• Transnational Film and the Politics of Becoming: Negotiating East Asian Identity in Hong Kong Night Club and Moonlight Express

    Author(s):
    Lori Morimoto (see profile)
    Date:
    2012
    Group(s):
    Film Studies
    Subject(s):
    Film studies
    Item Type:
    Article
    Tag(s):
    East Asian cultures, Film studies, Hong Kong cinema, Transnational film, Japanese cinema
    Permanent URL:
    http://dx.doi.org/10.17613/M6SX0K
    Abstract:
    Recent years have witnessed the growth of a body of literature concerned with what Sheldon Hsiao-peng Lu has termed "Chinese cinemas,"1 sparked by the increased international visibility of films from mainland China, Taiwan, and Hong Kong, and characterized by an emerging interest in the ways that such works negotiate both "the triumphantly universal and the resiliency particular"2 in their unique situatedness within both regional Chinese and global media markets. In the context of the 1997 return of Hong Kong to mainland China, this emphasis has engendered significant critical attention to issues of local Hong Kong identity within a dramatically altered political, social, and cultural climate, represented by two discursive trends that at once implicitly and explicitly reference 1997 as the seminal turning-point of Hong Kong's media industries.
    Metadata:
    Published as:
    Journal article    
    Status:
    Published
    Last Updated:
    3 years ago
    License:
    All Rights Reserved
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