1.1- Introduction of Hong Kong Cinema Through a Global Lens

1.1- Introduction of Hong Kong Cinema Through a Global Lens

1.2- Hong Kong Cinema Through a Global Lens

1.2- Hong Kong Cinema Through a Global Lens

1.3.1- What is Globalization

1.3.2- HKIFF director, Roger Garcia, speaking of HKIFF, HAF, and HK Filmart

1.3.2- HKIFF director, Roger Garcia, speaking of HKIFF, HAF, and HK Filmart

1.3.2- HKIFF director, Roger Garcia, speaking of HKIFF, HAF, and HK Filmart

1.4- Introduction - Jackie Chan and the New Global Kung Fu Craze

1.4- Introduction - Jackie Chan and the New Global Kung Fu Craze

1.5- Jackie Chan - Biographical Details and Film Career

1.5- Jackie Chan - Biographical Details and Film Career

1.6- Jackie Chan and the Black Connection

1.6- Jackie Chan and the Black Connection

1.7- Rumble in the Bronx, Mr. Nice Guy, Who Am I

1.7- Rumble in the Bronx, Mr. Nice Guy, Who Am I

1.7- Rumble in the Bronx, Mr. Nice Guy, Who Am I

1.8- Rush Hour, The Tuxedo, Jackie Chan and Intertextuality

1.8- Rush Hour, The Tuxedo, Jackie Chan and Intertextuality

1.9- The Karate Kid

2.1- Bruce Lee’s Iconic International Impact

2.1- Bruce Lee’s Iconic International Impact

2.2- Gongfupian Defined, and its Popularity with the Hong Kong & Overseas Chinese Markets

2.3- The Global Kung Fu Craze

2.4- Poly-ethnic Dimensions to the Success of Five Fingers of Death

2.4- Poly-ethnic Dimensions to the Success of Five Fingers of Death

2.5- Hollywood’s Counter Strategy to Network TV- Blaxploitation and Pornography

2.5- Hollywood’s Counter Strategy to Network TV- Blaxploitation and Pornography

2.5- Hollywood’s Counter Strategy to Network TV- Blaxploitation and Pornography

2.6- The Kung Fu Craze and the Funky Coolness of Chineseness

2.7- Yellow Mask- Franz Fanon and Richard Dyer

2.7- Yellow Mask- Franz Fanon and Richard Dyer

2.8- Yellow Mask vs. Yellowface

2.8- Yellow Mask vs. Yellowface

2.8- Yellow Mask vs. Yellowface

2.8- Yellow Mask vs. Yellowface

2.9- Compromised Asian Masculinity

2.9- Compromised Asian Masculinity

2.9- Compromised Asian Masculinity

2.10- Graper Modified for Bruce Lee

2.10- Graper Modified for Bruce Lee

2.10- Graper Modified for Bruce Lee

2.10- Graper Modified for Bruce Lee

2.10- Graper Modified for Bruce Lee

2.10- Graper Modified for Bruce Lee

2.11- Bruce Lee’s “Struggle to Achieve” and the Dao of Martial Arts Authenticity

2.11- Bruce Lee’s “Struggle to Achieve” and the Dao of Martial Arts Authenticity

2.11- Bruce Lee’s “Struggle to Achieve” and the Dao of Martial Arts Authenticity

2.11- Bruce Lee’s “Struggle to Achieve” and the Dao of Martial Arts Authenticity

2.12.1- Four Steps to Jeet Kune Do

2.12.1- Four Steps to Jeet Kune Do

2.12.1- Four Steps to Jeet Kune Do

2.12.1- Four Steps to Jeet Kune Do

2.12.2- Two Types of Punching Techniques

2.12.2- Two Types of Punching Techniques

2.12.2- Two Types of Punching Techniques

2.13- Jeet Kune Do

2.13- Jeet Kune Do

2.13- Jeet Kune Do

2.14- Bruce Lee as the On-Screen Kung Fu Superman

2.14- Bruce Lee as the On-Screen Kung Fu Superman

2.14- Bruce Lee as the On-Screen Kung Fu Superman

2.14- Bruce Lee as the On-Screen Kung Fu Superman

2.15- We Are NOT Sick Men

2.15- We Are NOT Sick Men

2.16- Bruce Lee with Full Creative Control

2.16- Bruce Lee with Full Creative Control

2.17- The Apotheosis of Bruce Lee

2.17- The Apotheosis of Bruce Lee

2.18- White Racism in Enter the Dragon

2.19- Bruce Lee’s Legacies

2.19- Bruce Lee’s Legacies

3.1- Introduction to Film and key Terms _ Ideas

3.1- Introduction to Film and key Terms _ Ideas

3.1- Introduction to Film and key Terms _ Ideas

3.1- Introduction to Film and key Terms _ Ideas

3.2.1- Mabel Cheung, Women Filmmakers, and Women's History

3.2.1- Mabel Cheung, Women Filmmakers, and Women's History

3.2.1- Mabel Cheung, Women Filmmakers, and Women's History

3.2.2- Mabel Cheung & Alex Law, Interview at The University of Hong Kong

3.2.2- Mabel Cheung & Alex Law, Interview at The University of Hong Kong

3.2.2- Mabel Cheung & Alex Law, Interview at The University of Hong Kong

3.2.2- Mabel Cheung & Alex Law, Interview at The University of Hong Kong

3.3- Cultural Work and Talking Back to Orientalism

3.4- Cultural Work and Glocalization

3.4- Cultural Work and Glocalization

3.4- Cultural Work and Glocalization

3.5- Historical Work- Comparative and Connected Histories

3.5- Historical Work- Comparative and Connected Histories

3.5- Historical Work- Comparative and Connected Histories

3.6- Gender Work- Women, Feminist Waves, and an Autumn's Tale

3.6- Gender Work- Women, Feminist Waves, and an Autumn's Tale

3.7.1- Mabel Cheung, Hong Kong Cinema, and Transnational Feminism(s)

3.7.1- Mabel Cheung, Hong Kong Cinema, and Transnational Feminism(s)

3.7.1- Mabel Cheung, Hong Kong Cinema, and Transnational Feminism(s)

3.7.2- Masculinities and Hong Kong Cinema

3.7.2- Masculinities and Hong Kong Cinema

3.8- Intersection- Ethnicity _ National Identity _ Class- The Model Minority as Case Study

3.8- Intersection- Ethnicity _ National Identity _ Class- The Model Minority as Case Study

3.9- Diasporic Dreams and Disillusionment

3.10.1- Conclusion- Dueling Exceptionalisms

3.10.1- Conclusion- Dueling Exceptionalisms

3.10.2- John Sham, Interview at The University of Hong Kong

3.10.2- John Sham, Interview at The University of Hong Kong

4.1- John Woo's Cinematic Lineage

4.1- John Woo's Cinematic Lineage

4.2- A Critique of Kenneth Hall- Auteur Influences

4.2- A Critique of Kenneth Hall- Auteur Influences

4.3- A Critique of Kenneth Hall- Film Noir Influences

4.4- The Dos and Don'ts of Gangster Etiquette

4.4- The Dos and Don'ts of Gangster Etiquette

4.4- The Dos and Don'ts of Gangster Etiquette

4.5- John Woo's 12 Films- 6 From Hong Kong and 6 from HollywoodX

4.5- John Woo's 12 Films- 6 From Hong Kong and 6 from HollywoodX

4.5- John Woo's 12 Films- 6 From Hong Kong and 6 from HollywoodX

4.5- John Woo's 12 Films- 6 From Hong Kong and 6 from HollywoodX

4.6- Heroic Bloodshed

4.6- Heroic Bloodshed

4.6- Heroic Bloodshed

4.7.1- Chang Cheh and Yanggang Aesthetics

4.7.1- Chang Cheh and Yanggang Aesthetics

4.7.1- Chang Cheh and Yanggang Aesthetics

4.7.1- Chang Cheh and Yanggang Aesthetics

4.7.2- Chang Cheh and Yanggang Aesthetics

4.8- The Heroic Youxia of the Wuxiapian

4.8- The Heroic Youxia of the Wuxiapian

4.8- The Heroic Youxia of the Wuxiapian

4.8- The Heroic Youxia of the Wuxiapian

4.9- The Heroic Youxia of the Wuxiapian

4.9- The Heroic Youxia of the Wuxiapian

4.10- Globalizing Shaw Brothers- East-West Connections

4.10- Globalizing Shaw Brothers- East-West Connections

4.11- Confucianism and Social Harmony

4.11- Confucianism and Social Harmony

4.11- Confucianism and Social Harmony

4.12- Confucius' Five Relationships- The Case in Hong Kong (Part I)

4.12- Confucius' Five Relationships- The Case in Hong Kong (Part I)

4.12- Confucius' Five Relationships- The Case in Hong Kong (Part I)

4.13- Confucius' Five Relationships- The Case in Hong Kong (Part II)

4.13- Confucius' Five Relationships- The Case in Hong Kong (Part II)

4.13- Confucius' Five Relationships- The Case in Hong Kong (Part II)

4.14- Confucius' Five Relationships- The Case in the United States

4.14- Confucius' Five Relationships- The Case in the United States

4.15- Graphically Matching the Shuangxiong

4.15- Graphically Matching the Shuangxiong

4.15- Graphically Matching the Shuangxiong

4.16- John Woo in China- A Return to Confucian Friendship

4.16- John Woo in China- A Return to Confucian Friendship

5.0- Introduction

5.0- Introduction

5.0- Introduction

5.0- Introduction

5.0- Introduction

5.1- Infernal Affairs as Postmodern Cinema

5.1- Infernal Affairs as Postmodern Cinema

5.1- Infernal Affairs as Postmodern Cinema

5.2- Infernal Affairs as a Transnational Film

5.2- Infernal Affairs as a Transnational Film

5.3- Postmodernism as the Culture of Late Capitalism

5.3- Postmodernism as the Culture of Late Capitalism

5.4- Genre of the Crime Film

5.4- Genre of the Crime Film

5.4- Genre of the Crime Film

5.5- Self-Conscious Cinema

5.5- Self-Conscious Cinema

5.5- Self-Conscious Cinema

5.6.1- Infernal Affairs as -Crisis Cinema

5.6.1- Infernal Affairs as -Crisis Cinema

5.6.1- Infernal Affairs as -Crisis Cinema

5.6.2- Stereo Store Scene Analysis

5.6.3- Andrew Lau's Interview Part 1 (Music)

5.6.3- Andrew Lau's Interview Part 1 (Music)

5.7- Infernal Affairs as Political Allegory

5.7- Infernal Affairs as Political Allegory

5.8- Andrew Lau's Interview Part 2 (The Departed)

5.8- Andrew Lau's Interview Part 2 (The Departed)

5.8- Andrew Lau's Interview Part 2 (The Departed)

5.8- Andrew Lau's Interview Part 2 (The Departed)

5.9- Conclusion

5.9- Conclusion

6.1.1- Who is Wong Kar Wai

6.1.1- Who is Wong Kar Wai

6.1.2 Roger Garcia Interview (Part 1), at The University of Hong Kong

6.1.2 Roger Garcia Interview (Part 1), at The University of Hong Kong

6.1.2 Roger Garcia Interview (Part 1), at The University of Hong Kong

6.2- The Local and Global Wong Kar Wai

6.2- The Local and Global Wong Kar Wai

6.3- Early Works of Wong Kar Wai

6.3- Early Works of Wong Kar Wai

6.4- What is Auteur Theory

6.4- What is Auteur Theory

6.4- What is Auteur Theory

6.4- What is Auteur Theory

6.4- What is Auteur Theory

6.5- Wong Kar Wai and Auteur Theory

6.5- Wong Kar Wai and Auteur Theory

6.6.2 Roger Garcia Interview (Part 2), at The University of Hong Kong

6.6.2 Roger Garcia Interview (Part 2), at The University of Hong Kong

6.6.2 Roger Garcia Interview (Part 2), at The University of Hong Kong

6.7- In the Mood for Love as a Festival Film