Mirana M. Szeto
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9789888028566
- eISBN:
- 9789882206991
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888028566.003.0003
- Subject:
- Film, Television and Radio, Film
Women filmmakers generally lack long-term visibility in the mainstream Hong Kong film industry. Ann Hui, however, succeeds most persistently in the mainstream playing field, with a clear grasp of ...
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Women filmmakers generally lack long-term visibility in the mainstream Hong Kong film industry. Ann Hui, however, succeeds most persistently in the mainstream playing field, with a clear grasp of box-office expectations and a few runaway hits to her name. Ann Hui's films, however, consistently question and elide these usual set analytical frameworks under which Hong Kong films are studied. Ten years after the 1997 return to Chinese sovereignty, a re-reading of her films beyond the “China factor” fixation can open up critical visions towards an internally varied and inter-locally related Hong Kong. This struggling and silenced local and inter-local Hong Kong is attentively portrayed through what this chapter calls Ann Hui's cinematics of everyday life. With such a re-reading, one can attend to aspects of her films that best illuminate how she, among all Hong Kong women filmmakers, can best sustain high critical expectations and visibility.Less
Women filmmakers generally lack long-term visibility in the mainstream Hong Kong film industry. Ann Hui, however, succeeds most persistently in the mainstream playing field, with a clear grasp of box-office expectations and a few runaway hits to her name. Ann Hui's films, however, consistently question and elide these usual set analytical frameworks under which Hong Kong films are studied. Ten years after the 1997 return to Chinese sovereignty, a re-reading of her films beyond the “China factor” fixation can open up critical visions towards an internally varied and inter-locally related Hong Kong. This struggling and silenced local and inter-local Hong Kong is attentively portrayed through what this chapter calls Ann Hui's cinematics of everyday life. With such a re-reading, one can attend to aspects of her films that best illuminate how she, among all Hong Kong women filmmakers, can best sustain high critical expectations and visibility.
Hsiu-Chuang Deppman
- Published in print:
- 2010
- Published Online:
- November 2016
- ISBN:
- 9780824833732
- eISBN:
- 9780824870782
- Item type:
- chapter
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824833732.003.0006
- Subject:
- Society and Culture, Asian Studies
This chapter is about Zhu Tianwen’s 1986 adaptation into literature of A Time to Live, A Time to Die, a 1985 film by Hou Xiaoxian. Notably, Zhu herself had served as a screenwriter for the film. A ...
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This chapter is about Zhu Tianwen’s 1986 adaptation into literature of A Time to Live, A Time to Die, a 1985 film by Hou Xiaoxian. Notably, Zhu herself had served as a screenwriter for the film. A political allegory about Taiwan’s coming of age in the 1950s and 1960s, Hou uses the perspective of a teenage boy whose family emigrates from the mainland to Taiwan in 1948, right before the Communist Revolution in 1949. The comparison between Hou, one of the most influential Taiwanese/Chinese directors today, and Zhu, a preeminent Chinese/Taiwanese woman writer, highlights the “literary cinematics” of both artists and reveals competing gender and nationalist politics in Taiwan’s multicultural society.Less
This chapter is about Zhu Tianwen’s 1986 adaptation into literature of A Time to Live, A Time to Die, a 1985 film by Hou Xiaoxian. Notably, Zhu herself had served as a screenwriter for the film. A political allegory about Taiwan’s coming of age in the 1950s and 1960s, Hou uses the perspective of a teenage boy whose family emigrates from the mainland to Taiwan in 1948, right before the Communist Revolution in 1949. The comparison between Hou, one of the most influential Taiwanese/Chinese directors today, and Zhu, a preeminent Chinese/Taiwanese woman writer, highlights the “literary cinematics” of both artists and reveals competing gender and nationalist politics in Taiwan’s multicultural society.
