Audrey Yue
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9789888028757
- eISBN:
- 9789882206618
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888028757.003.0003
- Subject:
- Film, Television and Radio, Film
This chapter addresses the ethics of re-turn by exploring the genre of the film and its politics of memory. It first examines the film in its historical context to map the key styles of her female ...
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This chapter addresses the ethics of re-turn by exploring the genre of the film and its politics of memory. It first examines the film in its historical context to map the key styles of her female authorship. It then addresses the textual authorship by approaching the film text through the framework of postcolonial feminist autobiographical cinema. It further reviews the female authorship by considering the film as melodrama. As postcolonial feminist autobiographical cinema and melodrama, Song of the Exile returns to the sites of the family home and memory to rewrite master narratives. Moreover, it emphasizes this as a narrative of re-turn by investigating the intimate histories that are inscribed in this space. For Hong Kong, the film's practices of re-turn provide an ethics to consider its current political transition as an ethics of self-fashioning and co-existence that confronts the honesty of its diasporic yet intimate relationship to the motherland, China.Less
This chapter addresses the ethics of re-turn by exploring the genre of the film and its politics of memory. It first examines the film in its historical context to map the key styles of her female authorship. It then addresses the textual authorship by approaching the film text through the framework of postcolonial feminist autobiographical cinema. It further reviews the female authorship by considering the film as melodrama. As postcolonial feminist autobiographical cinema and melodrama, Song of the Exile returns to the sites of the family home and memory to rewrite master narratives. Moreover, it emphasizes this as a narrative of re-turn by investigating the intimate histories that are inscribed in this space. For Hong Kong, the film's practices of re-turn provide an ethics to consider its current political transition as an ethics of self-fashioning and co-existence that confronts the honesty of its diasporic yet intimate relationship to the motherland, China.
