Titlebook: Hong Kong and Bollywood; Globalization of Asi Joseph Tse-Hei Lee,Satish Kolluri Book 2016 The Editor(s) (if applicable) and The Author(s) 2

precede

Siu-Keung Cheunge focus on the case of black-and-white images — geometrical figures, to be precise — but treat this case in a .-dimensional setting, where . is any positive integer. We show that among all polygons in .-dimensional space those with rational corner points are encodable as finite automata. In the cour

Gnrh670

e focus on the case of black-and-white images — geometrical figures, to be precise — but treat this case in a .-dimensional setting, where . is any positive integer. We show that among all polygons in .-dimensional space those with rational corner points are encodable as finite automata. In the cour

Decrepit

Situating Hong Kong and Bollywood Cinemas in the Global, of what is gained and lost in the flow of cinematic styles, meanings, practices, and norms among Hong Kong, Bollywood, and global cinema. Balancing the cross-cultural analysis of Hong Kong and Bollywood’s appeals at home and abroad, it offers a new inter-Asian framework for understanding these two highly globalized Asian film industries.

陳腐思想

Defiance

Transformation of Hong Kong Gangster Movies Before and After CEPAt in the local film industry. This chapter analyzes how Hong Kong gangster filmmakers strive for a balance between reflecting the concerns of Hong Kong people and making their films comply with rules in the Chinese Communist Party and be available to the Mainland market.

Hyperopia

無動于衷

What Is So Asian about Asian Parenting? Deconstructing “Tiger Moms” and “Tiger Dads” in Neoliberal Torder to enable children and student-citizens to revel in the discovery of transdisciplinary knowledge that challenges received and outdated ideas about the role of education in Asian societies, especially India and Hong Kong.

臭了生氣

: Financial Irregularities in Hong Kongurchase high-risk financial products, the Hong Kong government only required the banks to pay partial compensation to victims. The film critiqued the deregulation of the financial industry in post-1997 Hong Kong as being obsessed with profit at any cost.

現(xiàn)代

and the Aesthetics of the Copyimitation, the defining principle of several Indian performing arts. The question to be addressed is whether the element of imitation complicates the summary dismissal of Indian cinema as copy in order to isolate an alternative aesthetic of the “copy.”

輕打