Kristof Van den Troost
Biographic Data
| ID | 5936189 |
|---|---|
| NAME | Kristof Van den Troost |
| GIVEN NAMES | Kristof Van den |
| FAMILY NAME | Troost |
| SIGNATURE | VAN DEN TROOST K |
| AFFILIATIONS | Chinese University of Hong Kong |
| ORCID | 0000-0003-3635-0742 |
| VERIFIED | Yes |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 4 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2023 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Hong Kong crime cinema’s allegorical arsenal and its local function
Although reading for allegory (or allegoresis) has for decades been very common in studies of Hong Kong cinema, scholars have only rarely directly examined this intellectual habit. Responding to some of the common criticisms of allegory and allegoresis, this article argues that their long history in Hong Kong cinema can best be considered in view of persistent restrictions on freedom of expression in the territory. It asserts that allegory is imp…
Registers of the melodramatic mode
Hong Kong Crime Films
This book details the post-war history of the Hong Kong crime film up to the release of John Woo’s A Better Tomorrow (1986), the film that put the genre on the map globally. It coins the term “criminal realism” to not only describe the brand of realism one finds in crime films, but also to highlight how depictions of Hong Kong’s social reality (including crime) were for decades anxiously policed by colonial censors—in other words, how realism was…
Hong Kong Crime Films
Examines the history of the Hong Kong crime film before 1986 Departs from the predominant focus on action aesthetics in studies of Hong Kong cinema to focus on the early crime film’s close links to local society and politics Draws on years of research on censorship and the crime film in archives in Hong Kong and in the United Kingdom Provides ample evidence of the often-overlooked role film censorship played in shaping Hong Kong genre cinema Conn…
No prominent works on this page.
Hong Kong Crime Films
This book details the post-war history of the Hong Kong crime film up to the release of John Woo’s A Better Tomorrow (1986), the film that put the genre on the map globally. It coins the term “criminal realism” to not only describe the brand of realism one finds in crime films, but also to highlight how depictions of Hong Kong’s social reality (including crime) were for decades anxiously policed by colonial censors—in other words, how realism was…
Hong Kong Crime Films
Examines the history of the Hong Kong crime film before 1986 Departs from the predominant focus on action aesthetics in studies of Hong Kong cinema to focus on the early crime film’s close links to local society and politics Draws on years of research on censorship and the crime film in archives in Hong Kong and in the United Kingdom Provides ample evidence of the often-overlooked role film censorship played in shaping Hong Kong genre cinema Conn…
Registers of the melodramatic mode
Hong Kong crime cinema’s allegorical arsenal and its local function
Although reading for allegory (or allegoresis) has for decades been very common in studies of Hong Kong cinema, scholars have only rarely directly examined this intellectual habit. Responding to some of the common criticisms of allegory and allegoresis, this article argues that their long history in Hong Kong cinema can best be considered in view of persistent restrictions on freedom of expression in the territory. It asserts that allegory is imp…
Hong Kong and Taiwan Politics (4 works) · 1947-1986 (2 works) · Censorship (2 works) · Computer Science (2 works) · Crime films (2 works) · History and criticism (2 works) · hong kong (2 works) · Motion pictures (2 works) · Art (1 work) · Business (1 work)