Course:ASIA325/2025/King of Comedy

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King of Comedy - Unmasking Humour: Resistance and Empowerment in Stephen Chow's King of Comedy

Stephen Chow and Lee Lik-chi's film: King of Comedy (1999)

A Cantonese film produced in Hong Kong (Chinese: 喜劇之王); released on February 13, 1999.

Group Members' Contributions

Category Contributors
Introduction Z H
Stories Behind the Film Z H
History of Reception L Z
Scholarly Literature Review Z H
Comparative Analysis L W & L Z
Alternative Interpretation L W
Conclusion L Z

Introduction

King of Comedy is a film released to celebrate the Chinese New Year in 1999. It tells the story of an ordinary aspiring actor, Wan Tin-sau, who strives to pursue his dream. Despite rarely getting acting opportunities and often being mocked, he continues to hold on to his ideals as an actor. Two female characters, Lau Piu-piu and Cuckoo To, play distinct roles in his life. His romantic relationship with Lau Piu-piu falters due to his own feelings of inferiority, while the opportunity offered by Cuckoo To is unfortunately lost. In the end, after an action-filled sequence involving secret agents, the film concludes with a traditionally happy ending. However, the film is far from being as simple as it appears…

Stories Behind the Film

Jackie Chan in the King of Comedy
The rivalry between Jackie Chan and Stephen Chow

As two outstanding figures in the history of Hong Kong cinema, Jackie Chan and Stephen Chow had an intense rivalry.[1] However, considering that Gorgeous and King of Comedy were both made to celebrate the Chinese New Year, the two amicably made cameo appearances in each other’s films. This kind of friendship is exceptionally rare in the development of Hong Kong cinema. King of Comedy and Gorgeous were both filmed in Saigon, Vietnam, by Stephen Chow and Jackie Chan respectively. Each of them made a cameo in the other's film, creating a classic moment in the history of Hong Kong cinema.[2]

Stephen Chow in the Gorgeous


Stephen Chow’s reminiscences

As Chow once said, “My films are made from my feelings and experiences.” [3]King of Comedy, which portrays the struggles, helplessness, and persistence of a bit-part actor, can be seen as a direct expression of his own past experiences and emotional journey. His personal path to success was a difficult one — from playing minor roles to becoming the "King of Comedy."

Histories of the Film’s Reception

Chinese Scholarly and Intellectual Reception

The scholarly reception in this subsection include the academic publications and postgraduate theses. The intellectual reception includes a wider variety of publications than the scholarly ones, it includes the intellectual discourse on Chow’s films in China and the professional film criticisms. King of Comedy, as a 20th-century film of Chow, is considered by the Chinese-published studies one of the cores of his repertoire. Besides, as the film received a significant number of positive assessments from both scholarly and non-scholarly intellectual works, they received the film as counter-hegemonic.

Hegemony, according to Chew, refers to the state power that is “strong and powerful and therefore able to control others, or relating to the idea that a country is like this” [4], in addition to this, it is often “utilized by ruling elites to help sustain their political legitimacy and solidify their rule” [4]. The film is counter-hegemonic because it challenges the politically legitimate ideology that serves the ruling elites. For example, Wan and Lau, the two protagonists in the film, challenge capitalist society and value with their love towards each other. By leaping forward as such, Wan loses the job opportunity to the protagonist provided by Sister Cuckoo, as it is both his dream job and will provide him a decent income and life, whereas Lau loses the huge amounts of tips from her client in the bar and being physically abused because of the refusal. In the scenario, job, money, and decency, which are the symbols of capitalist legitimacy, are easily abandoned by the two protagonists to exchange for a lover’s state to each other. The lover’s state, however, is not associated with any of the dominant ideologies. Therefore, the film depicts a story about upheaval against the ruling ideology, making it counter-hegemonic and receiving positive receptions among scholars and intellectuals.

Chinese Popular Audience Reception
Douban audience rate: 1,061,656 Chinese popular audiences rate the film 8.8/10, with 52.2% of them rate 10/10, 38% rate 8/10, and 9.1% rate 6/10. Awarded the no.89 film from the site.

The popular audience reception in this subsection denotes the less intellectual reception. Instead of the less educated audience, the receivers under this category do not approach the film intellectually. The popular audience receives King of Comedy as counter-sub-imperialism.

Sub-imperialism, according to Chew, refers to “a second-tier power or a regional power carrying out imperialist encroachment on weaker nations, societies, and/or intranational localities” [5]. China, as the second largest world economic entity and a military superpower, falls under the sub-imperialist country that constantly affects the countries and regions nearby with Hong Kong included. However, the popularity of King of Comedy and other Stephen Chow films show a failure of China's sub-imperialism approach.

In terms of its popularity, according to Chew, “view counts of Chow’s twentieth-century films on YouTube are also high” [6]. As of today, King of Comedy has reached approximately 1.5 million views on YouTube, including its Mandarin, Cantonese and English-subtitled versions. Upon its original release, the film earned HK $29,848,860 (US$3.85 million), making it the highest-grossing Hong Kong-produced film of 1999 [7]. The continual popularity of King of Comedy and Stephen Chow highlights a challenge to sub-imperialism. In addition, the slogan – “there is a best actor every year but only a Stephen Chow every hundred years” 一年一影帝, 百年周星驰 – has been popularized in Chinese online discourses. All these approaches show that Chow as a Hong Konger rather than a mainland Chinese still maintains strong public support in China. It reflects the failure of China's sub-imperialism because of the Hong Kong filmmaker's popularity in mainland China. In other words, the Chinese audiences who embrace Chow's films are already the ones who tend to watch locally produced content rather than Western productions, their preference for the Hong Kong produced movie shows that the non-mainland China produced film is prevalent not only in the audiences of Western production, but also the ones who already support local movies. Therefore, Chow's enduing appeal suggests that Hong Kong Cinema continues to resonate powerfully, resisting the cultural dominance from sub-imperialist influence.

Overall

Together, both the scholars, intellectuals, and popular audiences from mainland China show a positive attitude towards the film, they agree with its socio-political impact against the Chinese state power.

Scholarly Literature Review

Zhenshan Xiao argues that King of Comedy is based on Stephen Chow’s personal experiences. The film reflects the struggles he faced throughout his early career. [3]Long before becoming one of Hong Kong’s most celebrated filmmakers and comedians, Chow endured years of obscurity, often relegated to insignificant and marginal roles. His journey was filled with rejection, frustration, and emotional hardship. These early struggles, marked by rejection, invisibility, and the relentless grind of trying to break into an industry that seemed indifferent to his effort, which made this film. These difficulties are not hidden but are clearly echoed in the story of the film.

Although King of Comedy is categorized as a comedy, Stephen Chow constructs its emotional foundation on tragedy. [8]As Zhang Guoyun and Li Hui point out, Chow’s comedic narratives are often interwoven with sorrow. Laughter, in his films, is not pure and is frequently tinged with a deep sense of melancholy. [9] In King of Comedy, Chow portrays Wan Tin-sau, an earnest aspiring actor who spends his days studying professional acting manuals and perfecting his craft, yet finds himself stuck in insignificant, overlooked roles. His passion is met not with recognition, but with ridicule and rejection. [9]What elevates the film beyond conventional comedy is Chow’s compassionate focus on the idealism of ordinary people. He finds dignity in the dreams of those at the margins — individuals who continue to hope against the odds. [10]Wan Tin-sau embodies this spirit fully. His journey is not one of triumph in the traditional sense, but of emotional resilience, where moments of fantasy briefly illuminate a bleak reality. The film’s humor, therefore, is bittersweet — a “forced smile” masking disappointment, frustration, and longing. [9]

In her analysis of King of Comedy, Kai Guo argues that although the film is categorized as a comedy, its essence is deeply rooted in tragedy, reflecting Stephen Chow’s own personal struggles and emotional journey.[8] The narrative centers around the life of a marginal figure, Wan Tin-sau, whose relentless pursuit of an acting career mirrors Chow’s early experiences of being overlooked and ridiculed in the entertainment industry. Through the repeated failures and humiliations faced by the protagonist—being denied food on set, nearly burned during stunt work, and constantly denied meaningful roles—the film constructs a tragic backdrop that is masked by comedic presentation. Guo draws upon Lu Xun’s distinction between tragedy and comedy, noting that while tragedy destroys what is valuable to evoke sorrow, and comedy tears apart the worthless to induce laughter, Chow’s genius lies in merging both. His films damage both the valuable and the valueless, generating a cinematic style defined by laughter through tears.[8] In King of Comedy, this duality is further embodied in the protagonist’s self-deprecating humor, exaggerated behaviors, and emotional contradictions between inferiority and pride, all of which expose the psychological complexity of the underclass figure. Guo emphasizes that Chow’s “nonsensical” (wulitou) comedic style—often misunderstood as meaningless—is in fact a deeply expressive cultural form rooted in grassroots sentiment and postmodern deconstruction. [8]Far from being escapist, this style becomes a vessel for Chow’s humanistic concern, allowing marginalized voices to be heard through humor. Moreover, Guo asserts that the film’s romantic subplot between Wan Tin-sau and Lau Piu-piu is not merely decorative but serves as the narrative’s emotional anchor.[8] Their relationship unfolds from awkward misunderstandings to heartfelt vulnerability, culminating in a moment of emotional climax that drives both the plot and the viewer’s affective engagement.

Comparative Analysis

A Comparison of 'Indecent' Women: King of Comedy and 2046

The shared theme in King of Comedy (Stephen Chow and Lee Lik-chi, 1999) and 2046 (Wong Kar-wai, 2004) reveal a common narrative structure shaped by gender. Both Jing-wen and Lau Piu-piu challenge the 'indecent' label imposed on them by society. In contrast, Bai Ling in 2046, differentiates from them as she remains dependent on a male and lacks autonomy.

Indecent Spaces and Embodied Resistance

Chin-Pang Lei notes how indecent women often emerge from marginal spaces like brothels and nightclubs, which become sites of narratives and metaphors for Hong Kong’s sociopolitical tensions.[11] In particular, nightclubs are often used by directors to project themes and emotions about the city, reflecting gruesome realities such as economic and gender exploitation and political anxiety. These spaces become significant to portray Hong Kong’s tension, with nightclub hostesses embodying the social ambiguity of Hong Kong itself.[11] Following this reading, Jing-wen in 2046 and Lau from King of Comedy navigate these “indecent” spaces, which are situated in a colonial setting marked by male dominance and capitalist control. However, rather than submitting to passivity, they challenge these structures through emotional resistance.

Jing-wen with her Japanese lover, whom her father forbids

Jing-wen, in 2046, living in a hotel owned by her father, encounters Tak, a Japanese man, whom she falls in love with, and Chow Mo-wan, who helps her communicate with Tak. However, her father forbids her romantic interest due to lingering national resentment from wartime history, which reflects both patriarchal control and nationalist ideology. She later becomes an attendant in a nightclub, which is considered an indecent space,[12] before ultimately rebelling against her father by going to Japan and marrying Tak. Her journey from a hotel to a nightclub and eventually to Japan, the national enemy, in this sense, becomes a continuous act of resistance. By pursuing love in defiance of her father’s authority, Jing-wen subverts the patriarchal narrative and affirms her autonomy.

Lau endures Master Lung’s violence but remains defiant, refusing to submit

Similarly, Lau, as a nightclub hostess in King of Comedy, dressed in a schoolgirl uniform to appease male fantasies, also moves through this indecent space, and places herself in a commodified and exploitative environment. However, after she falls in love with Wan Tin-sau, she decides to quit her job, despite the major business offer from Master Lung. Her refusal infuriates Master Lung, who responds with violence and cruelty to force her compliance. As such, Lau maintains her ground; by resisting financial seduction and male dominance, she challenges the view of women in such spaces as shameful. Her narrative resists both patriarchal control and colonial capitalist exploitation, asserting her agency and autonomy.

In comparing Jing-wen and Lau, both embody the figure of the “indecent” women who navigate through nightclub spaces, which are marginal and exploitative places, yet refuses to be defined by them. Grounded with emotional resilience and acts of refusal, they challenge sociopolitical systems that seek to control their bodies, desires and future; their stories thereby critique patriarchal nationalism and capitalist exploitation in Hong Kong.

Bai Ling and Lau Piu-piu – Women Who Choose Differently in Love
The dialogue between Bai and Chow after their first sexual encounter, Chow offers her $200, she initially refused but then decides to take $10 and claims that she sells her body cheaply.

Bai Ling, as Lyu directly coined, is a “young and beautiful hussy” [13]. According to Lyu, Bai represents a typical female figure in Wong Kar-wai’s film, an image stripped of subjectivity, waiting for male validation and rescue [13]. In 2046, although Bai is not a prostitute, Mr. Chow treats her as one. After their first sexual encounter, Chow offers her $200, which she initially refuses, implying she is not a commodity. However, as he persists, she reluctantly accepts only $10, and unseriously suggests that he can return anytime he wants intimacy with the same price; a statement which ultimately mocks her own commodification. Later in the film, Bai opens a box filled with cash, a visual indicator of the transactional dynamic their relationship has become.

In contrast, Lau Piu-piu, an escort hostess who serves male customers in a nightclub, is portrayed differently from Bai. In the film, she falls in love with Wan Tin-sau and spends the night with him. Although Wan misinterprets her intentions, believing she was only providing a service, he offers all his valuables. This is the only moment in the film where sex and money intersect, and it occurs solely due to a misunderstanding. Unlike Bai, Lau does not wait for validation or expect to be rescued by a man. Even when she later cries in the cab after Wan promises to support her future, this sentimental response does not imply submission to male domination. Instead, as I will elaborate in the next section, she preserves her autonomy.

Comparing Autonomy Between Bai and Lau
Without Wan's commitment, Lau farewells to him even though she has lost her job and the generous tips last night.

In terms of autonomy, I would argue that Bai lacks autonomy while Lau possesses it. According to Lyu, “[t]he gender identity in Wong Kar-wai’s films reflects that men are always the main body of actions. He can run away from and refuse to take charge of his own destiny, but women can only depend on men to exist.” [13]. In 2046, Bai Ling cannot take charge of her destiny as Mr. Chow does, her life is dependent upon Mr. Chow’s choices. For example, upon the night of her departure, she insists that Chow stays over the last night in the sacrifice of her dignity, as she declares even to ‘borrow’ the night from Chow. Combined with the fact that her destination is decided by Chow, it shows her lack of autonomy as compared to men in the film.

Lau, on the other hand, demonstrates autonomy in both love and self-worth. While her job as a nightclub hostess appears in a submissive role, she actively reclaims her dignity when she refuses Master Lun’s generous payment, having already determined to pursue a relationship with Wan. Even after being treated with violence for not complying and finding that Wan may be pursuing Sister Cuckoo instead, she does not plead with him to stay. Unlike Bai, Lau is not desperate for validation; she knowingly takes full responsibility for her decision, risking both her job and relationship. She confesses her love without expecting anything in return and implicitly accepts the risk of rejection. Her decisions thus reflect her autonomy and unbending attitude, maintaining self-authenticity.

Alternative Interpretation

As recognized through scholars Enoch Tam and Hon Lee Poon, Stephen Chow is well-known for his portrayal of underdog characters. Poon further highlights how Chow’s films from the 1990s consistently feature underdog protagonists who navigate social precarity suffering and humiliation.[14][15]King of Comedy, released in 1999, follows this tradition through its main character, Wan Tin-Sau, who continues this trope. Drawing from Friedrich Nietzsche’s philosophy, particularly his approach and confrontation with nihilism and affirmation of humour as a response to existential suffering[16][17], Wan Tin-Sau can be read through a Nietzschean interpretation aligning with his concept of the Overhuman.

The Overhuman is considered as Nietzsche's ultimate project in Thus Spoke Zarathustra;[16] it is a state and symbol of perpetual self-overcoming and cultivation. Each step taken toward one’s ideal only raises the standard further, a state demanding constant striving and renewal. In this ongoing pursuit of self-excellence and thriving, Nietzsche acknowledges that suffering and pain are inevitable. These resisting forces, which push one down, tempt individuals to retreat into comfort, give up, or even regress. In this

During this endless cycle of pain entwined with thriving, Nietzsche treats humour as a remedy in the journey of self-cultivation.[17] For Nietzsche, humour from failure is not a sign of resignation but a reclaim of power in the face of defeat, a powerful force which keeps one moving forward. In this light, I argue that Wan Tin-Sau, fitting in the familiar underdog trope, also exemplifies Nietzschean philosophy which paves his road to triumph.

I substantiate this claim by suggesting that his treasured book, An Actor Prepares《演员的自我修养》, by Konstantin Stanislavski, functions as a symbolic counterpart to the Overhuman, which is the unattainable ideal that fuels his continuous pursuit of self-cultivation despite various hardships and setbacks. I then demonstrate how Wan’s repeated ridicule and failures, framed through a comedic expression, does not simply conceal the tragic beneath laughter; by embracing ridicule Wan transforms humiliation into resilience. This enduring struggle, though often painful, is essential during the process of self-thriving. It not only affirms his authenticity but also marks his progression toward both his ideal as an actor and Nietzsche’s vision of the Overhuman.

Interpreting An Actor Prepares 《演员的自我修养》 through a Nietzschean Lens; Scene 1

As Wan Tin-Sau continues with his daily, mundane, and monotonous life, he persistently asks Aunt Ha if there are acting opportunities available. Despite her constant rejection and growing irritation, he remains committed to his acting dream. After yet another disappointment, he returns to his room looking defeated. His entire living condition can be captured in a high-angle long shot, furnished with only a bed, a chair, and a sink—a space that is just enough to meet basic needs for sleeping, eating, and washing. The minimal space heightens the sense of isolation of his life when he strives to pursue an unpromising career. He stands before a mirror in the middle of the numerous photos of famous actors he idolizes, figures he yearns to emulate. However, under low-key lighting, his demeanour is expressed with fatigue and doubt. He awkwardly adjusts his outfit, yet he still looks misplaced amongst them. The contrast between himself and the well-reputed actors underscores his sense of inadequacy and existential crisis from doubt whether he’ll reach anything close to them.

Stephen Chow reading 《演员的自我修养》, a book he treasures and act as a cherished guide that shapes his values and fuels his motivation

Subsequently, he lies in bed reading Stanislavski’s book An Actor Prepares《演员的自我修养》, his treasured guide and source of inspiration and motivation. As he closes the book and prepares to sleep, the melancholic music fades into complete silence. Then, as sunlight begins to gleam into the room, signalling the arrival of a new day, the non-diegetic music shifts to a more uplifting tone; the scene cuts to Wan passionately and efficiently preparing for his own set for Thunderstorm, reaffirming his enduring passion and resilience. Despite repeated moments of despair, he still chooses to confront them with determination and drive.

Wan’s reliance on 《 演员的自我修养》aligns with Nietzsche’s concept of the Overhuman. This book sets an unattainable ideal he may never reach, yet it fuels his determination to keep striving. Like Nietzsche’s Overhuman, it represents a never-ending journey of overcoming against struggle; The book marks a turning point in Wan’s attitude, shifting from a state of defeated hopelessness to a renewed the next day. Through the book, he reconnects with his purpose; he does not see his pursuit as a promise of success but as a meaningful struggle worth continuing. Aligning with Nietzsche’s view, even amid immense obstacles and suffering, Wan moves forward, enduring hardships with integrity and persistence, climbing despite the weight of defeat.

Comic Suffering: A Nietzschean Underdog; Scene 2
Wan slips on a banana peel, falls to the ground and loses his lunch

This scene captures one of many instances where Wan Tin-Sau fails to get free lunch on set, which is considered his main source of food. Though the state of being on the brink of starvation and his desperation to fill his hunger, the scene is portrayed in a humorous way. Just like classic cartoon-like comedic fashion, he slips on a banana peel and falls, once again losing his food in a slapstick misfortune.

This scene aligns with Nietzsche’s view of the redemptive power of humour. Although the scene highlights Wan’s desperation for food, his embarrassment and further humiliation, especially when Mao further degrades him by tossing his lunch away and the dog eating his food, it is still framed comically. Yet rather than submitting to despair, Wan continues his attempts to get lunch, bother earlier and later in the film. This repetition suggests that recurring humiliation is a regular part of his life.

Rather than resisting humiliation, he accepts being mocked and endures such ridicule. In doing so, he exemplifies Nietzsche’s affirmation of life. As an underdog, his endurance to be mocked while continuing to pursue his creative aspirations turns humour into a form of resilience. He absorbs the mockery, processes it and continues on his creative pursuit. Therefore, humour becomes not a defeat, but a challenge to overcome, a necessary step to self-overcoming.

Conclusion

As a film produced in post-colonial Hong Kong, King of Comedy engages with another icon, Jackie Chan, while also reflecting Stephen Chow's own struggle and rise to fame. The film follows his personal journey, from an unnamed extra to the "king of comedy". With all the political subtext, impressive screenplay and well-layered plot, it received a predominantly positive reception from intellectuals, scholars, and public audiences in China. Its reception is further elucidated in its box office performance at the time of release. As mentioned by several scholars, the film's comedic exterior conceals a tragic core, portrayed though an underdog's emotional journey and personal struggles.

Compared with 2046, another post- colonial Hong Kong film, both works overlap on the theme where women challenge "indecent" spaces. However, they differ in how they depict female autonomy. Specifically, the convergence is represented by the comparison between Jing-wen and Lau Piu-piu, who resist patriarchal and exploitative spaces. In contrast, the divergence is clear with Lau's comparsion and Bai Ling, highlighting the difference between agency and dependence.

Furthermore, the protagonist, Wan Tin-sau, aligns with Nietzsche's concept of the Overhuman. As Nietzsche puts it, the Overhuman acts as a symbol for self-overcoming and personal cultivation. Wan embodies this ideal by continuously striving and pursuing his acting dream despite repeated failures and rejections. Additionally, through a comic depiction of his obstacles, it further reveals the tragic core concealed through humour.

Overall, our group recommends the film because of its political significance diverges from the dominant state power. Its plot also invites a Nietzschean interpretation, as well as the implicit feminist themes. These elements distinguishes itself from contemporaneous films, such as those, produced by Wong Kar-wai around the same period.

References

  1. ↑ ""The six direct showdowns between Jackie Chan and Stephen Chow — the unexpected outcomes of wins and losses."". 2019-01-14. Retrieved 12th Jun 2025. |first= missing |last= (help); Check date values in: |access-date= (help)
  2. ↑ "In 1999, the two films that Stephen Chow and Jackie Chan collaborated on ranked first and second at the box office". 2023-03-16. Retrieved 12th Jun 2025. |first= missing |last= (help); Check date values in: |access-date= (help)
  3. ↑ 3.0 3.1 Xiao, Zhenshan (2009.02). [doi:CNKI:SUN:YYYB.0.2009-02-004. "周星驰电影:小人物悲情的喜剧方式及其文化意义"] Check |url= value (help). 艺苑: pp.16. Check date values in: |date= (help)CS1 maint: extra text (link)
  4. ↑ 4.0 4.1 Chew, Matthew Ming-tak (2022). "Rethinking the Cultural Relations between Hong Kong and China: An Analysis of the Chinese Reception of Stephen Chow's Films". Modern China. 48(4): 793–797 – via Sage Journals.
  5. ↑ Chew, Matthew Ming-tak (2022). "Rethinking the Cultural Relations between Hong Kong and China: An Analysis of the Chinese Reception of Stephen Chow's Films". Modern China. 48(4): 788 – via Sage Journals.
  6. ↑ Chew, Matthew Ming-tak (2022). "Rethinking the Cultural Relations between Hong Kong and China: An Analysis of the Chinese Reception of Stephen Chow's Films". Modern China. 48(4): 793–797 – via Sage Journals.
  7. ↑ "The top 10 best-selling Hong Kong films in the year of 1999". Hong Kong Box Office Ltd. Retrieved June 14, 2025.
  8. ↑ 8.0 8.1 8.2 8.3 8.4 Guo, Kai (2015(16)). [doi:10.16583/j.cnki.52-1014/j.2015.16.009.  "周星驰电影喜剧性探析——以《喜剧之王》为例"] Check |url= value (help). 电影评介: pp.25-27. no-break space character in |url= at position 43 (help); Check date values in: |date= (help)CS1 maint: extra text (link)
  9. ↑ 9.0 9.1 9.2 Zhang, Guoyun; Li, Hui (2011(09)). [doi:CNKI:SUN:DDDY.0.2011-09-042. "笑中带泪的悲喜人生——"无厘头"背后的周星驰电影"] Check |url= value (help). 当代电影: pp.157-160. Check date values in: |date= (help)CS1 maint: extra text (link)
  10. ↑ Gan, Minshi (Spring 2020). [DOI:10.27040/d.cnki.ggzdu.2020.000598 "周星驰喜剧电影在内地的传播与影响"] Check |url= value (help). 广州大学,MA thesis.: pp.24.CS1 maint: extra text (link)
  11. ↑ 11.0 11.1 Lei, Chin-Pang (April 10 2021). "'Indecent' Women and Gendered Memory: Reflective Nostalgia in Hong Kong Cinema". Asian Journal of Communication. 31 (3): 165–167. Check date values in: |date= (help)
  12. ↑ Lei, Chin-Pang (April 10 2021). "'Indecent' Women and Gendered Memory: Reflective Nostalgia in Hong Kong Cinema,". Asian Journal of Communication. 31 (3): 173. Check date values in: |date= (help)
  13. ↑ 13.0 13.1 13.2 Lyu, Jinfeng (2023). ""Indecent" Female Images in Wong Kar-wai's Films". The Authors: 294–296.
  14. ↑ Poon, Hon Lee. "Laughter in Disguise - Decoding Humour in Stephen Chow's Filmography from 1990 up to 1997" (PDF). Dissertation: 28.
  15. ↑ Tam, Enoch (January 2024). [10.5040/9781350362161.0019 "Precarious Lives through Stephen Chow Comic Lens Speculation, Caricature and Precariat"] Check |url= value (help). Global East Asian Screen Cultures: 206–208.
  16. ↑ 16.0 16.1 Nietzsche, Friedrich (2008). Thus Spoke Zarathustra. Oxford: Oxford University Press. pp. 23–64. ISBN 978-0-19-953709-9.
  17. ↑ 17.0 17.1 Nietzsche, Friedrich (2008). Thus Spoke Zarathustra. Oxford: Oxford University Press. pp. 80–126. ISBN 978-0-19-953709-9.
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