Girls in Masquerade

J. Chang
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Abstract

Chapter 6 examines the localization of screening community during Hong Kong’s 1960s industrial modernization. It examines the intersections among gendered labor, the Chinese patriarchal family, celebrity culture and fandom, through films starring 1960s idols, Connie Chan Po-chu and Josephine Siao Fong-fong. While fandom and celebrity culture were created by the real demographics of an increasing number of female workers who became Connie’s and Josephine’s fans, their viewership became discursive sites that contributed to the constructions of a gendered community both within and outside of traditional Confucian familial hierarchies. My analysis of films such as Her Tender Love ((Langru chunri feng, dir. Lui Kei, 1969) and Teddy Girls (Fenü zhengzhuan, dir. Lung Kong, 1969) demonstrates that masquerade not only becomes a point of identification for fans, but also a focusing lens for the convergence of seemingly conflicted experiences of teddy girls and factory girls. As much as they embodied the contradictions of urban industrial modernization, factory girls and teddy girls (both on- and off-screen) and their experiences constructed youth fandom as a discursive site for the creative imagining of freedom and empowerment. And both contributed to making and screening of the industrializing and modernizing city that was 1960s Hong Kong.
化妆舞会上的女孩
第六章探讨六十年代香港工业现代化进程中放映社群的本土化。它通过由20世纪60年代偶像陈宝珠(Connie Chan Po-chu)和萧芳芳(Josephine Siao Fong-fong)主演的电影,审视了性别劳动、中国父权家庭、名人文化和粉丝圈之间的交集。虽然粉丝和名人文化是由越来越多的女工创造的,她们成为康妮和约瑟芬的粉丝,她们的观众成为话语场所,有助于在传统儒家家庭等级制度内外构建性别社区。我对《她温柔的爱》(郎如春日冯导演)等电影的分析。吕基(1969)和泰迪女孩(Fenü郑铮,导演)。Lung Kong(1969)的研究表明,假面舞会不仅成为了粉丝们的一个身份认同点,也成为了泰迪女孩和工厂女孩看似冲突的经历融合的焦点。她们体现了城市工业现代化的矛盾,工厂女孩和泰迪女孩(无论是在银幕上还是银幕外),她们的经历将青年粉丝圈构建为一个创造性地想象自由和赋权的话语场所。他们都对20世纪60年代香港这个工业化和现代化的城市的制作和放映做出了贡献。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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