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.9 Ma, Sheng-mei, East-West Montage: Reflections on Asian Bodies inDiaspora (Hawaii: University of Hawaii Press, forthcoming).10 Stringer, Julian,  Problems with the treatment of Hong Kong cinema ascamp , Asian Cinema 8.2 (1996/7), p.58.11 Stringer:  Problems , p.60.12 Machiyama:  Quentin Tarantino reveals almost everything , p.177.13 In the case of Chiba, he barely takes the action figure out of his box.14 Machiyama:  Quentin Tarantino reveals almost everything , p.174.15 Desser, David,  Hong Kong and the new cinephilia in Meaghan Morris,Siu Leung Li and Stephen Chan Ching-ku (eds), Hong Kong Connections:Transnational Imagination in Action Cinema (Durham and HK: DukeUniversity Press/Hong Kong University Press 2005), p.208.16 Desser:  Hong Kong , p.216.17 The Making of Kill Bill Volume 1.18 For more on this, see Desser, David  Consuming Asia: Chinese andJapanese popular culture and the American imaginary in Jenny KwokWah Lau (ed), Multiple Modernities: Cinemas and Popular Media inTransnational East Asia (Philadelphia: Temple University Press, 2003),pp.167 78 and Desser,  The Kung Fu craze: Hong Kong Cinema s first14 EA Cinema_220-236 28/1/08 11:41 Page 235Asiaphilia, Asianisation and the Gatekeeper Auteur 235American reception in Desser and Poshek Fu (eds), The Cinema of HongKong: History, Arts, Identity (Cambridge and New York: CambridgeUniversity Press, 2000), pp.19 43.19 Machiyama:  Quentin Tarantino reveals almost everything , p.175.20 Needham, Gary,  Japanese cinema and Orientalism in DimitriosEleftheriotis and Gary Needham (eds), Asian Cinemas: A Reader andGuide (Edinburgh: Edinburgh University Press, 2006), p.11.21 Dinning, Mark,  The Big Boss , Empire 173 (2003), p.92.22 Needham:  Japanese Cinema and Orientalism , p.11.23 Cabot Black, Henry,  Quentin bloody Quentin in Paul A.Woods (ed),Quentin Tarantino: The Film Geek Files, p.167.24 Frater, Patrick,  EuropaCorp hot for Thai sauce: Besson s shingle contin-ues into Asia , Variety, 24 June 2005, accessed 9 November 2006.25 Hayward, Susan,  Luc Besson in Yvonne Tasker (ed.) Fifty ContemporaryFilmmakers (London and New York: Routledge, 2002), p.51.26 Susan Hayward, for example, reads Besson s earlier films as directoragainst the disenchantment that marked the Mitterand regime, an era ofcorruption, recession and unemployment, while it is common to mapTsui s films onto the period between the Sino-British Joint Declaration(1984) and Hong Kong s return to Chinese sovereignty (1997).27 Hayward: French National Cinema, p.298.28 Nicole LaPorte,  Despite the lures, international helmers resistHollywood , Variety, 5 June 2005,29 Hutchings, Peter,  Le Kung Fu: Martial Arts and national(in)Authenticities in contemporary French cinema , Unpublished Paper,European Cinema Research Forum, University of Northumbria, 1995.30 Brenez, Nicole,  The secrets of movement: The influence of Hong Kongaction cinema upon the contemporary avant-garde in Meaghan Morris etal., Hong Kong Connections: Transnational Imagination in Action Cinema,p.164.31 Brenez:  The secrets of movement , p.169.32 Brenez:  The secrets of movement , p.173.33 Kwai-cheung Lo, Chinese Face/Off: The Transnational Popular Culture ofHong Kong (Urbana and Chicago: University of Illinois Press, 2005),p.155.34 Susan Hayward, Luc Besson (Manchester and New York, ManchesterUniversity Press, 1998), p.61.35 Hayward: Luc Besson, p.61.36 The dog collar imagery caused the film some problems in China.14 EA Cinema_220-236 28/1/08 11:41 Page 236236 East Asian Cinemas37 For more on banlieue cinema, see Tarr, Carrie, Reframing Difference: Beurand Banlieue Filmmaking in France (Manchester and New York:Manchester University Press, 2005).38 Huerta, A.Joseph, Amazon Customer Reviews.39 Leyland, Matthew,  District 13 , Sight and Sound 16, 6 (2006), p.44.40 Tateishi, Ramie,  Jackie Chan and the re-invention of tradition , AsianCinema 10, 1 (1998), p.78.41 Huerta, A.Joseph, Amazon Customer Reviews [ Pobierz całość w formacie PDF ]