Acknowledgements
I would like to take this opportunity to thank all those who helped me with my work on Hong Kong film, including Evans Chan, Meng Tam, Norman Wang, Vivian Huang, Roger Garcia, Li Cheuk-To, Ann Hui, Allen Fong, Peter Chow, Stephanie Hoare, Scarlet Cheng, the late King Hu, among many others. I would particularly like to thank Tony Rayns and Ian Jarvie, who unselfishly offered their assistance when I first became interested in Hong Kong cinema. Also, I owe a debt to those who have prompted me to return to this work recently, including David Desser, Poshek Fu, Patricia Erens, Steve Fore, and Tony Williams. In addition, I would like to express my gratitude to Dr. Eddie Kuo, Dean of the School of Communication Studies, Nanyang Technological University, Singapore, for enabling to come to Singapore as a Visiting Senior Fellow. I would also like to thank my division heads, Chua Siew-Keng and Duncan Holaday, for their encouragement. My stay in Singapore has given me new insight into the idea of "Greater China" and the idea of Chinese overseas culture.
Thanks, too, go to Frances Gateward for reading this paper at the Society for Cinema Studies conference, May 17, 1997, in my absence, and to Timothy White for bringing in the tape for the presentation. Special thanks, too, to my fellow panelists, Dan Miller and Peter Feng, and to Sheldon Lu, the co-chair, for their thoughts on this paper.
Portions of this paer were also presented under the title, "Transnational Exchanges, Questions of Culture, and Global Cinema: Defining the Dynamics of Changing Relationships," Pre-Conference Proceedings, Sixth AMIC Annual Conference, Kuala Lumpur, June 19, 1997.
My sincere thanks to Robert Kolker, whose work on the international New Wave inspired much of this research, and whose faith in new technology prompted me to make it into a Web document.
My thanks to Tad Doyle for his help with the construction of this document.
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