Selected Bibliography

biblio

Selected Bibliography

Publications by Gina Marchetti funded by GRF (General Research Fund) award, “Hong Kong Women Filmmakers: Sex, Politics and Cinema Aesthetics, 1997-2010,” Research Grants Council, Hong Kong, 2011-15.

Marchetti, Gina. The Palgrave Handbook of Asian Cinema. London: Palgrave Macmillan, 2018.

—. Women Filmmakers: Sex, Politics and Cinema Aesthetics, 1997-2010,” Research Grants Council, Hong Kong, 2011-15.

—. Citing China: Politics, Postmodernism, and World Cinema. Honolulu: University of Hawai’i Press, 2018. Chapters on Ann Hui and Clara Law.

—. “Handover Bodies in a Feminist Frame: Two Hong Kong Women Filmmakers’ Perspectives on Sex after 1997,” Screen Bodies: An Interdisciplinary Journal of Experience, Perception, and Display 2:2 (December 2017), 1-24. DOI: https://doi.org/10.3167/screen.2017.020202. https://www.berghahnjournals.com/view/journals/screen-bodies/2/2/screen020202.xml

—. “Handover Women: Hong Kong Women Filmmakers and the Intergenerational Melodrama of Infidelity,” Feminist Media Studies 16:4 (June 2016), pp. 590-609. DOI:
10.1080/14680777.2016.1193292. Special Issue: “Intergenerational Feminist Media Studies: Conflicts and Connectivities” http://www.tandfonline.com/doi/full/10.1080/14680777.2016.1193292

—. “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,” Alphaville: Journal of Film and Screen Media 10 (Winter 2015). Web. ISSN: 2009-4078. http://www.alphavillejournal.com/Issue10/HTML/ArticleMarchetti.html

—. “Clara Law, Asia, and World Cinema,” in Aaron Han Joon Magnan-Park, Gina Marchetti, and Tan See-Kam, eds. The Palgrave Handbook of Asian Cinema, co-edited with Aaron Han Joon Magnan-Park and Tan See-Kam (Palgrave-Macmillan Publishers, 2018), pp.689-707.

—. “Lean In or Bend Over? Postfeminism, Neoliberalism, and Hong Kong’s Wonder Women,” in Jessalynn Keller and Maureen E. Ryan, eds. Emergent Feminisms: Complicating a Postfeminist Media Culture (New York: Routledge, 2018), pp. 193-210.

—. “The Feminine Touch: Chinese Soft Power Politics and Hong Kong Women Filmmakers,” in Paola Voci and Luo Hui, eds. Screening China’s Soft Power (Oxon and New York: Routledge, 2018), pp. 229-51.

—. “Hong Kong as Feminist Method: Gender, Sexuality, and Democracy in Two Documentaries by Tammy Cheung,” in Yiu-Wai Chu, ed. Hong Kong Culture and Society in the New Millennium: Hong Kong as Method (Singapore: Springer, 2017), pp. 59-76.

—. “Clara Law’s Red Earth: The Hong Kong International Film Festival and the Cultural Politics of the Sponsored Short,” in Chris Berry and Luke Robinson, eds. Chinese Film Festivals: Sites of Translation (NY: Palgrave Macmillan, 2017), pp. 259-277.

—. “Feminism, Postfeminism, and Hong Kong Women Filmmakers,” in Esther M.K. Cheung, Gina Marchetti, and Esther C.M. Yau, eds. A Companion to Hong Kong Cinema (Hoboken, NJ: Wiley- Blackwell Press, 2015), pp. 237-264.

Hong Kong Cinema

Please refer to the Hong Kong Cinema Oxford Bibliography by Marchetti, Gina and Derek Lam, found at the following website: http://www.oxfordbibliographies.com/view/document/obo-9780199791286/obo-9780199791286-0154.xml

Women in Hong Kong Film

Abbas, Ackbar. Hong Kong: Culture and the Politics of Disappearance. Minneapolis: University of Minnesota Press, 1997. Includes discussion of Ann Hui’s oeuvre.

Berry, Chris, ed. Chinese Films in Focus: 25 New Takes. London: BFI, 2005. Berry, Chris, ed. Chinese Films in Focus II. New York: Palgrave Macmillan, 2008. Chapter on Ann Hui in both editions. Chapter on Clara Law in first edition only.

Berry, Michael. Speaking in Images : Interviews with Contemporary Chinese Filmmakers. New York: Columbia University Press, 2005. Print.

Chan, Evans. “Postmodernism and Hong Kong Cinema.” In Postmodernism and China. Edited by Arif Dirlik and Xudong Zhang, 294–322. Durham, NC: Duke University Press, 2000. Mentions Ann Hui.

Cheung, Esther M. K., Gina Marchetti, and Tan See-Kam, eds. Hong Kong Screenscapes: From the New Wave to the Digital Frontier. Hong Kong: Hong Kong University Press, 2011. Includes chapters on Ann Hui, Crystal Kwok, Yau Ching, and other women filmmakers.

Cheuk, Pak Tong. Hong Kong New Wave Cinema, 1978-2000. Bristol, UK: Intellect, 2008. Print. Chapter on Ann Hui.

Chow, Rey. Sentimental Fabulations, Contemporary Chinese Films: Attachment in the Age of Global Visibility. New York: Columbia, University Press, 2007. Chapter on Ann Hui.

Ford, Stacilee. Troubling American Women: Narratives of Gender and Nation in Hong Kong. Hong Kong: Hong Kong University Press, 2011. Chapter on Crystal Kwok.

Fu, Poshek and David Desser, eds. The Cinema of Hong Kong : History, Arts, Identity. Cambridge, UK: Cambridge University Press, 2002. Print. Chapters on Ann Hui and Clara Law.

Kwong, Teresa Pui-see. “Age of Independents: New Hong Kong Film and Video.” Film International 7.4 (2010): 40-46. Print.

Law, Kar. Hong Kong Cinema : A Cross-Cultural View. Eds. Bren, Frank and Sam Ho. Lanham, MD: Scarecrow Press, 2004. Print. Chapter on Esther Eng.

Law Kar, ed. Transcending the Times: King Hu and Eileen Chang. Hong Kong: Provisional Urban Council, 1998.

Lee, Leo Ou-Fan. “Eileen Chang and Cinema.” Journal of Modern Literature in Chinese 2.2 (1999): 37–60.

Lee, Leo Ou-Fan. “Eileen Chang and Cinema.” Journal of Modern Literature in Chinese 2.2 (1999): 37–60.

Lee, Vivian P. Y. Hong Kong Cinema since 1997 : The Post-Nostalgic Imagination. Basingstoke: Palgrave Macmillan, 2009. Print. Material on Ann Hui.

Louie, Kam, ed. Eileen Chang: Romancing Languages, Cultures and Genres. Hong Kong: Hong Kong University Press, 2012.

Marchetti, Gina. From Tiananmen to Times Square: Transnational China and the Chinese Diaspora on Global Screens, 1989–1997. Philadelphia: Temple University Press, 2006. Chapter on Clara Law.

Marchetti, Gina, and Tan See-Kam. Hong Kong Film, Hollywood and the New Global Cinema: No Film Is an Island. London: Routledge, 2007. Includes chapter on Clara Law.

Ng, Kenny K. K. “The Screenwriter as Cultural Broker: Travels of Zhang Ailing’s Comedy of Love.” Modern Chinese Literature and Culture 20.2 (Fall 2008): 131–184.

Pang, Laikwan. “Trans-National Cinema, Creative Labor, and New Directors in Hong Kong.” Asia Japan Journal 4 (2009): 79–87. Includes  Barbara Wong, Mak Yan-Yan, Carol Lai, Susie Au, and Heiward Mak.

Perks, Sarah. “Visible Secrets: Hong Kong’s Women Film-Makers.” Film International 7.4 (2009): 48-56. Print.

Reynaud, Bérénice. Nouvelles Chines / Nouveaux Cinemas. Paris: Cahiers du Cinéma, 1999. Print. Includes material on women filmmakers in the Hong Kong New Wave.

Stokes, Lisa Odham, and Michael Hoover. City on Fire : Hong Kong Cinema. London: Verso, 1999. Print. Includes discussion of Ann Hui and other women filmmakers.

Teo, Stephen. Hong Kong Cinema : The Extra Dimensions. London: British Film Institute, 1997. Print. Includes material on Ann Hui and other women filmmakers.

Wang, Lingzhen, ed. Chinese Women’s Cinema: Transnational Contexts. New York: Columbia University Press, 2011. Includes chapters on several Hong Kong female filmmakers including Mabel Cheung, Tang Shu Shuen, Clara Law, and Esther Eng.

Wei, Louisa Shiyu. “A Critical Review of Hong Kong Women Directors’ Recent Films.” Film Critics’ Quarterly 29 (2005): 15-19. Print.

Yau, Ching. Filming Margins: Tang Shu Shuen—A Forgotten Hong Kong Female Director. Hong Kong: University of Hong Kong Press, 2004.

Yau, Ching-Mei Esther, ed. At Full Speed : Hong Kong Cinema in a Borderless World. Minneapolis: University of Minnesota Press, 2001. Print. Includes chapter on Ann Hui.

Gender Studies of Hong Kong Cinema/Hong Kong on World Screens

Anderson, D. Aaron. “Violent Dances in Martial Arts Films.” Jump Cut 44 (Fall 2001).

Arons, Wendy. “‘If Her Stunning Beauty Doesn’t Bring You to Your Knees, Her Deadly Drop Kick Will’: Violent Women in the Hong Kong Kung Fu Film.” In Reel Knockouts: Violent Women in the Movies. Edited by Martha McCaughey and Neal King, 27–51. Austin: University of Texas Press, 2001.

Berry, Chris. “Stellar Transit: Bruce Lee’s Body or Chinese Masculinity in a Transnational Frame.” In Embodied Modernities: Corporeality, Representation, and Chinese Cultures. Edited by Martin and Larissa Heinrich, 218–234. Honolulu: University of Hawai‘i Press, 2006.

Cheung, Esther M. K. and Yiu-wai Chu, eds. Between Home and World : A Reader in Hong Kong Cinema. Hong Kong: Oxford University Press, 2004. Print. Section on gender.

Chow, Yiu Fai. “Martial Arts Films and Dutch-Chinese Masculinities.” China Information 22.2 (2008): 331–359.

Chute, David, and Lim Cheng-Sim, eds. Heroic Grace: The Chinese Martial Arts Film. Los Angeles: UCLA Film & Television Archive, 2003. Includes chapters on gender and the martial arts genre.

Cui, Shuqin. Women through the Lens: Gender and Nation in a Century of Chinese Cinema. Honolulu: University of Hawai‘i Press, 2003.

Cui, Shuqin. “Stanley Kwan’s Center Stage: The (im)possible Engagement between Feminism and Postmodernism.” Cinema Journal 39.4 (2000): 60–80.

Enns, Anthony. “The Spectacle of Disabled Masculinity in John Woo’s ‘Heroic Bloodshed’ Films.” Quarterly Review of Film and Video 17.2 (June 2000): 137–145.

Gallagher, Mark. Action Figures: Men, Action Films, and Contemporary Adventure Narratives. New York: Palgrave Macmillan, 2006.

Gan, Wendy. Fruit Chan’s Durian Durian. Hong Kong: Hong Kong University Press, 2005.

Gates, Philippa. “The Man’s Film: Woo and the Pleasures of Male Melodrama.” Journal of Popular Culture 35.1 (Summer 2001): 59–79.

Giukin, Lenuta. “Boy-Girls: Gender, Body, and Popular Culture in Hong Kong Action Movies.” In Ladies and Gentlemen, Boys and Girls: Gender in Film at the End of the Twentieth Century. Edited by Murray Pomerance, 55–69. Albany: State University of New York Press, 2001.

Grossman, Andrew. “Homosexual Men (and Lesbian Men) in a Heterosexual Genre: Three Gangster Films from Hong Kong.” Journal of Homosexuality 39.3–4 (June 2000a): 237–271.

Grossman, Andrew. “The Rise of Homosexuality and the Dawn of Communism in Hong Kong Film: 1993–1998.” In Queer Asian Film: Shadows in the Shade. Edited by Andrew Grossman, 149–186. New York: Harrington, 2000b.

Hjort, Mette. Stanley Kwan’s Centre Stage. Hong Kong: Hong Kong University Press, 2006.

Jacobs, Katrien. “Sex Scandal Science in Hong Kong.” Sexualities 12.5 (October 2009): 605–612.

Khoo, Olivia, and Sean Metzger, eds. Futures of Chinese Cinema: Technologies and Temporalities in Chinese Screen Cultures. Bristol, UK: Intellect, 2009. Denise Tang on Hong Kong Lesbian and Gay Film Festival.

Khoo, Olivia. The Chinese Exotic: Modern Diasporic Femininity. Hong Kong: University of Hong Kong Press, 2007.

Lau, Jenny Kwok Wah. “Peking Opera Blues: Exploding Genre, Gender and History.” In Film Analysis: A Norton Reader. Edited by Jeffrey Geiger and R. L. Rutsky, 738–754. New York: Norton, 2005.

Lau, Jenny Kwok Wah, ed. Multiple Modernities : Cinema and Popular Media in Transcultural East Asia. Philadelphia: Temple University Press, 2003. Print. Chapter on gender in Hong Kong cinema.

Leung, Helen Hok-Sze. “Queerscapes in Contemporary Hong Kong Cinema.” Positions: East Asia Cultures Critique 9.2 (Fall 2002): 423–447.

Leung, Helen Hok-Sze. Undercurrents: Queer Culture and Postcolonial Hong Kong. Vancouver: University of British Columbia Press, 2008.

Li, Siu-Leung. Cross-dressing in Chinese Opera. Hong Kong: Hong Kong University Press, 2003.

Lim, Song Hwee. Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas. Honolulu: University of Hawai‘i Press, 2006.

Lo, Kwai Cheung. “Knocking Off Nationalism in Hong Kong Cinema: Woman and the Chinese ‘Thing’ in Tsui Hark’s Films.” Camera Obscura 63.21 (September 2006): 36–61.

Lo, Kwai-Cheung. “Muscles and Subjectivity: A Short History of the Masculine Body in Hong Kong Popular Culture.” Camera Obscura 39 (September 1996): 104–125.

Louie, Kam. Theorising Chinese Masculinity: Society and Gender in China. Cambridge, UK: Cambridge University Press, 2002.

Luk, Thomas Y. T., and James P. Rice, eds. Before and After Suzie: Hong Kong in Western Film and Literature. New Asia Academic Bulletin 18. Hong Kong: Chinese University of Hong Kong, 2002.

Marchetti, Gina. The Chinese Diaspora on American Screens: Race, Sex, and Cinema. Philadelphia: Temple University Press, 2012.

Marchetti, Gina. Romance and the Yellow Peril: Race, Sex, and Discursive Strategies in Hollywood Fiction. Berkeley: University of California Press, 1993.

Morris, Meaghan. “What Can a Gwei Por Do? Cynthia Rothrock’s Hong Kong Career.” Inter-Asia Cultural Studies 13.4 (2012): 559–575.

Pang, Laikwan. “Masculinity in Crisis: Films of Milkyway Image and Post-1997 Hong Kong Cinema.” Feminist Media Studies 2.3 (November 2002): 325–340.

Pang, Laikwan and Day Wong, eds. Masculinities and Hong Kong Cinema. Hong Kong: Hong Kong University Press, 2005. Print.

Reynaud, Berenice. “The Book, the Goddess and the Hero: Sexual Politics in the Chinese Martial Arts Film.” Senses of Cinema 26 (May–June 2003)

Sandell, Jillian. “Reinventing Masculinity: The Spectacle of Male Intimacy in the Films of John Woo.” Film Quarterly 49.4 (1996): 23–34.

Shih, Shu-Mei. “Gender and a Geopolitical Desire: The Seduction of Mainland Women in Taiwan and Hong Kong Media.” In Spaces of Their Own: Women’s Public Sphere in Transnational China. Edited by Mayfair Mei-Hui Yang, 278–307. Minneapolis: University of Minnesota Press, 1999.

Silbergeld, Jerome. “Oedipus Comes to Hong Kong: The Day the Sun Turned Cold.” In Hitchcock with a Chinese Face: Cinematic Doubles, Oedipal Triangles, and China’s Moral Voice. By Jerome Silbergeld, 47–72. Seattle: University of Washington Press, 2004.

Stokes, Lisa Odham. Peter Chan Ho-Sun’s He’s a Woman, She’s a Man. Hong Kong: Hong Kong University Press, 2009.

Stringer, Julian. “Cultural Identity and Diaspora in Contemporary Hong Kong Cinema.” In Countervisions: Asian American Film Criticism. Edited by Darrell Hamamoto and Sandra Liu, 298–312. Philadelphia: Temple University Press, 1998.

Stringer, Julian. “‘Your Tender Smiles Give Me Strength’: Paradigms of Masculinity in John Woo’s A Better Tomorrow and The Killer.” Screen 38 (Spring 1997): 25–41.

Stringer, Julian. “Category 3: Sex and Violence in Postmodern Hong Kong.” In Mythologies of Violence in Postmodern Media. Edited by Christopher Sharrett, 361–379. Detroit: Wayne State University Press, 1999.

Tan See-Kam. “The Cross-Gender Performances of Yam Kim-Fai, or the Queer Factor in Postwar Hong Kong Cantonese Opera/Opera Films.” Journal of Homosexuality 39.3–4 (June 2000): 201–211.

Tan See-Kam. “Huangmei Opera Films, Shaw Brothers and Ling Bo: Chaste Love Stories, Genderless Cross-dressers and Sexless Gender-plays?.” Jump Cut 49 (Spring 2007).

Tan, See-Kam, Peter X. Feng, and Gina Marchetti, eds. Chinese Connections: Critical Perspectives on Film, Identity and Diaspora. Philadelphia: Temple University Press, 2009. Section on gender includes material on Hong Kong cinema.

Tasker, Yvonne. “Fists of Fury: Discourses of Race and Masculinity in the Martial Arts Cinema.” In Race and the Subject of Masculinities. Edited by Harry Stecopoulos and Michael Uebel, 315–336. Durham, NC: Duke University Press, 1997.

Vojkovic, Sasha. Yuen Woo Ping’s Wing Chun. Hong Kong: Hong Kong University Press, 2009.

Wang, Yiman. “The Palimpsest Body and the Shifting Border: On Maggie Cheung’s Two Crossover Films.” Positions: East Asia Cultures Critique 20.4 (Fall 2012): 953–981.

Williams, Tony. “Hong Kong Martial Arts Women.” Asian Cinema 17.1 (Spring/Summer 2006): 155–165.

Williams, Tony. “Michelle Yeoh: Under Eastern Eyes.” Asian Cinema 12.2 (Fall/Winter 2001): 119–131.

Williams, Tony. “Transnational Stardom: The Case of Maggie Cheung Man-Yuk.” Asian Cinema 14.2 (Fall/Winter 2003): 180–196.

Williams, Tony. “Bridgit Lin Ching Hsia: Last Eastern Star of the Late Twentieth Century.” Journal of Chinese Cinemas 2.2 (July 2008): 147–157.

Wong, Nicholas Y. B. “The Carnal Hand and Fetishism in Wong Kar-Wai’s The Hand.” Asian Cinema 19.1 (Spring/Summer 2008): 47–58.

Yang Jing. The Portrayal of the Chinese Woman in American Cinema: 1990–2001. Shanghai: Shanghai Foreign Language Education Press, 2012.

Yau, Ching, ed. Ho Yuk: Let’s Love Hong Kong. Hong Kong: Youth Literary Book Store, 2002.

Yue, Audrey. “Preposterous Hong Kong Horror: Rouge’s (be)Hindsight and a (Sodomitical) Chinese Ghost Story.” In The Horror Reader. Edited by Ken Gelber, 364–373. New York: Routledge, 2000.

Selected Feminist Film Theory

Bainbridge, Caroline. A Feminine Cinematics: Luce Irigaray, Women and Film. Basingstoke: Palgrave Macmillan, 2008. Print.

Carson, Diane, Linda Dittmar and Janice R. Welsch, eds. Multiple Voices in Feminist Film Criticism. Minneapolis: University of Minnesota Press, 1994. Print.

Cheu, Hoi F. Cinematic Howling : Women’s Films, Women’s Film Theories. Vancouver, Toronto: UBC Press, 2007. Print.

Cook, Pam and Philip Dodd, eds. Women and Film : A Sight and Sound Reader. London: Scarlet Press, 1993. Print.

Erens, Patricia, ed. Issues in Feminist Film Criticism. Bloomington: Indiana University Press, 1990. Print.

Fischer, Lucy. Shot/Countershot : Film Tradition and Women’s Cinema. Basingstoke: Macmillan, 1989. Print.

Foster, Gwendolyn Audrey. Women Filmmakers of the African and Asian Diaspora : Decolonizing the Gaze, Locating Subjectivity. Carbondale, Ill.: Southern Illinois University Press, 1997. Print.

Kaplan, E. Ann. Looking for the Other : Feminism, Film, and the Imperial Gaze. New York: Routledge, 1997. Print.

Kaplan, E. Ann. Women and Film : Both Sides of the Camera. London: Routledge, 1983. Print.

Levitin, Jacqueline, Judith Plessis and Valerie Raoul, eds. Women Filmmakers : Refocusing. Vancouver: UBC Press, 2003. Print.

Ma, Sheng-mei. The Deathly Embrace: Orientalism and Asian American Identity. Minneapolis: University of Minnesota Press, 2000. Print.

Mayne, Judith. The Woman at the Keyhole : Feminism and Women’s Cinema. Bloomington: Indiana University Press, 1990. Print.

Mellencamp, Patricia. A Fine Romance: Five Ages of Film Feminism. Philadelphia: Temple University Press, 1995. Print.

Modleski, Tania. The Women Who Knew Too Much : Hitchcock and Feminist Theory. New York: Methuen, 1988. Print.

Mulvey, Laura. Visual and Other Pleasures. Bloomington: Indiana University Press, 1989. Print.

Rich, B. Ruby. Chick Flicks : Theories and Memories of the Feminist Film Movement. Durham: Duke University Press, 1998. Print.

Shohat, Ella, and Robert Stam. Unthinking Eurocentrism : Multiculturalism and the Media. London: Routledge, 1994. Print.

Thornham, Sue. Passionate Detachments : An Introduction to Feminist Film Theory. London: Arnold, 1997. Print.

Unterburger, Amy L, ed. The St. James Women Filmmakers Encyclopedia : Women on the Other Side of the Camera. Detroit: Visible Ink Press, 1999. Print.

Feminist Studies and Women’s Studies – Further Reading

Grewal, Inderpal and Caren Kaplan.. Scattered Hegemonies: Postmodernity and Transnational Feminist Practices. Minneapolis: University of Minnesota Press, 1994. Print.

Beauvoir, Simone de. The Second Sex. Eds. Borde, Constance and Sheila Malovany-Chevallier. London: Jonathan Cape, 2009. Print.

Butler, Judith. Gender Trouble : Feminism and the Subversion of Identity. New York: Routledge, 1999. Print.

Haraway, Donna Jeanne. Simians, Cyborgs, and Women : The Reinvention of Nature. New York: Routledge, 1991. Print.

Kristeva, Julia. About Chinese Women. Trans. Barrows, Anita. London: London : Marion Boyars, 1977. Print.

Morris, Meaghan. The Pirate’s Fiancee : Feminism, Reading, Postmodernism. London: Verso, 1988. Print.

Spivak, Gayatri Chakravorty. In Other Worlds : Essays in Cultural Politics. New York: Methuen, 1987. Print.

Whelehan, Imelda. Modern Feminist Thought : From the Second Wave to “Post-Feminism”. New York: New York University Press, 1995. Print.

Yang, Mayfair Mei-hui. Spaces of Their Own: Women’s Public Sphere in Transnational China. Minneapolis: University of Minnesota Press, 1999. Print.

Feminism in Hong Kong

Cheung, Fanny M, Siumi Maria Tam and Serena Sheng-hua Chu. A bibliography of gender studies in Hong Kong. Hong Kong: Hong Kong Institute of Asia-Pacific Studies, Chinese University of Hong Kong, 1991.

Cheung, Fanny M. EnGendering Hong Kong Society: A Gender Perspective of Women’s Status. Hong Kong: Chinese University Press, 1997.

Ha, Marie-Paule. “Double Trouble: Doing Gender in Hong Kong.” Signs: Journal of Women in Culture and Society 34:2 (2009), 423-449.

Lam, Wai-Man and Irene L.K. Tong. Political Change and the Women’s Movement in Hong Kong and Macau. Asian Journal of Women Studies, 12:1 (2006), 7-35.

Lee, Eliza W.Y. Gender and Change in Hong Kong: Globalization, Postcolonialism, and Chinese Patriarchy. Hong Kong: Hong Kong University Press, 2004.

Lim, Adelyn. Transnational Feminism and Women’s Movements in Post-1997 Hong Kong: Solidarity Beyond the State. Hong Kong: Hong Kong University Press, 2015.

Pearson, V. and Leung, B.K.P., eds. Women in Hong Kong. New York: Oxford University Press, 1995.

#MeToo Movement

Cobb, Shelley and Tanya Horeck. “Post Weinstein: gendered power and harassment in the media industries.” Feminist Media Studies, 18:3 (2018), 489-491, DOI: 10.1080/14680777.2018.1456155

Women’s Film

Lauzen, Martha M. “It’s a Man’s (Celluloid) World: Portrayals of Female Characters in the Top Grossing Films of 2018,” Center for the Study of Women in Television and Film, 19 February, 2019. https://womenintvfilm.sdsu.edu/its-a-mans-celluloid-world-portrayals-of-female-characters-in-the-top-grossing-films-of-2018/

Top