This article focuses mainly on contemporary Asian cinema, in particular the popular cinema of China/HK, Japan and South Korea, admittedly the most dynamjcally developing Asian film centres.1 By Western standards, the films under discussion here would be classified not only as politically incorrect but offensive to absolutely everybody. At the same time, although the films in question are rather extreme examples, they can be seen as representative of quite a significant part of the contemporary HK, Japanese and Korean film industries. For the sake of clarity I have chosen to make China/HK the core of my argument, though many of the conclusions can equally well apply to Japan and South Korea. Since the article treats PC as a Western phenomenon it distinguishes between Asian communities in the West and Asians in Asia.
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