Mainlandization or sinophone translocality? Challenges for Hong Kong SAR New Wave cinema

Mirana M. Szeto*, Yun Chung Chen

*Corresponding author for this work

    Research output: Contribution to journalJournal articlepeer-review

    46 Citations (Scopus)

    Abstract

    The seeming revival of Hong Kong cinema through Hong Kong-China co-productions catered increasingly to the China market allowing major Hong Kong creative talents to prosper and even influence industry conventions and infrastructure in China. However, Hong Kong below-the-line jobs are increasingly replaced by those from China, making such careers unsustainable. Such 'mainlandized' co-productions find the more liberal Sinophone communities of Hong Kong and South East Asia harder to penetrate. Mainlandization and Hollywoodization in all Sinophone markets threatens Hong Kong film with ontological crisis. In this context, the Special Administrative Region (SAR) New Wave and their new generation of post-1980s audience make us wonder if cultural articulations that go beyond vertically imagined colonial/national identity politics are still possible; whether sensitive portrayals of inter-local Sinophone dialogues, the kind of creole translocality from below that has characterized much Hong Kong film productions are still viable, without giving up a decent China market.

    Original languageEnglish
    Pages (from-to)115-134
    Number of pages20
    JournalJournal of Chinese Cinemas
    Volume6
    Issue number2
    DOIs
    Publication statusPublished - 31 Jul 2012

    Scopus Subject Areas

    • Communication
    • Visual Arts and Performing Arts

    User-Defined Keywords

    • Hong Kong-China co-production
    • Mainlandization
    • Neoliberalism
    • Post-1980s generation cantonese
    • SAR New Wave
    • Sinophone
    • Translocality

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