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Hong Kong puzzle films: the persistence of tradition

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Hong Kong puzzle films: the persistence of tradition. / Bettinson, Gary John.
The Poetics of Chinese Cinema. ed. / Gary Bettinson; James Udden. New York: Palgrave Macmillan, 2016. p. 119-145 (East Asian Popular Culture).

Research output: Contribution in Book/Report/Proceedings - With ISBN/ISSN › Chapter

Harvard

Bettinson, GJ 2016, Hong Kong puzzle films: the persistence of tradition. in G Bettinson & J Udden (eds), The Poetics of Chinese Cinema. East Asian Popular Culture, Palgrave Macmillan, New York, pp. 119-145. https://doi.org/10.1057/978-1-137-55309-6_7

APA

Bettinson, G. J. (2016). Hong Kong puzzle films: the persistence of tradition. In G. Bettinson, & J. Udden (Eds.), The Poetics of Chinese Cinema (pp. 119-145). (East Asian Popular Culture). Palgrave Macmillan. https://doi.org/10.1057/978-1-137-55309-6_7

Vancouver

Bettinson GJ. Hong Kong puzzle films: the persistence of tradition. In Bettinson G, Udden J, editors, The Poetics of Chinese Cinema. New York: Palgrave Macmillan. 2016. p. 119-145. (East Asian Popular Culture). doi: 10.1057/978-1-137-55309-6_7

Author

Bettinson, Gary John. / Hong Kong puzzle films : the persistence of tradition. The Poetics of Chinese Cinema. editor / Gary Bettinson ; James Udden. New York : Palgrave Macmillan, 2016. pp. 119-145 (East Asian Popular Culture).

Bibtex

@inbook{3566378ba56d4d69afd922fd4b870093,
title = "Hong Kong puzzle films: the persistence of tradition",
abstract = "This chapter examines the fate of traditional modes of practice, as well as of local storytelling norms, in contemporary Hong Kong cinema. It contests some widely-held yet arguably specious assumptions: first, that the {"}Mainlandization{"} and {"}Hollywoodization{"} of Hong Kong cinema eradicate local filmmaking practices and aesthetic norms; and second, that the local routine of piecemeal script construction yields slapdash plotting, and thus is inferior to the screenplay practices advocated in Mainland China and Hollywood. This chapter argues that not only have local work routines endured in spite of institutional change, but that those practices yield films of considerable complexity and ambition. The chapter's major case studies - Wu Xia (2011), Mad Detective (2007), and Blind Detective (2013) - can be assimilated to a nascent puzzle film trend in Hong Kong cinema. Disputing claims of a {"}post-Hong Kong cinema,{"} this chapter draws on primary interviews with Hong Kong filmmakers in detailing both the PRC coproduction system and the characteristic script practices employed by Peter Chan, Johnnie To, and the Milkyway Image film studio.",
author = "Bettinson, {Gary John}",
year = "2016",
month = sep,
day = "14",
doi = "10.1057/978-1-137-55309-6_7",
language = "English",
isbn = "9781137566089",
series = "East Asian Popular Culture",
publisher = "Palgrave Macmillan",
pages = "119--145",
editor = "Bettinson, {Gary } and James Udden",
booktitle = "The Poetics of Chinese Cinema",

}

RIS

TY - CHAP

T1 - Hong Kong puzzle films

T2 - the persistence of tradition

AU - Bettinson, Gary John

PY - 2016/9/14

Y1 - 2016/9/14

N2 - This chapter examines the fate of traditional modes of practice, as well as of local storytelling norms, in contemporary Hong Kong cinema. It contests some widely-held yet arguably specious assumptions: first, that the "Mainlandization" and "Hollywoodization" of Hong Kong cinema eradicate local filmmaking practices and aesthetic norms; and second, that the local routine of piecemeal script construction yields slapdash plotting, and thus is inferior to the screenplay practices advocated in Mainland China and Hollywood. This chapter argues that not only have local work routines endured in spite of institutional change, but that those practices yield films of considerable complexity and ambition. The chapter's major case studies - Wu Xia (2011), Mad Detective (2007), and Blind Detective (2013) - can be assimilated to a nascent puzzle film trend in Hong Kong cinema. Disputing claims of a "post-Hong Kong cinema," this chapter draws on primary interviews with Hong Kong filmmakers in detailing both the PRC coproduction system and the characteristic script practices employed by Peter Chan, Johnnie To, and the Milkyway Image film studio.

AB - This chapter examines the fate of traditional modes of practice, as well as of local storytelling norms, in contemporary Hong Kong cinema. It contests some widely-held yet arguably specious assumptions: first, that the "Mainlandization" and "Hollywoodization" of Hong Kong cinema eradicate local filmmaking practices and aesthetic norms; and second, that the local routine of piecemeal script construction yields slapdash plotting, and thus is inferior to the screenplay practices advocated in Mainland China and Hollywood. This chapter argues that not only have local work routines endured in spite of institutional change, but that those practices yield films of considerable complexity and ambition. The chapter's major case studies - Wu Xia (2011), Mad Detective (2007), and Blind Detective (2013) - can be assimilated to a nascent puzzle film trend in Hong Kong cinema. Disputing claims of a "post-Hong Kong cinema," this chapter draws on primary interviews with Hong Kong filmmakers in detailing both the PRC coproduction system and the characteristic script practices employed by Peter Chan, Johnnie To, and the Milkyway Image film studio.

U2 - 10.1057/978-1-137-55309-6_7

DO - 10.1057/978-1-137-55309-6_7

M3 - Chapter

SN - 9781137566089

T3 - East Asian Popular Culture

SP - 119

EP - 145

BT - The Poetics of Chinese Cinema

A2 - Bettinson, Gary

A2 - Udden, James

PB - Palgrave Macmillan

CY - New York

ER -