The rupture in Hong Kong cinema: Post-2000 Hong Kong cinema(s) as both a transnational cinema and a national cinema by Fangyu Chen

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The Poverty of Sociological Studies of Hong Kong Cinema, on Lisa Odham Stokes and Michael Hoover City on Fire: Hong Kong Cinema by Karen Fang

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Pre-post-1997 : preposterous Hong Kong cinema by Yue, Audrey.

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Comments on Karen Fang's Review of City on Fire: Hong Kong Cinema by Lisa Odham Stokes, Michael Hoover

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Modernity as Crisis: Goeng Si and Vampires in Hong Kong Cinema (translation into Russian) by Dale Hudson

“…The author analyzes the question of how Hong Kong cinema responds to the complex situation of Hong Kong's transition from its status as a British territory on loan to a special territory with extended autonomy within the PRC. …”
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"Chinesenesses" Outside Mainland China: Macao and Taiwan through Post-1997 Hong Kong Cinema by Hilary Hongjin He

Subjects: “…Hong Kong cinema…”
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“Chinesenesses” Outside Mainland China: Macao and Taiwan through Post-1997 Hong Kong Cinema by Hilary Hongjin He

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The gendered politics of sex work in Hong Kong cinema: Herman Yau and Elsa Chan (Yeeshan)’s Whispers and Moans and True Women for Sale by Gina Marchetti

“…The portrayal of women as prostitutes is common in Hong Kong cinema, and filmmakers have looked at sex work from various perspectives: as a social problem, as an index of women’s economic exploitation more generally, as a way to explore the relationship between economics and sexuality, as a window onto the world of sexual minorities and as erotica. …”
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The Memories of Journeys: Spatialization of Time in Wong Kar-wai’s Nostalgic Films by Chin-Pang Lei

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跨境的政治：香港电影的广东城市想象与自我论述 = Cross-border politics: Guangdong city imagination and self-narrative in Hong Kong cinema by 徐付美智 Xu, Fumeizhi

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What Is Body, What Is Space? Performance and the Cinematic Body in a Non-Anthropocentric Cinema by Anne Rutherford

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Trans-cult-ural fandom: Desire, technology and the transformation of fan subjectivities in the Japanese female fandom of Hong Kong stars by Lori Hitchcock Morimoto

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Poetiche della solitudine: da “Le Samouraï” a “Ghost Dog” by Roberto Chiesi

“…In the Far East, John Woo, one of the most representative exponents of Hong Kong cinema, directed “The Killer” (1989), a sort of fake remake that however marks a trivialization of Melville’s poetics; while the American director Jim Jarmusch, with “Ghost Dog - The Way of the Samurai” (1999), reinvented with originality the motifs of solitude and obedience to the code of honor that formed the deep core of the French film.…”
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论香港武侠片“侠义”的演变——以《龙门客栈》、《新龙门客栈》、《龙门飞甲》为例 = A study of changes of "Wu Xia" concept in Hong Kong martial art films using Dragon Inn, New Dragon Gate Inn and The Flying Swords of Drago... by 黄乐静 Ooi, Le Jing

“…In the world of Hong Kong cinema, there are a lot of martial arts as the main genre of the film, so that the "martial arts" derived from the "martial arts" and "benevolence" film theme, for many years deeply attracted for many years, the movie themes of "martial arts" and "benevolence" have captivated the eyes of viewers. …”
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