A spectre is haunting the new millennium — the spectre of ….China. Have the powers of old entered an alliance to exorcise this spectre? It’s been referred to as a “gigantic sucking noise” — sucking jobs from nations both poor and rich.This is the
background to the contemporary interest in Chinese cinema. The genealogy of the impact exerted by the three Chinese cinemas — Hong Kong, Taiwan, and Peoples’ Republic of China — on the global consciousness is subtle, complex, and intertwined, beginning probably with the low-end
transmission of Hong Kong’s Bruce Lee movies in the 1970s. This is part one of an essay titled, “Chinese Cinema at the Millennium,” which will appear in its entirety in an anthology titled, Chinese Connections: Critical Perspectives on Film, Identity and Diaspora, co-edited
by Peter X.Feng, Gina Marchetti, and Tan See-Kam, to be published by Temple University Press in Spring 2004. My special thanks to Marina Heung for her critique and to Gina Marchetti for her invitation to write this essay.
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.