The Cinema of Tsui Hark, published by McFarland and Co. publishers in fall of 2001 (reissued in 2009 in trade paperback). A complete critical overview of the works of the ultimate Hong Kong auteur, emphasizing such seminal films as Peking Opera Blues, Once Upon a Time in China and A Chinese Ghost Story. Includes extensive interviews with Tsui, illustrations, and more.

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“…a labor of love…provides a thorough look…Morton writes with great passion, providing a worthy analysis of the director’s filmography that accurately relays the sense-heightening thrills of Tsui’s best work…succeeds in offering a fine profile of a remarkable talent.” – John Charles (Video Watchdog magazine #88, October 2002)

“If I were forced to make a list of my favorite Hong Kong movies, titles like Iron Monkey, Time and Tide, Black Mask and the Once Upon a Time in China series would be included. All these have in common the involvement of writer/director/producer Tsui Hark, one of the most creative filmmakers not only in his homeland, but all the world. Morton clearly has a love for her subject, which gives her book a sense of energy, but thankfully never treads into ass-kissing. It begins with an essay that serves as a nice overview to Hark and his wildly varied career. The majority of the book is taken up by analyses of each film, but the real meat is a lengthy Q&A with Hark himself. He seems like a smart guy (so one wonders why he said yes to Van Damme twice) and Morton takes a similar approach with her well-written book – a must for Hark and HK film fans.” (Hitch magazine #29, Spring 2002)

“A must for Asian-Cinema buffs, Morton’s tome offers a thorough, impassioned exploration of prolific producer/director/writer/actor Tsui (Peking Opera Blues, Once Upon a Time in China) Hark’s major and minor films, along with a brief bio and running commentary by the man himself.” VideoScope magazine #41, Winter 2002

“…Lisa Morton’s book is a valuable introduction to the films of Tsui Hark and it is indispensable for any future studies.” – Tony Williams, Film Quarterly magazine Vol. 56 No. 1, Fall 2002)

Click here to read more writings on Asian film, including “Why Tsui Hark Matters”