§16§§This book is a scholarly investigation of the historical development and contemporary transformation of film noir in today's Hong Kong. Focusing on the evolvement of cinematic narratives, aesthetics, and techniques, the author balances a deep reading of the multiple filmic plots with a discussion of the cinematic portrayals of gender, romance, identities and power relations. Nuancing the prototypical cinematic form and tragic sense of classical film noir, the recent Hong Kong cinema turns around the classical generic role of film noir at the turn of the century to convey very different messages-joy, hope or love. This book examines how the mainstream cinema, or pre-and-post-Hong Kong cinema in particular, applies a peculiar strategy that makes rooms for the audience to enjoy a pleasure-giving process of reflexivity and also critique the mainstream ideology. With new analytical approaches and angles, this book breaks new ground in offering transcultural and cross-genre analyses §16§ on the cinema and its impact in local and international markets.§§This book is the first major scholarly investigation of the historical development and contemporary transformation of film noir in today's Hong Kong. Focusing on the evolvement of cinematic narratives, aesthetics, and techniques, the author balances a deep reading of the multiple filmic plots with a refreshing discussion of the cinematic portrayals of gender, romance, identities and power relations. This book also revisits conceptual categories developed by Foucault, Lacan, Derrida and Butler.§§ §04§Introduction1: Film Noir, Crisis and Politics of Identity2: The Private Eye Blues: The Cinematic Space that Matters 3: City of Glass: A Temporal Character of Plot4: Happy Together: Swapping the Archetypal Roles5: Swordsman II: Performance and PerformativityConclusion §02§§Kim-mui E. Elaine Chan has been teaching film studies and cultural studies in Hong Kong for undergraduate and post-graduate core programmes respectively at Lingnan University and Hong Kong Baptist University since 2005. Her work has appeared in such academic journals as the Journal of Chinese Cinemas and the International Journal of Cinema. Chan received her PhD in Film Studies from the University of Kent, UK. §
