Observing that the division between theory and empiricism remains inextricably linked to imperial modernity, manifest at the most basic level in the binary between “the West” and “Asia,” the authors o
The Assassin tells the story of a swordswoman who refrains from killing. Hou Hsiao-hsien astonishes his audience once again by upsetting almost every convention of the wuxia (martial arts) genre in th
Postwar Hong Kong cinema played an active role in building the colony’s community in the 1950s and 1960s. To Jing Jing Chang, the screening of movies in postwar Hong Kong was a process of showing the
China—Art—Modernity provides a critical introduction to modern and contemporary Chinese art as a whole. It illuminates what is distinctive and significant about the rich range of art created during th
