Hong Kong Cinema: Coloniser, Motherland and Self by Yingchi Chu

By Yingchi Chu

Reading Hong Kong cinema from its inception in 1913 to the tip of the colonial period, this paintings explains the major parts of construction, marketplace, movie items and important traditions. Hong Kong Cinema considers different political formations of Hong Kong's tradition as noticeable in the course of the cinema, and bargains with the old, political, financial and cultural family among Hong Kong cinema and different chinese language movie industries at the mainland, in addition to in Taiwan and South-East Asia. dialogue covers the concept that of 'national cinema' within the context of Hong Kong's prestige as a quasi-nation with powerful hyperlinks to either the 'motherland' (China) and the 'coloniser' (Britain), and in addition argues that Hong Kong cinema is a countrywide cinema merely in an incomplete and ambiguous feel.

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Furthermore, after Guangzhou and its hinterland fell into Japanese hands after October 1938, any anti-Japanese films or films promoting Chinese nationalism would in all likelihood be banned. Some of the countries in South-East Asia also banned anti-Japanese films or restricted politically oriented films. Revenue generated in the colony alone could not cover production costs. For this reason, Hong Kong film producers requested that the national government provide some financial assistance in producing patriotic films, for instance, by reducing tariff on Hong Kong films to the mainland for patriotic film productions, or by ensuring that patriotic films were exhibited in South-East Asia through the government’s diplomatic negotiations (Yi Lin 1 October 1938).

The Guomindang promoted Confucian philosophy as part of national culture and condemned the ideas of Buddhism and Taoism expressed in films. Deeply objecting to Hollywood films, the Guomindang believed that they distracted the Chinese people from participation in Chinese nation-building activities. They also exhorted Chinese film-makers not to follow the Hollywood film as a model, because, in the words of Chen Lifu, Minister for Education and the Chairman of the Chinese Central Film Censorship Board, ‘there was a huge gap between the two societies in social, cultural, and economic aspects’ (L.

In Thailand, the government continued to impose restraints on Chinese education and newspapers from the 1940s. In Malaysia, debates on the rights of citizenship of Malays, Chinese and Indians in the early 1950s further complicated the relationship between the local Chinese community and the indigenous people. Chinese cultural production was not encouraged by the indigenous Malay government. The Indonesian government likewise suppressed Chinese culture and community activities after gaining its sovereignty from the Dutch coloniser in 1949 (Mackie 1976: 77–138).

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