Film noir has been understood as a genre exclusive to Hollywood.
But classical US noir's downbeat sensibility also finds expression
in later films from Japan, South Korea and China (including Hong
Kong) and Taiwan, that have both participated in and been excluded
from circuits of global-noir traffic, past and present. East Asian
Film Noir is the first book to explore these films and the
filmmakers who made them. Looking at a range of examples from the
1950s to the present - including The Crimson Kimono, Brother, Ghost
in the Shell, Nowhere to Hide, Duelist- and Rebels of the Neon God
- this work conceptualizes and articulates an internationally
situated 'East Asian film noir'. In doing so, it raises fascinating
questions around the politics of representation, authorial
activity, genre and local and cross-cultural reception.
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