Abstract
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 narrative style.
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