and Change in Hong Kong: Globalization, Postcolonialism, and Chinese Pa.白，也rchy (Hong Kong: Hong Kong University Press, 2003), 13. 13 Lisa Fischler,“Women's Activism During Hong Kong's Political Transition," in Eliza W.Y. Lee,ed., Gender and(施。nge in Hong Kong, 69. 14 Gina Marchetti,“The Gender of GenerAsian X in Clara Law's Migration Trilogy," in Murray Pomerance, e孔 ， Ladies andGentlemen, Boys and Girls: Gender in Film at 的e End ofthe Twentieth Cen的ry (Albany: State University of New York Press, 2001), 71-87; Geetanjali Singh, “(Other)Feminisms 一(Other) Values," in Hecate: An βlterdisc~口linary Journalofr的men 's Liberation, vol. 29, no. 2, (2003), 6; and Elaine Yee Lin Ho，“叭Tomen on the Edges of Hong Kong Modernity: The Films of Ann Hui," in Mayfair Mei-Hui Yang, ed.，申aces ofTh忱 。wn: 的men 台 Public 申Ihere in Transnational China (Minneapolis: University of Minnesota Press, 1999). NOTES FOR PP. 8-12 。還錢霉。 15 77ze Status of Women and Girls in Hong Kong, 2006 (Hong Kong: The Women's Foundation, 2006). 的 Siumi Maria Tam,“Empowering Mobility: ‘Astronaut' Women in Australia,"inElizaW.Y. Lee,ed.,Gendel嚕。ndO日angeinHongKong,198. 17 Yeeshan Chan,“Bringing Breasts into the Mainstream," in Laikwan Pang and Day Wong, eds叮 Masculiniti訕。nd Hong Kong Cinema (Hong Kong: Hong Kong University Press, 2005), 187. 18 Jenny Kwok Wah Lau,“Besides Fists and Blood: Michael Hui and Cantonese Comedy," in PO Shek Fu and David Desser, eds., The Cinema qfHong Kong: History,Arts, IdenHty (Cambridge: Cambridge University Press, 2000), 160. 19 Peter X. Feng, Screening Asian Americans (New Brunswick: Rutgers University Press, 2002), 3. 20 Cheung and Chu, Between Home and World, 5. The authors note that, “Hong Kong tends to live in complicity with Hollywood as a ‘marginal empire' - at least up to the mid-1990s before the decline of Hong Kong's film indust月T." 21 Cheung and Chu, Between Home and World, preface, xxiv. 22 See Law Kar and Frank Bren, Hong Kong Cinema: A Cross-α如ral View (Oxford: Scarecrow Press, 2004). 23 “Astronaut" is the term used to refer to people of Chinese descent who transited back and forth between Hong Kong and other global cities during this period in order to secure second homes and passports prior to the resumption of Chinese sovereignty. Chapter 2 AnAutumn's Tale asTransnationalAmerican Studies 1 Staci Ford,“Hong Kong Film Goes to the U.S.," Hong Kong Film, Hollywood and the New Global Cinema: No Film Is an Island (London: Routledge, 2007). 2 See Gina Marchetti,“Buying American, Consuming Hong Kong: Cultural Commerce, Fantasies of Identi時， and the Cinema," in Fu, PO Shek, and David Desser, e血 ， The Cinema ofHong...