East Asian Film Noir

Chi-Yun Shin is Senior Lecturer in Screen Studies, Sheffield Hallam University and is on the editorial board of the Journal of Japanese & Korean Cinema. Mark Gallagher is Lecturer in Film and Television Studies at the University of Nottingham.

• Acknowledgements ivNote on Names and Romanization vNotes on Contributors viIntroduction: A Very Rough Guide to East Asian Film Noir – Mark Gallagher 1Part One – Japan: From Post–World War Two Crime and Drama to Anime Dystopias1. Out of the Past: Film Noir, Whiteness and the End of the Monochrome Era in Japanese Cinema’ – Daisuke Miyao 272. Kurosawa’s Noir Quartet: Cinematic Musings on How to Be a Tough Man ­ Dolores Martinez 11113. The Japanese Los Angeles of The Crimson Kimono and Brother ­Suzanne Arakawa 11114. Ghost in the Shell: The Noir Instinct – Dan North 1111Part Two – South Korea: From Postwar Modernity to Crime and Detection on a Global Stage5. Allegorizing Noir: Violence, Body and Space in the Postwar Korean Film Noir’ – Hyun S. Park 11116. The True Colors of the ‘Action Kid’: Seung-wan Ryoo’s Urban Film Noir – Kyu Hyun Kim 11117. A Mess of Contradictions? Korean Noir in Myung-se Lee’s Nowhere to Hide and Duelist­ Daniel Martin 1111Part Three – Three Chinas (Mainland China, Hong Kong and Taiwan), Many Noirs8. From Urban Crime Thriller to Silent Ghost Story: Rebels of the Neon God and Taiwanese Neo-Noir ­ Erin Yu-Tien Huang 9. Film Noir, Hong Kong Cinema and the Limits of Critical Transplant ­ Andy Willis 111110. Life is Cheap: Chinese Neo-Noir and the Aesthetics of Disenchantment ­ Philippa Lovatt 111111. Tony Leung’s Noir Thrillers and Transnational Stardom ­ Mark Gallagher 111112. Double Identity: The Stardom of Xun Zhou and the Figure of the Femme Fatale ­ Chi-Yun Shin 1111