Screening CommunitiesPub Date : 2019-05-25DOI: 10.5790/hongkong/9789888455768.003.0007
J. Chang
{"title":"Girls in Masquerade","authors":"J. Chang","doi":"10.5790/hongkong/9789888455768.003.0007","DOIUrl":"https://doi.org/10.5790/hongkong/9789888455768.003.0007","url":null,"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.","PeriodicalId":207996,"journal":{"name":"Screening Communities","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123633880","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Screening CommunitiesPub Date : 2019-05-25DOI: 10.5790/hongkong/9789888455768.003.0003
J. Chang
{"title":"Between Idealism and Pragmatism","authors":"J. Chang","doi":"10.5790/hongkong/9789888455768.003.0003","DOIUrl":"https://doi.org/10.5790/hongkong/9789888455768.003.0003","url":null,"abstract":"Chapter 2 traces the development of Hong Kong’s official film culture during the 1950s and 1960s within the contexts of the documentary film movement, the imperial legacy of the British Colonial Film Unit, and the colonial rhetoric of film literacy. In particular, it uses such Hong Kong Film Unit-produced short features as Report to the Gods (Dir. Brian Salt, 1967), starring local opera talent Leung Sing-por, as archival sources to argue that the colonial regime’s relationship with Hong Kong’s population was not a static vertical imposition of the “culture of depoliticization,” but one that was shifting and characterized by manipulation, misunderstanding, and negotiation amid bipolarized Cold War tension. I argue here that British Hong Kong’s involvement in filmmaking activities expose the top-down imposition of a colonial regime as well as the transformative nature of colonial rule during the Cold War period of the 1950s through 1960s. Official film culture should not be seen merely as tools of colonial governance or a means of indoctrinating subject audiences, but rather was part of an overall “strategy for survival” as well as an integral component in the process of screening the local Hong Kong “colonial” citizenry during the Cold War.","PeriodicalId":207996,"journal":{"name":"Screening Communities","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134345503","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"May Fourth and Postwar Hong Kong’s Leftist Cantonese Cinema","authors":"J. Chang","doi":"10.2307/j.ctvfxv91t.8","DOIUrl":"https://doi.org/10.2307/j.ctvfxv91t.8","url":null,"abstract":"Chapter 3 examines the legacy of the May Fourth Movement in the context of postwar Hong Kong’s golden age of cinema. It argues that the May Fourth project was an unfinished one and was carried forward by progressive Cantonese filmmakers who were the torchbearers of its ideology. This chapter focuses on the careers of left-leaning filmmakers such as Ng Cho-fan, one of the founders of the Union Film Enterprise Ltd., and their emergence as postwar Hong Kong’s new cultural elites. Through a close reading of Union’s film adaptations of the Ba Jin trilogy, Family (Jia, dir. Ng Wu, 1953), Spring (Chun, dir. Lee Sun-fung, 1953), and Autumn (Qiu, dir. Chun Kim, 1954), this chapter demonstrates the transformative nature of the moral message of postwar Hong Kong’s cultural elites. Not only did left-leaning film talent repurpose core tenets of May Fourth, they also sought to reinterpret the spirit of vernacular modernism for the colony’s audiences through their film productions. Although May Fourth precepts were brought to Hong Kong by China’s nanlai cultural elites and leftwing film talents, the May Fourth spirit underwent a creative translingual appropriation during the 1950s as local Hong Kong leftwing companies such as the Union and Xinlian emerged.","PeriodicalId":207996,"journal":{"name":"Screening Communities","volume":"140 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123401792","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Familial Address and the Aesthetics of Lunli","authors":"J. Chang","doi":"10.2307/j.ctvfxv91t.9","DOIUrl":"https://doi.org/10.2307/j.ctvfxv91t.9","url":null,"abstract":"Chapter 4 examines the didactic message promoted by Hong Kong’s left-leaning Cantonese filmmakers (including the Union, Xinlian, Overseas Chinese and Hualian) through their lunlipian (Family melodrama or social ethics films). In particular, I argue that the pedagogical work of lunlipian was not merely through narratives of a reconfigured Confucian family, but also through the audience-hailing effect of marketing, which constructed cinemagoers as members of a collective family in Hong Kong’s postwar community. The critical intervention of this chapter is to unpack the usage and function of lunlipian from contextual, critical, and textual perspectives, and to theorize the social function of lunlipian as a didactic familial address that contributed to the postwar process of screening community. In theorizing the lunli mode of storytelling, this chapter suggests a new periodization of Cantonese golden age cinema that presents an alternative narrative, from one of aesthetic rupture and commercial decline, to one of moral and didactic continuity and industrial adaptation. Screening community during the 1960s therefore is constituted as a negotiated site of spectatorship as well as a strategy of audience address.","PeriodicalId":207996,"journal":{"name":"Screening Communities","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128912466","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Film Censorship and the Regulatory Context of Postwar Hong Kong","authors":"J. Chang","doi":"10.2307/j.ctvfxv91t.6","DOIUrl":"https://doi.org/10.2307/j.ctvfxv91t.6","url":null,"abstract":"Chapter 1 maps out the contours of the Cold War regulatory context in Hong Kong and examines how Hong Kong’s censorship machinery “screened” the colonial government’s responses to the Cold War within local, colonial, and global contexts. The colonial government’s film censorship machinery comprises not only of printed regulations banning objectionable material, but also a set of activities, practices and discourses that reflected the agendas and assumptions of Hong Kong’s colonial government about audience demographics and characteristics. This chapter argues that censorship was part the discursive strategies mobilized by the colonial state and negotiated by filmmakers, film distributors, audience members, and Cold War watchers, all of whom contributed to the postwar Hong Kong community screening process. To demonstrate that censorship was never unidirectional in terms of imposition, surveillance, or discipline, but was constantly being challenged and negotiated by all stakeholders, this chapter ends with an extended discussion of the September 1965 press battle over British Hong Kong’s censorship legislation. Indeed, British Hong Kong had to exercise a policy of accommodation and neutrality, while creating the illusion of an apolitical community in order for its censorship legislations to function during a period of global decolonization.","PeriodicalId":207996,"journal":{"name":"Screening Communities","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127902541","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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