Hong Kong Cinema: Coloniser, Motherland and Self
Examining Hong Kong cinema from its inception in 1913 to the end of the colonial era, this work explains the key areas of production, market, film products and critical traditions. Hong Kong Cinema considers the different political formations of Hong Kong's culture as seen through the cinema, and deals with the historical, political, economic and cultural relations between Hong Kong cinema and other Chinese film industries on the mainland, as well as in Taiwan and South-East Asia. Discussion covers the concept of 'national cinema' in the context of Hong Kong's status as a quasi-nation with strong links to both the 'motherland' (China) and the 'coloniser' (Britain), and also argues that Hong Kong cinema is a national cinema only in an incomplete and ambiguous sense.
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Ann Hui argues Asia Beijing British colony Cantonese Cinema Cantonese opera Chan’s Chen Cheng China Chinese Cinema Chinese film Chinese motherland Chinese national cinema chuban cinematic constructions colonial government colony’s Communist constructions of Hong developed diasporic economic ethnic exhibition chain Film Biweekly film genres film market film production filmmakers foreign films geopolitical identity geopolitically defined Golden Harvest government’s Guomindang Hong Kong Chinese Hong Kong cinema Hong Kong community Hong Kong cultural Hong Kong film Hong Kong identity Hong Kong society Hueyin’s indigenous Jackie Chan Japanese Johnny Mak Kong film criticism Kong film industry Kong’s Law Kar leftwing Luo Yijun mainland Chinese Mandarin films Michael Hui migrants minzu motherland and Hong narrative national film national identity national politics overseas perspective popular Shanghai Shaw Brothers social SouthEast Asian Taiwan Taiwanese television territory traditional triangular relationship University Press Urban Council wenhua Xianggang dianying Yi Lin Zhang Zhongguo dianying