Kenneth Chan is assistant professor of film studies at University of Northern Colorado.

Remade in Hollywood impressively updates the cross-cultural flow of capital, cast and crew between cinemas to highlight the global Chinese presence in post-1997 American films. Erudite and sophisticated in its analysis, this book is a timely contribution, not only as a study of Chinese cinemas in an era when the People's Republic of China is poised to become the next global superpower, but also as an understanding of Hollywood as a magnet that continues to attract talent from abroad and, in the process, facilitates a global cultural flow that runs in many directions between these locales. This accessible volume will be valuable resource for scholars and students in film studies, cultural studies, Chinese studies, and Asian-American studies. -- Song Hwee Lim, University of Exeter

Kenneth Chan is assistant professor of film studies at University of Northern Colorado.

Remade in Hollywood impressively updates the cross-cultural flow of capital, cast and crew between cinemas to highlight the global Chinese presence in post-1997 American films. Erudite and sophisticated in its analysis, this book is a timely contribution, not only as a study of Chinese cinemas in an era when the People's Republic of China is poised to become the next global superpower, but also as an understanding of Hollywood as a magnet that continues to attract talent from abroad and, in the process, facilitates a global cultural flow that runs in many directions between these locales. This accessible volume will be valuable resource for scholars and students in film studies, cultural studies, Chinese studies, and Asian-American studies. -- Song Hwee Lim, University of Exeter

Kenneth Chan is assistant professor of film studies at University of Northern Colorado.

Remade in Hollywood impressively updates the cross-cultural flow of capital, cast and crew between cinemas to highlight the global Chinese presence in post-1997 American films. Erudite and sophisticated in its analysis, this book is a timely contribution, not only as a study of Chinese cinemas in an era when the People's Republic of China is poised to become the next global superpower, but also as an understanding of Hollywood as a magnet that continues to attract talent from abroad and, in the process, facilitates a global cultural flow that runs in many directions between these locales. This accessible volume will be valuable resource for scholars and students in film studies, cultural studies, Chinese studies, and Asian-American studies. -- Song Hwee Lim, University of Exeter