Introduction: Asian Cinema and the "Surveillance Archipelago"
[Karen Fang]
Part I: Cold War
1. The Might of the People: Counter-Espionage Films and Participatory Surveillance in the Early PRC
[Xiaoning Lu]
2. Closely Watched Films: Surveillance and Postwar Hong Kong Leftist Cinema
[Man-fung Yip]
3. The Dis/appearance of Animals in Animated Film during the Chinese Cultural Revolution, 1966-1976
[Daisy Yan Du]
Part II: Market Reform
4. Under Western Eyes? Colonial Bureaucracy, Surveillance and the Birth of the Hong Kong Crime Film
[Kristof Van den Troost]
5. Taiwan’s Cold War Geopolitics in in Edward Yang’s The Terrorizers
[Catherine Liu]
6. Sovereignty, Surveillance and Spectacle in the The Saigon Fabulous Four
[Duy Lap Nguyen]
7. Sonic Secrets as Counter-Surveillance in Wong Kar-wai’s In the Mood for Love
[Timmy Chen Chih-ting]
Part III: Global Capital
8. Dividuated Korean Cinema: Recent Body Switch Films in the Overwired Age
[Kyung Hyun Kim]
9. Implication through Dissociation: Cinematic Enactment Tactics of State Surveillance in Cold Eyes
[Helen Shin]
10. Wasted! Power versus civilization in a martial arts action movie, viewed with Indonesian/Western eyes
[Tony Day]
11. Discreet Camera-Eye, Spectacle, and Stranger Sociality: On the Shift to Prosumer Digital Surveillance in China
[Renren Yang]
Biography
Karen Fang is Associate Professor at the Department of English at the University of Houston, USA, where she teaches literature and film studies. Her previous publications include Arresting Cinema: Surveillance in Hong Kong Film (2017) and John Woo’s A Better Tomorrow (2004).
