1Mirana Szeto, Hong Kong SAR New Wave Cinema in Face of Neoliberalisation and Mainlandisation, presentation in the 1st KCL- HKU Film Research Video Conference, King's College London and University of Hong Kong, 2013.5.
3Par Kristoffer Cassel, Grounds of Judgment: Extraterritoriality and Imperial Power in Nineteenth-Century China and Japan ,New York: Oxford University Press, 2012. pp. 15-38, 39-114,194-85.
4Teemu Ruskola, Legal Orientalism: China, the United States, and Modern Law,Cambridge, MA: Harvard University Press, 2013. pp.128-235.
5岩崎旭.现代电影与有产阶级.鲁迅译.萌芽月刊.1933,(1):12-18.
6Jurgen Habermas, The Public Sphere: An Encyclopedia Article (1964), trans. Sara Lennox and Frank Lennox, New German Critique 3.1974,p.49.
7Miriam Hansen, The Mass Production of the Senses: Classical Cinema as Vernacular Modernism," Modernism/Modernity 6, no. 2.1999.4. pp.59-77.
8Hansen, Room-for-Play: Benjamin' s Gamble with Cinema, no. 109 .2004.10.pp.23-24.
9Walter Benjamin, The Work of Art in the Age of Its Technological Reproducibility: Second Version (1936), trans. Edmund Jephcott and Harry Zohn, in Selected Writings, eds. Marcus Bullock and Michael Jennings (Cambridge, MA: Belknap Press, 2006) 3:107-08.
