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John Woo's The Killer Kenneth E. HALL Published by Hong Kong University Press, HKU HALL, E.. John Woo's The Killer. Hong Kong: Hong Kong University Press, HKU, 2009. Project MUSE., https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/5672 No institutional affiliation (10 Dec 2018 05:16 GMT)

WORKS CITED 118 7 Works Cited Alton, John. Painting with Light. Introd. Todd McCarthy. Berkeley: U of California P, 1995. An, Jingsoo. The Killer: Cult Film and Transcultural (Mis)Reading. At Full Speed: Hong Kong Cinema in a Borderless World. Ed. Esther C. M. Yau. Minneapolis: U of Minnesota P, 2001. 95 113. Armes, Roy. The Ambiguous Image: Narrative Style in Modern European Cinema. Bloomington: Indiana UP, 1976. Arthur, Paul. Murder s Tongue: Identity, Death, and the City in Film Noir. Violence and American Cinema. Ed. J. David Slocum. New York: Routledge, 2001. 153 75. Baron, Cynthia. Suiting up for Postmodern Performance in John Woo s The Killer. More Than a Method: Trends and Traditions in Contemporary Film Performance. Ed. Cynthia Baron, Diane Carson, and Frank P. Tomasulo. Detroit: Wayne State UP, 2004. 297 329. Barthes, Roland. Camera Lucida: Reflections on Photography. Trans. Richard Howard. New York: Hill and Wang-Farrar, 1981. Benedict, Ruth. The Chrysanthemum and the Sword: Patterns of Japanese Culture. 1967. Foreword Ezra F. Vogel. Boston: Houghton, 1989.

120 WORKS CITED Bodde, Derk. On Translating Chinese Philosophic Terms. Far Eastern Quarterly 14.2 (Feb 1955): 231 44. Bordwell, David. Planet Hong Kong: Popular Cinema and the Art of Entertainment. Cambridge: Harvard UP, 2000.. Richness through Imperfection: King Hu and the Glimpse. The Cinema of Hong Kong: History, Arts, Identity. Ed. Poshek Fu and David Desser. Cambridge, Eng.: Cambridge UP, 2000. 113 36.. Transcultural Spaces: Toward a Poetics of Chinese Film. Post Script 20.2 3 (Winter 2001): 9 24.. The Way Hollywood Tells It: Story and Style in Modern Movies. Berkeley: U of California P, 2006. Brookes, Philip. Two Kinds of Mythic Hero in Frederick Forsyth s The Day of the Jackal. Comp. Michael T. Marsden. St. Louis: Popular Culture Association, 1975. 192 202. Burdeau, Emmanuel. Jean-Pierre Melville: le revolver et le culture. Cahiers du cinéma 507 (Nov. 1996): 64 67. Buss, Robin. French Film Noir. London: Marion Boyars, 1994. Chan, Marie. Chinese Heroic Poems and European Epic. Comparative Literature 26.2 (Spring 1974): 142 68. Chang, Cheh. Chang Cheh: A Memoir. Hong Kong: Hong Kong Film Archive, 2003.. Chang Cheh Special: Chang Cheh Talking about Chang Cheh. Interview with Ming Lee Dao, Chang Tan Han, and Kwun Tse Ching. Trans. Michael Min-chi Wong. Influence 13 (Apr 2002). 1976. Rpt. at http://changcheh.0catch.com/cheh-int.htm. Chang, Terence. Interview with Ken Hall. Transcript of tape, recorded at Sutton Place Hotel, Vancouver, BC, March 2, 1996. Cheuk, Pak Tong. A Pioneer in Film Language: On King Hu s Style of Editing. Transcending the Times: King Hu and Eileen Chang. The 22nd Hong Kong International Film Festival. Hong Kong: Provisional Urban Council of Hong Kong, 1998. 57 61. Chow, Karen Har-yen. Asian American Transnationalism in John Woo s Bullet in the Head. Journal of Narrative Theory 3 (Fall 2000): 364 84. Chu, Yiu Kong. The Triads as Business. London: Routledge, 2000.

WORKS CITED 121 Collier, Joelle. A Repetition Compulsion: Discontinuity Editing, Classical Chinese Aesthetics, and Hong Kong s Culture of Disappearance. Asian Cinema 10.2 (Spring Summer 1999): 67 79. Cook, David A. Ballistic Balletics: Styles of Violent Representation in The Wild Bunch and After. Sam Peckinpah s The Wild Bunch. Ed. Stephen Prince. Cambridge, Eng.: Cambridge UP, 1999. 130 54. Desser, David. Making Movies Male: Zhang Che and the Shaw Brothers Martial Arts Movies, 1965 1975. Masculinities and Hong Kong Cinema. Ed. Pang Laikwan and Wong Day. Hong Kong: Hong Kong UP, 2005. 17 34, 262 65. Duara, Prasenjit. Superscribing Symbols: The Myth of Guandi, Chinese God of War. Journal of Asian Studies 47.4 (Nov. 1988): 778 95. Ebrey, Patricia. The Chinese Family and the Spread of Confucian Virtues. The East Asian Region: Confucian Heritage and Its Modern Adaptation. Ed. Gilbert Rozman. Princeton: Princeton UP, 1991. 45 83. Fang, Karen. Britain s Finest: The Royal Hong Kong Police. After the Imperial Turn: Thinking with and through the Nation. Ed. Antoinette Burton. Durham: Duke UP, 2003. 293 307.. John Woo s A Better Tomorrow. Hong Kong: Hong Kong UP, 2004. Farquhar, Mary. A Touch of Zen: Action in Martial Arts Movies. Chinese Films in Focus: 25 New Takes. Ed. Chris Berry. London: British Film Institute, 2003. 167 74. Feldman, Steven, transcriber. Transcription of the Opening Fifteen Minutes of Yang ± Yin: Gender in Chinese Cinema. 2002. Dir. Stanley Kwan, 1996. http://changcheh.0catch.com/yang.htm. Fonoroff, Paul. Silver Light: A Pictorial History of Hong Kong Cinema 1920 1970. Hong Kong: Joint Publishing, 1997. Forbes, Jill. The Cinema in France: After the New Wave. 1992. Bloomington: Indiana UP, 1993. Frayling, Christopher. Once upon a Time in Italy: The Westerns of Sergio Leone. Ed. Holly George-Warren. New York: Autry National Center Harry N. Abrams, 2005. Gerow, Aaron. A Scene at the Threshold: Liminality in the Films of Kitano Takeshi. Asian Cinema 10.2 (Spring Summer 1999): 107 15.

122 WORKS CITED Grindstaff, Laura. A Pygmalion Tale Retold: Remaking La Femme Nikita. Camera Obscura 16.2 (2001): 133 75. Grossman, Andrew. The Belated Auteurism of Johnnie To. Senses of Cinema 12 (Feb. Mar. 2001). http://www.sensesofcinema.com/ contents/01/12/to.html. Hall, Ken. Chang, Terence. Encyclopedia of Chinese Film. Ed. Zhang Yingjin. 1998. London: Routledge, 1999. 112.. Gringo Viejo and the Elegiac Western. University of Dayton Review 23.2 (Spring 1995): 137 47.. Wong, Che Kirk. Encyclopedia of Chinese Film. Ed. Zhang Yingjin. 1998. London: Routledge, 1999. 366 67. Hall, Kenneth E. John Woo: The Films. Jefferson, NC: McFarland, 1999. Hanke, Robert. John Woo s Cinema of Hyperkinetic Violence: From A Better Tomorrow to Face/Off. Film Criticism 24.1 (1999): 39 59. Hayes, Graeme. Framing the Wolf: The Spectacular Masculinity of Alain Delon. The Trouble with Men: Masculinities in European and Hollywood Cinema. Ed. Phil Powrie, Ann Davies, and Bruce Babington. London: Wallflower, 2004. 42 53. Hayward, Susan. Luc Besson. Manchester, Eng.: Manchester UP, 1998. Hibbett, Howard. The Floating World of Japanese Fiction. 1959. New York: Grove, 1960. Hoberman, J. Hong Kong Blood and Guts. Premiere (Aug. 1990): 33+. Hutcheon, Linda. A Theory of Parody: The Teachings of Twentieth-Century Art Forms. New York: Methuen, 1985. Katz, Ephraim. The Film Encyclopedia. 2nd ed. New York: HarperPerennial-HarperCollins, 1994. Kim Haboush, JaHyun. The Confucianism of Korean Society. The East Asian Region: Confucian Heritage and Its Modern Adaptation. Ed. Gilbert Rozman. Princeton: Princeton UP, 1991. 84 110. Krug, Christian. On Jimmy Stewart s Hand: Violent Acts in Western Movies, 1946 73. Studies in the Western 12 (2004): 47 90. Liu, James J. Y. The Chinese Knight-Errant. Chicago: U of Chicago P, 1967. Lo, Kwai-cheung. There Is No Such Thing as Asia: Racial Particularities in the Asian Films of Hong Kong and Japan. Modern Chinese Literature and Culture 17.1 (2005): 133 58.

WORKS CITED 123 Louie, Kam. Sexuality, Masculinity and Politics in Chinese Culture: The Case of the Sanguo Hero Guan Yu. Modern Asian Studies 33.4 (1999): 835 59. Louie, Kam, and Louise Edwards. Chinese Masculinity: Theorizing Wen and Wu. East Asian History 8 (1994): 135 48. Ma, Y. W. The Knight-Errant in Hua-Pen Stories. T Oung Pao. International Journal of Chinese Studies 61.4 5 (1975): 266 300. Mank, Gregory. Laird Cregar. Film Fan Monthly 150 (1973): 3 12. Mazdon, Lucy. Encore Hollywood: Remaking French Cinema. London: BFI Publishing, 2000. McArthur, Colin. Mise-en-Scène Degree Zero: Jean-Pierre Melville s Le Samouraï (1967). French Film: Texts and Contexts. Ed. Susan Hayward and Ginette Vincendeau. 2nd ed. London: Routledge, 2000. 189 201. Melville. World Film Directors. Ed. John Wakeman. Vol. 2. New York: H. W. Wilson, 1987 88. 670 75. Monaco, James. The New Wave: Truffaut, Godard, Chabrol, Rohmer, Rivette. New York: Oxford UP, 1976. Naremore, James. More than Night: Film Noir in Its Contexts. Berkeley: U of California P, 1998. Neale, Steve. Genre and Hollywood. 2000. London: Routledge, 2005. Neupert, Richard. A History of the French New Wave Cinema. Madison: U of Wisconsin P, 2002. Ng, Ho. Jiang Hu Revisited: Towards a Reconstruction of the Martial Arts World. A Study of the Hong Kong Swordplay Film (1945 1980). The Fifth Hong Kong International Film Festival. April 9 24, 1981. City Hall Lecture Hall. Ed. Leong Mo-ling. Hong Kong: Urban Council, 1996. 73 86. Nochimson, Martha P. Dying to Belong: Gangster Movies in Hollywood and Hong Kong. Malden, MA: Blackwell, 2007. Nogueira, Rui, and François Truchaud. A Samurai in Paris. Interviewee Jean-Pierre Melville. Sight and Sound 37.3 (Summer 1968): 118 23. O Donoghue, Darragh. Show Me the Way to Go Home: Melville s Le Samouraï. Irish Journal of French Studies 1 (2001): 37 47.

124 WORKS CITED Otomo, Ryoko. The Way of the Samurai : Ghost Dog, Mishima, and Modernity s Other. Senses of Cinema 9 (Sept. Oct. 2000). http:// www.sensesofcinema.com/contents/00/9/samurai.html. Pau, Peter. E-Mail Communication with Ken Hall. May 31, 2006. Reynaud, Bérénice. The Book, the Goddess and the Hero: Sexual Politics in the Chinese Martial Arts Film. Senses of Cinema 26 (May June 2003). http://www.sensesofcinema.com/contents/03/26/sexual_ politics_chinese_martial_arts.html. Ruhlmann, Robert. Traditional Heroes in Chinese Popular Fiction. The Confucian Persuasion. Ed. Arthur R. Wright. Stanford: Stanford UP, 1960. 141 76. Rushing, Janice Hocker, and Thomas S. Frentz. Projecting the Shadow: The Cyborg Hero in American Film. Chicago: U of Chicago P, 1995. Slotkin, Richard. Unit Pride; Ethnic Platoons and the Myths of American Nationality. American Literary History 13.3 (2001): 469 98. Sondergard, Sidney L., and Will G. Collins. Young and Dangerous(ly Traditional): Reading Guangong and the Act of Obeisance in Hong Kong Films since 1986. Studies in the Humanities 32.1 (June 2005): 50 73. Spicer, Andrew. Film Noir. Edinburgh Gate, Eng.: Pearson Education Longman, 2002. Stokes, Lisa Odham. Historical Dictionary of Hong Kong Cinema. In collaboration with Jean Lukitsh, Michael Hoover, and Tyler Stokes. Historical Dictionaries of Literature and the Arts. Lanham, MD: Scarecrow, 2007.. John Woo s War: Real (Reel) Dreams, Windtalkers and the Hollywood Machine. Asian Cinema 15.1 (Spring 2004): 187 202. Teo, Stephen. Director in Action: Johnnie To and the Hong Kong Action Film. Hong Kong: Hong Kong UP, 2007. Thompson, Kristin. Storytelling in the New Hollywood: Understanding Classical Narrative Technique. 1999. Cambridge: Harvard UP, 2001. Torres, Hector A. Chicano Doppelgänger: Robert Rodriguez s First Remake and Secondary Revision. Aztlán 26.1 (Spring 2001): 159 70. Vincendeau, Ginette. Autistic Masculinity in Jean-Pierre Melville s Crime Thrillers. Gender and French Cinema. Ed. Alex Hughes and James S. Williams. Oxford: Berg, 2001. 139 55.

WORKS CITED 125. Jean-Pierre Melville: An American in Paris. London: British Film Institute, 2003. Williams, Tony. Danny Lee: Hong Kong s Real Supercop. Asian Cult Cinema 26 (2000): 51 54.. E-mail communication to author, 2001.. Honor and Endurance: A Tribute to Ti Lung. Asian Cult Cinema 25 (1999): 17 20.. Mission Impossible 2 or Alice in Cruiseland. Asian Cinema 15.1 (Spring 2004): 203 16.. Space, Place, and Spectacle: The Crisis Cinema of John Woo. Cinema Journal 36.2 (Winter 1997): 67 84. Woo, John. E-Mail Response. Electronic communication to Ken Hall, February 22, 2007.. Interview. With Ken Hall. Transcript of tape, recorded at Fox Studios, November 7, 1995.. Interview. With Ken Hall. Transcript of tape, recorded at Sutton Place Hotel, Vancouver, BC, March 2, 1996.. Interview: John Woo. Online posting, Moviehole website, December 12, 2003. With Paul Fischer, 2003. http://www.moviehole.net/news/ 2902.html.. Remembering Chang Cheh: A Preface by John Woo. Chang Cheh: A Memoir. By Chang Cheh. Hong Kong: Hong Kong Film Archive, 2004. 7 9.. Le style Melville: propos de John Woo. Interview. Comp. Nicolas Saada. Cahiers du cinéma 507 (22 Sept. 1996): 80 81.. Woo in Interview. With Berenice Reynaud, trans. Terence Chang. Sight and Sound 3.5 (May 1993): 25. Yang, Winston L. Y. From History to Fiction the Popular Image of Kuan Yü. Renditions 15 (Spring 1981): 67 79. Zhang, Che. Creating the Martial Arts Film and the Hong Kong Cinema Style. The Making of Martial Arts Films: As Told by Filmmakers and Stars. Trans. Stephen Teo. Hong Kong: Provisional Urban Council, 1999. 16 24.