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This chapter examines how the breakthrough of Zhang Ziyi's depiction of a female kung fu master in The Grandmaster (2013) transforms the figure of the heroine in Chinese action films. Zhang is well known for her acting in action films conducted by renowned directors, such as Ang Lee, Zhang Yimou and Wong Kar-wai. After winning 12 different Best Actress awards for her portrayal of Gong Ruomei in The Grandmaster, Zhang announced that she would no longer perform in any action films to show her highest respect for the superlative character Gong. Tracing Zhang's transformational portrait of a heroine in The Grandmaster alongside her other action roles, this analysis demonstrates how her performance projects the directors' distinctive gender viewpoints. I argue that Zhang's characterisation of Gong remodels heroine-hood in Chinese action films. Inheriting the typical plot of a daughter's use of martial arts for revenge for her father's death, Gong breaks from conventional Chinese action films that highlight romantic love during a woman's adventure and the decisive final battle scene. Beyond the propensity for sensory stimulation, Gong's characterisation enables Zhang to determine that women can really act in action films – demonstrating their inner power and ability to create multi-layered characters – not merely relying upon physical action. This chapter offers a relational perspective of how women transform the action film genre not merely as gender spectacles but as embodied figures that represent emerging female subjectivity.

This research outlines the Hong Kong film industry with examination of key actors, directors, films, and production companies within the martial arts genre of Hong Kong Action Cinema. Hong Kong Film Award winners and nominees, core films within genres, and core reference works both general and theoretical from experts in the field of Hong Kong martial arts film research have been highlighted. Web sites are suggested that provide reviews of Hong Kong martial arts films, biographical information on a variety of actors and actresses as well as comprehensive bibliographic information on select films. Also included are commercial Web sites that provide Hong Kong martial arts films.

The majority of Hong Kong filmmakers have pursued co-production with China filmmakers for having the Mainland market at the expense of local styles and sensitivities. To many critics, the two-part series of Ip Man and Ip Man II provide a paradigmatic case of film co-production that sell the tricks of Chinese kung fu, regurgitating the overblown Chinese nationalism against Japanese and kwai-lo. The purpose of this study is to rectify such observation of the Ip Man series.

The authors read the series deconstructively as a postcolonial text in which Hong Kong identity is inscribed in the negotiated space in between different versions of Chinese nationalism.

The analysis points to the varying subversive features in the series from which Hong Kong’s colonial experiences are tacitly displayed, endorsed and rewritten into the Chinese nationalistic discourse whose dominance is questioned, if not debased.

This paper advances new research insights into the postcolonial reinvention of kung fu film and, by implication, the Hong Kong cinema in general.

With its worldwide fame for making action films, Hong Kong cinema has been defined as masculine. Action films, including the costumed martial arts films and the modern gangster films, have been a major genre in Hong Kong cinema from the 1960s on. Despite the dominant masculinity, women still play significant roles in some of these films. In fact, fighting women leave footprints in the history of Hong Kong cinema, which precede their counterparts in the West and even provide models for Hollywood after 2000.

This chapter focuses on the female characters portrayed by the acclaimed Hong Kong director Wong Kar-wai, whose works have an ambiguous connection to mainstream genres. He modifies Hong Kong action films and creates unconventional female characters such as the drug dealer in Chungking Express (1994), the killer dispatcher in Fallen Angels (1995), the swordswoman in Ashes of Time (1994), and the kung fu master in The Grandmaster (2013). Wong's films have been mush discussed in academia, but the gender images therein are quite ignored. With high intertextuality, these characters are used to question mainstream action films and redefine women's roles in male's cinematic space. In addition, via the writing of these women, Wong constructs an open and ambivalent post-colonial Hong Kong identity. This paper contextualises the figures of sword-wielding and gun-shooting women and examines how Wong Kar-wai deploys these images to articulate the cultural identity of a post-colonial city.

This study investigates the impact of cultural distance on foreign box office performance of East Asian cinematic production in European markets. Predicated on two dimensions of a film's cultural specificity, namely content- and aesthetics-based components, this research advances current knowledge on the moderating effects of cultural specificity.

The authors compile a data set of 515 East Asian films released in European countries during the 2010–2018 period. Data are analyzed by hierarchical linear modeling.

Results show that cultural distance plays a negative role in affecting foreign box office performance and that aesthetics specificity of films weakens such a relationship, while content specificity of films can further strengthen the relationship.

The findings suggest that cultural specificity is a crucial element and a relevant marketing tool in the cross-country film trade. Film producers and distributors need to consider both distribution strategy and intercultural context in order to align effectively with differing cultural distance and specificity.

This study proposes a new categorization framework of cultural specificity and demonstrates the moderating roles of content and aesthetics specificity on the relationship between cultural distance and films' foreign box office performance. It offers implications for both theory and practice in global film marketing and trade.

This paper aims to challenge the longstanding cosmopolitan interpretation of Hong Kong, particularly why this global city fails to absorb China equally through its great inclusiveness and flexibility as before. On the contrary, rising tensions, conflicts and resistance could be founded between Hong Kong and China these days.

By using Hong Kong cinema as an analytical lens, this paper seeks to throw light on the cinematic landscape of post-1997 Hong Kong and, by implications, the overall destiny of postcolonial Hong Kong under Chinese rule.

The postcolonial Hong Kong, although lacking a symmetric status and equal weight, remains an active player with Chinese hegemony that appeals to the newfound market power to consolidate their systemic control on the city. By acting upon itself with the subjectivity and reflexivity from itself, postcolonial Hong Kong takes many actions to do justice that criticizes the political and ideological correctness and challenges the contemporary national authority from one-party rule.

This paper demonstrates a new in-betweenness in the relation to the making of postcolonial Hong Kong. This paper advances insights into a postcolonial reinvention of the politics of disappearance that remains underexplored.

Films are arguably one of the most influential phenomenon of modern society. They are remarkable and effective means of conveying stories and influencing humans. Films are one of the most important factors that motivate people to travel to a destination. This chapter will explore the phenomenon which is widely known as film tourism and its role in tourist experience. To gain a better understanding of film tourism experiences, this chapter presents key concepts and analyzes existing studies. The analysis investigates important aspects of film tourism experience, including experience satisfaction and storytelling. It tries to highlight how films can influence tourist experiences beyond the travel itself, with a strong emphasis on the role of storytelling and film tourism experience satisfaction. To help readers achieve a clearer and more detailed understanding of the unique and dynamic nature of film tourism experiences, this chapter provides an overview of the tourist experience by conducting a comprehensive literature review on the subject. By doing this, this chapter proposes a new framework of film tourist experience satisfaction while describing the relationship between influential factors such as previous film experiences, motivation to visit a destination, destination expectations, on-site destination experience, and tourist involvement. Finally, conclusions are drawn presenting storytelling as a contemporary approach in the domain of film tourism experiences.

The purpose of this paper is to apply a postcolonial perspective on the findings from ethnographic research in a multi-national corporation in Shanghai and shed light on the ways that western creativity narratives are deployed as a means to mobilise and transform workers into self-governing, obedient corporate subjects.

The research applied ethnographic approaches to understand how creativity narratives are enacted in cross-cultural settings.

Creativity discourses in China often provoke anxieties around national capacity, economic growth and indigenous innovation. Locally trained knowledge workers in China are often assessed as less creative than their western counterparts and the reason attributed to cultural, pedagogical and political differences. However, these factors are not static in China’s fluid economic landscape and neither do Chinese workers uniformly accept that they are less creative.

This paper sheds light on a previously unexamined aspect of dominant western creativity discourses, which may be useful in future work amongst practitioners in international business settings.

Thick film thermistors based on the thermistor powder of the sintered ceramic thermistor, prepared from oxides of nickel, cobalt and manganese, were fabricated and studied. The ingredient compositions, including the composition proportions, influenced the properties of thick film thermistors. The effects of the compositions of the sintered ceramic thermistors, the amounts of additives used and the compositions of the glass binders on the properties of the thick film thermistors were also studied.

On 20 April ISHM‐Benelux held its 1988 Spring meeting at the Grand Hotel Heerlen. This meeting was totally devoted to implantable devices, in particular to the technologies used for these high reliability, extremely demanding devices. For this meeting ISHM‐Benelux was the guest of the Kerkrade facility of Medtronic. Medtronic (headquartered in Minneapolis, USA) is the world's leading manufacturer of implantable electronic devices. Apart from the assembly of pacemakers and heart‐wires, the Kerkrade facility acts as a manufacturing technology centre for Medtronic's European facilities.