![]() “ Watchful Partners, Hidden Currents: Hong Kong Cinema Moving into the Mainland of China.” In A Companion to Hong Kong Cinema, edited by Esther M. ![]() Granted, few of the new directors have helmed PRC coproductions and not every filmmaker recounts a smooth passage through Beijing’s censorship machinery (e.g. Johnnie To, for instance, founded the Fresh Wave short film competition in order to nurture new talent. Nor have senior directors slighted the newcomers. Not to be overlooked, however, is a flurry of emerging local filmmakers: Jevons Au, Vicky Wong, Frank Hui, Amos Why, Wong Chun, Fire Lee, Derek Tsang, and Adam Wong, among others. The mercenary veteran filmmakers, meanwhile, deny opportunities to young Hong Kong directors by dominating the coproduction sphere. 346.Ĩ Interview with Pang Ho-cheung, 31 March 2016.ĩ This void, critics argue, has yet to be filled by a new generation of directors. “ Promise and Perhaps Love: Pan-Asian Production and the Hong Kong-China Interrelationship.” Inter-Asia Cultural Studies 9 (3): 341– 358. No Nudity’: Tales of Film-Making in China.”The Guardian, 22 September. ![]() “68 Things You Cannot Say on China’s Internet.”The New York Times, 24 September. On self-discipline as defined by Communist Party officials, see Myers and Cheng ( 2017 Myers, Steven Lee, and Amy Cheng. “ Infernal Affairs and Kung Fu Hustle: Panacea, Placebo and Hong Kong Cinema.” In East Asian Cinemas: Exploring Transnational Connections on Film, edited by Leon Hunt and Leung Wing-Fai, 71– 87. 21 and Leung Wing-fai ( 2008 Wing-Fai, Leung. “ The Progression of Political Censorship: Hong Kong Cinema from Colonial Rule to Chinese-Style Socialist Hegemony.” PhD thesis, Lingnan University. ĥ For useful discussions of Hong Kong cinema’s ‘survival strategies,’ see Stephen Teo ( 2008 Teo, Stephen. SAPPRFT was abolished in 2018, whereupon film censorship fell under the jurisdiction of the Communist Party’s publicity department.Ĥ Anon (2002) ‘China Bans Football Comedy,’, 26 April. In 2013 SARFT assimilated publishing to its purview, thereafter becoming known by the bloated acronym SAPPRFT (State Administration of Press, Publications, Radio, Film and Television). Among its branches was the China Film Bureau, the chief censoring agency monitoring all films produced by and released in mainland China. ![]() 118).Ģ Interview with Bey Logan, 29 March 2016.ģ During the CEPA era, the State Administration of Radio, Film and Television (SARFT) supervised the country’s media industries. Hong Kong-PRC coproductions from the early 1980s include Shaolin Temple (1984), Reign Behind the Curtain (1983), and Burning of the Imperial Palace (1983) (see Leung 2013, p. The theory of mainlandization, I submit, denies the durability of Hong Kong’s standardized craft practices its aesthetic traditions and the facile ingenuity of its filmmakers.ġ See Berenice Reynaud (1990). This article seeks to challenge these assumptions, contesting a set of apparent truisms concerning Mainland censorship, Hong Kong-China coproductions, and the dissipation or disappearance of Hong Kong’s local cinema and identity. Today, critics contend, Hong Kong filmmakers are severely constrained by Mainland bureaucracy and the exigencies of the China market. The shackles of PRC censorship now stifle free expression Hong Kong’s classic genres have become obsolete and the PRC’s vogue for ‘main melody’ films and the dapian (‘big film’) has straitened Hong Kong cinema’s range of storytelling options. So thoroughly has Hong Kong cinema been subsumed to China that its once ‘unique’ and ‘singular’ identity is no longer discernible. For several critics, the region’s cinema has already vanished from view, only to re-emerge in a brand new, distinctly Sinicized guise – that of ‘post-Hong Kong cinema,’ a mode of predominantly coproduced filmmaking that effaces traditional Hong Kong aesthetics and routines of film practice. Since Ackbar Abbas theorized Hong Kong as a space of cultural ‘disappearance’ in the mid-1990s, critics have debated the extent to which local cultural forms have continued to recede, particularly as a corollary of Hong Kong’s increasing subjection to mainlandization. ![]()
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