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In recent years a number of Chinese-language films have successfully gone global, appealing to large audiences in Asia and the West and generating Hollywood-level box-office receipts. Stephen Chow's Kung Fu Hustle (2004) is an exemplary and unique instance of this development.
It is also an exemplary work of transnational cinema, one that allows us to see the strategic enmeshment of the Hong Kong, Chinese and Hollywood film industries. This article explores Kung Fu Hustle's transnational mode of production and reads it in relation to the film's visual and
Journal of Chinese Cinemas is a major refereed academic publication devoted to the study of Chinese film, drawing on the recent world-wide growth of interest in Chinese cinemas. An incredibly diverse range of films has emerged from all parts of the Chinese-speaking world over the last few years, with an ever increasing number of border-crossing collaborative efforts prominent among them. These exciting developments provide abundant ground for academic research.