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Acknowledgements First and foremost, 1extend sincere thanks to Gina Marchetti, who graciously reaches across disciplinary boundaries and looks for ways to enrich the conversation about Hong Kong film in many settings. She suggested I consider writing for the series and I have been the beneficiarγof her formidable knowledge of film. It has been a pleasure to work with Colin Day and Ian Lok at Hong Kong University Press. Colin's commitment to Hong Kong cultural studies is evident in the way he inspires his authors. lan's e血ciencyand patience with me was extraordinary. 1 thank Phoebe Chan and Dennis Cheung for offering their expertise in the final phases of production. A thorough reading of the manuscript by Christina Klein helped focus and improve the study. 1appreciate her attention to the larger themes as well as the small details. At several points during the process of writing about An Autumn 台 Tale 1 was lucky enough to have lively conversations with the director of the film, Mabel Cheung Yuen-ting and the writer of the screenplay, Alex Law. In their professional and personal lives they exemplify true 紛紛 ACKNOWLEDGEMENTS partnership. An Autumn 台 Tale is their gift to Hong Kong film fans. Their willingness to share their time and reflections two decades after the film's release was a gift to me. For comments on early drafts and paper presentations 1thank Evelyn Ng, Karen Jo Laidler, Ga可 McDonogh， Cindy Wong, and Patricia Chiu. Gordon Slethaug and Geetanjali Singh are dear friends and colleagues who taught me how to practice transnational American studies. This book is one of several projects growing out ofyears ofhappy collaboration with both of them and the students, visiting scholars, and teaching colleagues who have been part of the American Studies team at the University of Hong Kong. Thanks to my colleagues in the Department of History who understand the importance of cultural history, particularly Peter Cunich, Maureen Sabine, Tom Stanley, David Pomfret, Marie-Paul Ha, and Priscilla Roberts. Lily Lew watched the film with me and shared her own impressions of An Autumn 台 Tale as well as helping me understand the Cantonese slang that flew by me. For several years she has helped me think more clearly and honestly about a number of issues, professional and personal. 1 am grateful for her insights and clarity. Taunalyn Rutherford offered valuable feedback after 1 presented a paper on An Autumn 台 Tale at the American Studies Association meeting during the late stages of writing. Finally, heartfe1t thanks to my father, Leland Ford, and my mother, the late Denece Ford, for passing along a love of movies and the conversations they generate. To Matthew, Tyler, and Ian Hosford - who helped me make a home in Hong Kong - 1express my gratitude for their good humor and patience. 1look forward to sharing movies - and more - with them in the years to come. ...

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