Lin Feng is the Director of Studies of History of Art and Film at the University of Leicester, UK. Her research primarily focuses on Chinese and transnational cinemas, cinematic cities, star studies, and the representation and reception of East Asia in Anglophone cinemas.James Aston is a Senior Lecturer in Film Studies at the University of Hull, UK. His research primarily focuses on contemporary global horror and East Asian cinemas. He is the author of Hardcore Horror in the 21st Century: Production, Marketing and Consumption (2018).

• 1. Introduction.- 2. Rapidly Shifting Landscapes: Two Case Studies in in the UK Distribution and Exhibition of Chinese Language Films in the 21st Century.- 3. East Asian Noir: Transnational Film Noir in Japan, Korea and Hong Kong.- 4. The Wolf is Coming: Genre hybridity in the contemporary Chinese Blockbuster.- 5. Fantasy, Vampirism, and Genre/Gender Wars on the Chinese Screen of the Roaring 1920s.- 6. Premodern History and the Contemporary South Korean Period Blockbuster.- 7. Chinese Censorship, Genre Mediation and the Puzzle Films of Leste Chen.- 8. Critiquing New Generational Japanese Horror: “Youthful Fatalisms, Old Aesthetics”.- 9. Genre and Censorship: The Crime Film in Late Colonial Hong Kong.- 10. Old Shanghai and Film Noir Crossover.

Lin Feng is the Director of Studies of History of Art and Film at the University of Leicester, UK. Her research primarily focuses on Chinese and transnational cinemas, cinematic cities, star studies, and the representation and reception of East Asia in Anglophone cinemas.James Aston is a Senior Lecturer in Film Studies at the University of Hull, UK. His research primarily focuses on contemporary global horror and East Asian cinemas. He is the author of Hardcore Horror in the 21st Century: Production, Marketing and Consumption (2018).

• 1. Introduction.- 2. Rapidly Shifting Landscapes: Two Case Studies in in the UK Distribution and Exhibition of Chinese Language Films in the 21st Century.- 3. East Asian Noir: Transnational Film Noir in Japan, Korea and Hong Kong.- 4. The Wolf is Coming: Genre hybridity in the contemporary Chinese Blockbuster.- 5. Fantasy, Vampirism, and Genre/Gender Wars on the Chinese Screen of the Roaring 1920s.- 6. Premodern History and the Contemporary South Korean Period Blockbuster.- 7. Chinese Censorship, Genre Mediation and the Puzzle Films of Leste Chen.- 8. Critiquing New Generational Japanese Horror: “Youthful Fatalisms, Old Aesthetics”.- 9. Genre and Censorship: The Crime Film in Late Colonial Hong Kong.- 10. Old Shanghai and Film Noir Crossover.

Lin Feng is the Director of Studies of History of Art and Film at the University of Leicester, UK. Her research primarily focuses on Chinese and transnational cinemas, cinematic cities, star studies, and the representation and reception of East Asia in Anglophone cinemas.James Aston is a Senior Lecturer in Film Studies at the University of Hull, UK. His research primarily focuses on contemporary global horror and East Asian cinemas. He is the author of Hardcore Horror in the 21st Century: Production, Marketing and Consumption (2018).

• 1. Introduction.- 2. Rapidly Shifting Landscapes: Two Case Studies in in the UK Distribution and Exhibition of Chinese Language Films in the 21st Century.- 3. East Asian Noir: Transnational Film Noir in Japan, Korea and Hong Kong.- 4. The Wolf is Coming: Genre hybridity in the contemporary Chinese Blockbuster.- 5. Fantasy, Vampirism, and Genre/Gender Wars on the Chinese Screen of the Roaring 1920s.- 6. Premodern History and the Contemporary South Korean Period Blockbuster.- 7. Chinese Censorship, Genre Mediation and the Puzzle Films of Leste Chen.- 8. Critiquing New Generational Japanese Horror: “Youthful Fatalisms, Old Aesthetics”.- 9. Genre and Censorship: The Crime Film in Late Colonial Hong Kong.- 10. Old Shanghai and Film Noir Crossover.