'Your tender smiles give me strength': Paradigms of masculinity in John Woo's A Better Tomorrow and the Killer

Screen

Volumn 38, Issue 1, 1997, Pages 25-41

  Stringer, Julian ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 0007318477     PISSN: 00369543     EISSN: None     Source Type: Journal    
DOI: 10.1093/screen/38.1.25     Document Type: Article

References (25)

1. Yvonne Tasker, 'Dumb movies for dumb people: masculinity, the body and the voice in contemporary action cinema', in Steven Cohan and Ina Rae Hark (eds), Screening the Male: Exploring Masculinities in Hollywood Cinema (London: Routledge, 1993), p. 243
2. Berenice Reynaud, 'John Woo's art action movie', Sight and Sound, vol.3, no. 5 (1993), pp. 22-4
3. Craig D. Reid, 'Fighting without fighting: film action fight choreography', Film Quarterly, vol. 47, no. 2 (1993-4), pp. 30-35
4. Geoffrey Nowell-Smith, 'Minnelli and melodrama', in Christine Gledhill (ed.), Home is Where the Heart is: Studies in Melodrama and the Woman's Film (London: British Film Institute, 1987), pp. 70-74
5. Claudia Gorbman, Unheard Melodies: Narrative Film Music (Bloomington: Indiana University Press, 1987), p. 20
6. Tsui Hark's 1989 A Better Tomorrow 3
7. Reebee Garofalo (ed.), Rocking the Boat: Mass Music and Mass Movements (Boston: South End Press, 1991), pp. 129-47
8. 'Cantopop songs on emigration from Hong Kong', 1992 Yearbook for Traditional Music (Ontario: Brown and Martin, 1992), pp. 14-23
9. Emily Lau, 'Out of the closet: government to decriminalize most homosexual acts', Fat Eastern Economic Review, 26 July 1990, p. 24
10. Neil McKenna, Hong Kong ends gay ban', The Advocate, 27 August 1991, p. 53
11. Rolanda Chu, 'Swordsman 2 and The East Is Red: the 'Hong Kong film', entertainment and gender', Bright Lights, vol 13 (Summer 1994), pp. 30-35, 46
12. Julian Stringer, 'Peking Opera Blues', Film Quarterly, vol. 48, no. 3 (1995), pp. 34-42
13. Mas' Ud Zavarzadeh, Seeing Films Politically (Albany: State University of New York Press, 1991), p. 113
14. Chow Yun-Fat, Treasure Hunt (aka American Shaolin) (Rincy Lau, 1994)
15. John A. Lent, The Asian Film industry (Austin: University of Texas Press, 1990), p. 114
16. Chiao Hsiung-Ping, 'The distinct Taiwanese and Hong Kong cinemas', in Chris Berry (ed.), Perspectives on Chinese Cinema (London: British Film Institute, 1991), p. 162
17. Li Cheuk-To, 'The return of the father: Hong Kong New Wave and its Chinese context in the 1980s', in Nick Browne, Paul G. Pickowicz, Vivian Sobchack and Esther Yau (eds), New Chinese Cinemas: Forms, Identities. Politics (Cambridge: Cambridge University Press, 1994), pp. 174-5
18. Mary Ann Doane, 'Melodrama, temporality, recognition: American and Russian silent cinema', Cinefocus, vol. 2, no. 1 (1991), p. 13
19. Robert Stam, Subversive Pleasures: Bakhtin, Cultural Criticism, and Film [Baltimore: John Hopkins University Press, 1989], p. 68
20. Steve Neale, 'Masculinity as spectacle: reflections on men and mainstream cinema', in Cohan and Hark (eds), Screening the Maie, p. 12
21. Sun Longji, 'The long march to man', in Geremie Barme and John Minford (eds), Seeds of Fire: Chinese Voices of Conscience (New York: Noonday Press, 1989), p. 163
22. Julian Sandell, 'A better tomorrow?: American masochism and Hong Kong action films', Bright Lights, vol. 13 (Summer 1994), pp. 40-45, 50
23. Tony Williams, The crisis cinema of John Woo', cineACTION, vol. 36 (February 1995), pp. 42-52
24. Tania Modleski, Feminism Without Women (New York: Routledge, 1991), p. 7
25. Berenice Reynaud, 'China's shadow falls across Hong Kong's films', New York Times, 15 March 1990, p. 24