Although Hong Kong cinema has been widely studied in English and other languages, no publication has yet focused specifically on its animated screen. Hong Kong Animated Screen: Comics, 3-D Images, and the "Xia" Genre fills that gap by exploring the world of Hong Kong’s commercial animated films—their stories, visual energies, and cultural resonances. It also examines hybrid live-action works and the vital role of the xia genre in shaping the movement-driven spectacle that defines Hong Kong film. The first four chapters look closely at Hong Kong animation, while chapters 5 and 6 turn to the xia genre. Throughout the volume, the idea of liminality helps frame the discussion of borders, thresholds, and hidden spaces, shedding light on the distinctive social and political conditions under which these films were created. Hong Kong Animated Screen also investigates the uncanny qualities of comics, animation, and xia in Hong Kong, as well as the growing influence of CGI in transforming both visual style and storytelling. The final chapter reflects on the spiritual dimensions of the animated screen, drawing on traditional Chinese ideas about shadow play and the writings of Western philosopher Alan Cholodenko on animation and the animatic. Combining film studies, cultural theory, and philosophy, author Tze-yue G. Hu offers a fresh, multidisciplinary perspective on Hong Kong cinema. By revisiting themes of diaspora, identity, postcolonialism, and cross-border capital investment, this volume reveals a dynamic and evolving cinematic landscape—one powered by images and energies that continue to move across borders and through time.

Although Hong Kong cinema has been widely studied in English and other languages, no publication has yet focused specifically on its animated screen. Hong Kong Animated Screen: Comics, 3-D Images, and the "Xia" Genre fills that gap by exploring the world of Hong Kong’s commercial animated films—their stories, visual energies, and cultural resonances. It also examines hybrid live-action works and the vital role of the xia genre in shaping the movement-driven spectacle that defines Hong Kong film. The first four chapters look closely at Hong Kong animation, while chapters 5 and 6 turn to the xia genre. Throughout the volume, the idea of liminality helps frame the discussion of borders, thresholds, and hidden spaces, shedding light on the distinctive social and political conditions under which these films were created. Hong Kong Animated Screen also investigates the uncanny qualities of comics, animation, and xia in Hong Kong, as well as the growing influence of CGI in transforming both visual style and storytelling. The final chapter reflects on the spiritual dimensions of the animated screen, drawing on traditional Chinese ideas about shadow play and the writings of Western philosopher Alan Cholodenko on animation and the animatic. Combining film studies, cultural theory, and philosophy, author Tze-yue G. Hu offers a fresh, multidisciplinary perspective on Hong Kong cinema. By revisiting themes of diaspora, identity, postcolonialism, and cross-border capital investment, this volume reveals a dynamic and evolving cinematic landscape—one powered by images and energies that continue to move across borders and through time.

Although Hong Kong cinema has been widely studied in English and other languages, no publication has yet focused specifically on its animated screen. Hong Kong Animated Screen: Comics, 3-D Images, and the "Xia" Genre fills that gap by exploring the world of Hong Kong’s commercial animated films—their stories, visual energies, and cultural resonances. It also examines hybrid live-action works and the vital role of the xia genre in shaping the movement-driven spectacle that defines Hong Kong film. The first four chapters look closely at Hong Kong animation, while chapters 5 and 6 turn to the xia genre. Throughout the volume, the idea of liminality helps frame the discussion of borders, thresholds, and hidden spaces, shedding light on the distinctive social and political conditions under which these films were created. Hong Kong Animated Screen also investigates the uncanny qualities of comics, animation, and xia in Hong Kong, as well as the growing influence of CGI in transforming both visual style and storytelling. The final chapter reflects on the spiritual dimensions of the animated screen, drawing on traditional Chinese ideas about shadow play and the writings of Western philosopher Alan Cholodenko on animation and the animatic. Combining film studies, cultural theory, and philosophy, author Tze-yue G. Hu offers a fresh, multidisciplinary perspective on Hong Kong cinema. By revisiting themes of diaspora, identity, postcolonialism, and cross-border capital investment, this volume reveals a dynamic and evolving cinematic landscape—one powered by images and energies that continue to move across borders and through time.