Esther C. M. Yau teaches cinema studies in the School of Humanities at The University of Hong Kong. Tony Williams is Professor and Area Head of Film Studies, English Department, southern Illinois University at Carbondale.

An indispensable study of a neglected genre, this anthology traces the cultural history of Hong Kong’s noir cinema, identifies key figures in the genre’s development, and furnishes incisive analyses of essential neo-noir films. Collectively, the book's chapters capture the artfulness, ingenuity, and exuberance of this remarkable cinematic tradition.

• Acknowledgements Notes on Contributors Introduction: Hong Kong Neo-Noir, Esther C. M. Yau and Tony WilliamsSECTION A: SEEDS OF NOIR IN HONG KONG CINEMAChapter 1: ‘A Rose by Any Other Name’: Wong Tin-lam’s The Wild, Wild Rose as Melodrama Musical Noir Hybrid, Lisa Odham Stokes Chapter 2: Black & Red: Post-war Hong Kong Noir and Its Interrelation with Progressive Cinema, 1947–1957, Law Kar Chapter 3: Sword, Fist, or Gun? The 1970s Origins of Contemporary Hong Kong Noir, Kristof Van den Troost SECTION B: NEO-NOIR FILMS IN CLOSE-UP Chapter 4: Doubled Indemnity: Fruit Chan and the Meta-Fictions of Hong Kong Neo-Noir, Adam Bingham Chapter 5: Running on Karma: Hong Kong Noir and the Political Unconscious, Gina Marchetti Chapter 6: Beyond Hypothermia: Cool Women Killers in Hong Kong Cinema, David Desser Chapter 7: Tech-Noir: A Subgenre may not exist in Hong Kong Science Fiction Films, Kwai-Cheung Lo SECTION C: COSMOPOLITAN CITYSPACE AND NEO-NOIR Chapter 8: Location Filmmaking and the Hong Kong Crime Film: Anatomy of a Scene, Julian Stringer Chapter 9: Running out of Time, Hard-Boiled, and 24-Hour Cityspace, Kenneth E. HallChapter 10: Exiled in Macau: Hong Kong Neo-Noir and Paradoxical Lyricism, Jinhee ChoiChapter 11: The Tentacles of History: Shinjuku Incident’s Return of the Repressed, Tony WilliamsBibliographyFilmography

Esther C. M. Yau teaches cinema studies in the School of Humanities at The University of Hong Kong. Tony Williams is Professor and Area Head of Film Studies, English Department, southern Illinois University at Carbondale.

An indispensable study of a neglected genre, this anthology traces the cultural history of Hong Kong’s noir cinema, identifies key figures in the genre’s development, and furnishes incisive analyses of essential neo-noir films. Collectively, the book's chapters capture the artfulness, ingenuity, and exuberance of this remarkable cinematic tradition.

• Acknowledgements Notes on Contributors Introduction: Hong Kong Neo-Noir, Esther C. M. Yau and Tony WilliamsSECTION A: SEEDS OF NOIR IN HONG KONG CINEMAChapter 1: ‘A Rose by Any Other Name’: Wong Tin-lam’s The Wild, Wild Rose as Melodrama Musical Noir Hybrid, Lisa Odham Stokes Chapter 2: Black & Red: Post-war Hong Kong Noir and Its Interrelation with Progressive Cinema, 1947–1957, Law Kar Chapter 3: Sword, Fist, or Gun? The 1970s Origins of Contemporary Hong Kong Noir, Kristof Van den Troost SECTION B: NEO-NOIR FILMS IN CLOSE-UP Chapter 4: Doubled Indemnity: Fruit Chan and the Meta-Fictions of Hong Kong Neo-Noir, Adam Bingham Chapter 5: Running on Karma: Hong Kong Noir and the Political Unconscious, Gina Marchetti Chapter 6: Beyond Hypothermia: Cool Women Killers in Hong Kong Cinema, David Desser Chapter 7: Tech-Noir: A Subgenre may not exist in Hong Kong Science Fiction Films, Kwai-Cheung Lo SECTION C: COSMOPOLITAN CITYSPACE AND NEO-NOIR Chapter 8: Location Filmmaking and the Hong Kong Crime Film: Anatomy of a Scene, Julian Stringer Chapter 9: Running out of Time, Hard-Boiled, and 24-Hour Cityspace, Kenneth E. HallChapter 10: Exiled in Macau: Hong Kong Neo-Noir and Paradoxical Lyricism, Jinhee ChoiChapter 11: The Tentacles of History: Shinjuku Incident’s Return of the Repressed, Tony WilliamsBibliographyFilmography

Esther C. M. Yau teaches cinema studies in the School of Humanities at The University of Hong Kong. Tony Williams is Professor and Area Head of Film Studies, English Department, southern Illinois University at Carbondale.

An indispensable study of a neglected genre, this anthology traces the cultural history of Hong Kong’s noir cinema, identifies key figures in the genre’s development, and furnishes incisive analyses of essential neo-noir films. Collectively, the book's chapters capture the artfulness, ingenuity, and exuberance of this remarkable cinematic tradition.

• Acknowledgements Notes on Contributors Introduction: Hong Kong Neo-Noir, Esther C. M. Yau and Tony WilliamsSECTION A: SEEDS OF NOIR IN HONG KONG CINEMAChapter 1: ‘A Rose by Any Other Name’: Wong Tin-lam’s The Wild, Wild Rose as Melodrama Musical Noir Hybrid, Lisa Odham Stokes Chapter 2: Black & Red: Post-war Hong Kong Noir and Its Interrelation with Progressive Cinema, 1947–1957, Law Kar Chapter 3: Sword, Fist, or Gun? The 1970s Origins of Contemporary Hong Kong Noir, Kristof Van den Troost SECTION B: NEO-NOIR FILMS IN CLOSE-UP Chapter 4: Doubled Indemnity: Fruit Chan and the Meta-Fictions of Hong Kong Neo-Noir, Adam Bingham Chapter 5: Running on Karma: Hong Kong Noir and the Political Unconscious, Gina Marchetti Chapter 6: Beyond Hypothermia: Cool Women Killers in Hong Kong Cinema, David Desser Chapter 7: Tech-Noir: A Subgenre may not exist in Hong Kong Science Fiction Films, Kwai-Cheung Lo SECTION C: COSMOPOLITAN CITYSPACE AND NEO-NOIR Chapter 8: Location Filmmaking and the Hong Kong Crime Film: Anatomy of a Scene, Julian Stringer Chapter 9: Running out of Time, Hard-Boiled, and 24-Hour Cityspace, Kenneth E. HallChapter 10: Exiled in Macau: Hong Kong Neo-Noir and Paradoxical Lyricism, Jinhee ChoiChapter 11: The Tentacles of History: Shinjuku Incident’s Return of the Repressed, Tony WilliamsBibliographyFilmography