As Richard Dyer (1979) states in his classic monograph on the star system, stars represent different ways of representing and reworking national cultural contradictions. Dyer’s work has focused upon the Western version of stardom. However, his axiom concerning cultural contradictions
may be significantly applied to the case of Maggie Cheung Man-yuk who represents a particular example of a transnational stardom in recent cinema. Cheung’s major roles not only exhibit the multifaceted nature of a changing world where old traditions are called into question and new challenges
confront a supposedly secure sense of personal identity. They also extend Dyer’s original definition of stardom by involving issues of transnational, rather than national, cultural contradictions.
Asian Cinema is a seminal journal, which has been published since 1995 by the Asian Cinema Studies Society under the stewardship of Professor John Lent. From 2012 Asian Cinema will be published by Intellect as part of our Film Studies journal portfolio. The journal currently publishes a variety of scholarly material - including research articles, interviews, book and film reviews and bibliographies - on all forms and aspects of Asian cinema. The journal's broad aim is to advance understanding and knowledge of the rich traditions of the various Asian cinemas, thereby making an invaluable contribution to the field of Film Studies in general.