This article seeks to understand what makes Feng's New Year films tick among the Chinese audiences. To begin with, how can one approach Feng's films? What frame of reference do we have in making sense of Feng's New Year films? Feng's is clearly a commercial practice, which can not be
accounted for by the social and economic logics of China's indigenous blockbuster films. Hollywood's reputation of producing blockbuster films in terms of budget and boxoffice and its affinity with such a practice make it an obvious point of entrance for our understanding of Feng Xiaogang's
New Year films.
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.