Contents

pp v-vi

List of Figures

pp vii-viii

Acknowledgements

pp ix-x

Notes on the Contributors

pp xi-xiv

Introduction: Hong Kong Neo-Noir

pp 1-10

Part One - Seeds of Noir in Hong Kong Cinema

pp 11-12

1 - ‘A Rose by Any Other Name’: Wong Tin-lam’s The Wild, Wild Rose as Melodrama Musical Noir Hybrid

pp 13-29

2 - Black and Red: Post-War Hong Kong Noir and its Interrelation with Progressive Cinema, 1947–57

pp 30-50

3 - Sword, Fist or Gun? The 1970s Origins of Contemporary Hong Kong Noir

pp 51-74

Part Two - Neo-Noir Films in Close-Up

pp 75-76

4 - Doubled Indemnity: Fruit Chan and the Meta-Fictions of Hong Kong Neo-Noir

pp 77-96

5 - Running on Karma: Hong Kong Noir and the Political Unconscious

pp 97-117

6 - Beyond Hypothermia: Cool Women Killers in Hong Kong Cinema

pp 118-139

7 - Tech-Noir: A Sub-Genre May not Exist in Hong Kong Science Fiction Films

pp 140-156

Part Three - Cosmopolitan Cityspace and Neo-Noir

pp 157-158

8 - Location Filmmaking and the Hong Kong Crime Film: Anatomy of a Scene

pp 159-177

9 - Running Out of Time, Hard-Boiled and 24-Hour Cityspace

pp 178-197

10 - Exiled in Macau: Hong Kong Neo-Noir and Paradoxical Lyricism

pp 198-215

11 - The Tentacles of History: Shinjuku Incident’s Return of the Repressed

pp 216-232

Bibliography

pp 233-244

Filmography

pp 245-253

Index

pp 254-266