This paper aims to challenge the longstanding cosmopolitan interpretation of Hong Kong, particularly why this global city fails to absorb China equally through its great inclusiveness and flexibility as before. On the contrary, rising tensions, conflicts and resistance could be founded between Hong Kong and China these days.
By using Hong Kong cinema as an analytical lens, this paper seeks to throw light on the cinematic landscape of post-1997 Hong Kong and, by implications, the overall destiny of postcolonial Hong Kong under Chinese rule.
The postcolonial Hong Kong, although lacking a symmetric status and equal weight, remains an active player with Chinese hegemony that appeals to the newfound market power to consolidate their systemic control on the city. By acting upon itself with the subjectivity and reflexivity from itself, postcolonial Hong Kong takes many actions to do justice that criticizes the political and ideological correctness and challenges the contemporary national authority from one-party rule.
This paper demonstrates a new in-betweenness in the relation to the making of postcolonial Hong Kong. This paper advances insights into a postcolonial reinvention of the politics of disappearance that remains underexplored.
Cheung, S. (2017), "From transnational to Chinese national? A new in-betweenness of Hong Kong cinema in the postcolonial politics of disappearance", Social Transformations in Chinese Societies, Vol. 13 No. 2, pp. 106-117. https://doi.org/10.1108/STICS-04-2017-0009Download as .RIS
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