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Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/516
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Title: Hong Kong cinema 1982-2002 : the quest for identity during transition
Authors: Cheung, Wai Yee Ruby
Supervisors: Iordanova, Dina
Martin-Jones, David
Keywords: Hong Kong cinema
The 1997 Handover
Transition
Identity quest
Situational, diasporic consciousness
Transformed ‘Chineseness’
Cultural/national centrality
Jacques Derrida
Homi Bhabha
Stuart Hall
Ien Ang
Rey Chow
Ackbar Abbas
Boat People
Song of the Exile
Days of Being Wild
Happy Together
Made in Hong Kong
Ordinary Heroes
Durian Durian
Hollywood Hong Kong
Hamid Naficy
Accented cinema
Issue Date: 25-Jun-2008
Abstract: This thesis seeks to interpret the cinematic representations of Hong Kongers’ identity quest during a transitional state/stage related to the sovereignty transfer. The Handover transition considered is an ideological one, rather than the overnight polity change on the Handover day. This research approaches contemporary Hong Kong cinema on two fronts and the thesis is structured accordingly: Upon an initial review of the existing Hong Kong film scholarship in the Introduction, and its 1997-related allegorical readings, Part I sees new angles (previously undeveloped or underdeveloped) for researching Hong Kong films made during 1982-2002. Arguments are built along the ideas of Hong Kongers’ situational, diasporic consciousness, and transformed ‘Chineseness’ because Hong Kong has lacked a cultural/national centrality. This part of research is informed by the ideas of Jacques Derrida, Homi Bhabha and Stuart Hall, and the diasporic experiences of Ien Ang, Rey Chow and Ackbar Abbas. With these new research angles and references to the circumstances, Part II reads critically the text of eight Hong Kong films made during the Handover transition. In chronological order, they are Boat People (Hui, 1982), Song of the Exile (Hui, 1990), Days of Being Wild (Wong, 1990), Happy Together (Wong, 1997), Made in Hong Kong (Chan, 1997), Ordinary Heroes (Hui, 1999), Durian Durian (Chan, 2000), and Hollywood Hong Kong (Chan, 2002). They meet several criteria related to the undeveloped / underdeveloped areas in the existing Hong Kong film scholarship. Hamid Naficy’s ‘accented cinema’ paradigm gives the guidelines to the film analysis in Part II. This part shows that Hong Kongers’ self-transformation during transition is alterable, indeterminate, and interminable, due to the people’s situational, diasporic consciousness, and transformed ‘Chineseness’. This thesis thus contributes to Hong Kong cinema scholarship in interpreting films with new research angles, and generating new insights into this cinematic tradition and its wider context.
Description: Electronic version excludes material for which permission has not been granted by the rights holder
URI: http://hdl.handle.net/10023/516
Type: Thesis
Publisher: University of St Andrews
Appears in Collections:Film Studies Theses



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