Dear Leung Wing-fai,
Probably you are already aware of this film, but I recently saw the
documentary by Stanley Kwan "Yan/Ying:Gender in Chinese Cinema," made for
the BFI in 1996. It seems it would be useful to you. It primarily deals
with the representation of (mostly male) homosexuality/same-sex desire in
Chinese/HK film with 'father issues' as its main point of reference.
Hope this is useful. You've got an interesting project.
Julie Turnock
>From: Leung Wingfai <[log in to unmask]>
>Reply-To: [log in to unmask]
>To: "[log in to unmask]" <[log in to unmask]>
>Subject: Hong Kong cinema
>Date: Wed, 9 Aug 2000 14:32:58 +0100
>
>I am writing an MA dissertation on recent Hong Kong cinema (since around
>the
>start of the new wave). My interest is in the continuity of traditional
>Chinese ethics e.g. Confucian philosophy in the familial/ social order in
>Hong Kong, and their representation in popular cinema.
>
>Many scholars in the last two decades have concentrated on the issues of
>identity in relation to the reversion in 1997. They have either ignored
>discourses of a more personal/ social nature, or used cliches like ' Hong
>Kong is a cultural desert/ cut off from its cultural roots'. To these
>writers, the population and film makers were only able to reconnect with
>their Chinese cultural roots throught the necessity imposed by the approach
>of 1997.
>
>Using family melodrama, father and son subgenre and 'wenyi' films, I want
>to
>contradict this school of thoughts by rediscovering the traces of Chinese
>tradition in the construction of personal relationships in the city. I am
>of
>course aware of dramatic social and economic changes, particularly during
>the 1970s and 80s, and the resultant cultural expression's heterogenous
>nature.
>
>The writers (both Western and local) who fail to recognise the continuity
>often equate Chinese culture with the nation state of 'China'. They also
>pigeon hole the Hong Kong film industry, which is a phenomenon that began
>with the popularity of Bruce Lee and television series 'kung fu' in the
>1970s. The use of throw away comments like 'complete breakdown of
>traditional social structure' and the emphasis on violence indicate a lack
>of critical insight of a culture which is constantly evolving but not
>disappearing.
>
>One of the aspects that I feel has particularly been neglected is the
>discourse of gender, especially in relation to the oppressive nature of
>traditional patriarchy. To create a genuine subjectivity in the study of
>Hong Kong's cultural heritage and its cinema representation, it is
>essential
>to reintegrate these overlooked issues.
>
>For the second half of my project, I will look at the ganster/ hero genre
>and again try to rediscover its cultural roots. Is anyone out there working
>on similar issues? I hope to generate a debate so please do comment on what
>I have said.
>
>Leung Wing-fai
>
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