Abstract
This chapter considers the position of popular films within the history of Hong Kong cinema. It takes as its focus the cycle of Category III films that appeared in the 1990s, many of which contained extreme scenes of sex and violence, and were box-office successes at a time of great change within Hong Kong. The director, Herman Yau has become closely associated with this cycle, and this chapter also offers a case study of one of his most notorious works, Ebola Syndrome (1996). Within this case study, this chapter explores the ways in which such critically marginalised films can in fact offer challenging experiences for audiences and argues that it is through these aspects that critics can re-integrate these marginalised works into the history of Hong Kong cinema.
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