Introduction

Home , After This Our Exile, Alan Mak (director), Andrew Lau, Andy Lau, Andy On, Ann Hui

Notes

Introduction

1. Many critics have used this term to describe the anxious anticipation of the future and the concomitant nostalgia for a reality soon to be lost in Hong Kong ﬁlms in the 1980s and 1990s. See, for example, Ackbar Abbas (1997), Hong Kong: Culture and Politics of Disappearance; Nick Browne (1994), ‘Introduction’, New Chinese Cinemas; Esther Yau (1994), ‘Border Crossing: Mainland China’s Presence in Hong Kong Cinema’, Nick Browne, ed., New Chinese Cinemas, pp. 180–201. 2. See Arjun Appadurai (1996), Modernity at Large; and Morley and Robins (1995), Spaces of Identity. 3. Elizabeth Ezra and Terry Rowden (2006), ‘General Introduction: What Is Transnational Cinema?’ Transnational Cinema: The Film Reader,p.4. 4. Ibid., pp. 3–4. 5. Andrew Higson (2000), ‘The Limiting Imagination of National Cinema’, Mette Hjort and Scott MacKenzie, eds., Cinema and Nation, pp. 63–74; see also Susan Hayward (2000) in the same volume, pp. 88–102. 6. Chris Berry and Mary Farquhar (2006), China on Screen, p. 14. 7. Ibid., p. 7. 8. See Linda Chiu-han Lai (2001), ‘Films and Enigmatization: Nostalgia, Non- sense, and Remembering’, At Full speed; Rey Chow (2001), ‘A Souvenir of Love’, Esther Yau, ed., At Full speed, Chapters 9 and 10. 9. See Eric Kit-wai Ma (2001), ‘Re-Advertising Hong Kong: Nostalgia Industry and Popular History’, Positions 9:1, pp. 131–159. 10. Mike Featherstone (1991), Consumer Culture and Postmodernism, Chapter 1. 11. Fredric Jameson (1998), ‘Postmodernism and Consumer Society’, The Cul- tural Turn, pp. 1–12. 12. Mike Featherstone, for example, notices a tendency towards ‘totalizing theory’ in the neo-Marxist works of Jameson and Jean Baudrillard. In ﬁlm studies, some scholars have expressed the need for an adjustment to Jameson’s dismissive treatment of nostalgia. 13. Abbas (1997), pp. 21, 15. 14. Shelly Kraicer (2005), ‘Tracking the Elusive Wong Kar-wai’, Cineaste: Special Focus on Wong Kar-wai, Fall, pp. 14–15. 15. Stanely Kwan and Wong Kar-wai are often called the ‘second wave’; see Stephen Teo (1997), Hong Kong Cinema, pp. 184–203. 16. Vera Dika (2003), Recycled Culture in Contemporary Art and Film,p.18. 17. Natalia Siu Hung Chan (2000), ‘Rewriting History: Hong Kong Nostalgia Cin- ema and Its Social Practice’, Poshek Fu and David Desser, eds., The Cinema of Hong Kong, p. 269. 18. Ingeborg Hoesterey (2001), Pastiche p. x. 19. Ibid., p. 9. 20. Rey Chow (2004), p. 215.

218 Notes 219

21. Ibid., p. 214. 22. Ibid., p. 224. 23. Linda Chiu-han Lai (2001), p. 232. 24. In fact, ‘old Shanghai’ and ‘old Hong Kong’ can be regarded as two sides of the same coin, as Shanghai has been widely taken as a precedent for Hong Kong due to the two cities’ shared experience of colonialism. This nostalgic yearning for ‘lost history’ explains why a host of ﬁlms and television programmes set in 1930s Shanghai sprang up during the late 1980s and 1990s. 25. Abbas (1997), pp. 14–15. 26. In the last few years a number of critical studies devoted to on Hong Kong’s commercial cinema have been published, for example David Bord- well (2000), Planet Hong Kong; Meaghan Morris, Siu Leung Li, and Stephen Ching-kiu Chan, eds. (2005), Hong Kong Connections; Stephen Teo (2007), Director in Action; Leon Hunt (2003), Kung Fu Cult Masters. 27. Darrell William Davis and Yueh-yu Emilie Yeh (2008), East Asian Screen Industries, pp. 39–43.

1 Post-nostalgia: In the Mood for Love and 2046

1. Tony Ryan (1995), ‘Poet of Time’, Sound and Vision (September), 5:9, pp. 12–16. 2. Among these are Jean-Marc Lalanne, David Martinez, Ackbar Abbas, and Jimmy Ngai (1997), Wong Kar-wai; Peter Brunette (2005), Wong Kar-wai; Stephen Teo (2005a), Wong Kar-wai; and Jeremy Tambling (2003), Wong Kar- wai’s Happy Together. The popular English film journal, Cineaste, published a special issue on Wong in Fall 2005. 3. Brunette (2005), p. xiii; Abbas (1997), pp. 48–62. 4. In his book, Teo puts forward an original thesis on the intimate connections between Wong’s film aesthetic, especially the themes of love and memory and narrative structure, and the works of his favourite authors such as Jin Yong, Liu Yichang, and Manuel Puig. See Teo (2005a). 5. Kraicer (2005), ‘Tracking the Elusive Wong Kar-wai’, Cineaste: A Special Focus on Wong Kar-wai, Fall, pp. 14–15. 6. Ibid. 7. Abbas (1997), p. 4. 8. Teo (2005a), pp. 134–135. 9. Wong’s distortion of the gangster film conventions in As Tears Go By is discussed in Abbas (1997), pp. 35–36. 10. See Michelle Tsung-yi Huang (2004), Walking Between Slums and Skyscrappers, pp. 49–56. 11. Long Tin (2004), ‘Hou bajiu yu Wong Kar-wai dianying’ (Post-89 and the film work of Wong Kar-wai) Poon Kwok-ling and Bono Lee, eds., Wong Kar-wai de yinghua shijie (The Film World of Wong Kar-wai), pp. 6–10. 12. For a critical survey of nostalgic film and culture in Hong Kong in the 1990s, see Daisy Sheung-yuen Ng (2000), ‘The Cultural Politics of Nostal- gia in Contemporary Hong Kong Film and Memoir’, Doctoral Dissertation, Harvard University. Critical studies on individual films can be found in Linda 220 Notes

Chiu-han Lai (2001); Rey Chow (2001); and Natalia Siu Hung Chan (2000) and Luo Feng (1995). 13. Urban comedies and youth films were the mainstay of Cantonese cinema in the mid- to late 1960s, and were the breeding ground for super-idols. For a historical review and critical analysis, see Kar Law, ed. (1996), The Restless Breed; Tin Long (2007a), 2006 Hong Kong Cinema Retrospective. 14. For a detailed analysis of these nostalgic films and their predecessors, see Luo Feng (1995), ‘Historical Memory and Historical Amnesia: The Form and Content of Nostalgic Films’, pp. 60–75. 15. The effect of the ‘China Factor’ on the Hong Kong New Wave is discussed in Li Cheuk-to (1994), ‘The Return of the Father: Hong Kong New Wave and Its Chinese Context in the 1980s’, Nick Browne, ed., New Chinese Cinemas, pp. 160–179. 16. Brunette (2005), pp. 100–101. 17. Teo (2005a), p. 119. 18. Ibid., p. 118. 19. Luo Feng (2004) ‘Ruhua meijuan—lun Huayang nianhua de niandai jiyi yu lianwu qingjie’ (Memory of Bygone Eras and Fetishism in In the Mood for Love), Pun and Lee, eds., The Film World of Wong Kar-wai, p. 132. 20. See Matthew Turner (2003), ‘60s/90s: Dissolving the People’, Pun Ngai and Yee Lai-man, eds., Narrating Hong Kong Culture and Identity; Gordon Matthews (2003), ‘Heunggongyahn: On the Past, Present, and Future of Hong Kong Identity (an extract)’, Pun Ngai and Yee Lai-man, eds., Narrating Hong Kong Culture and Identity. In the same volume, Lui (2003) offers a more critical analysis of the so-called ‘Hong Kong Identity’, noting its feeble roots in economic and material comfort. See Lui’s article in Pun and Yee eds., pp. 206–218. 21. Helen F. Siu (2003), ‘Hong Kong: Cultural Kaleidoscope on a World Land- scape’, pp. 126–127. 22. This ‘glorious modernity’ of the 1960s is best represented in the films of Kong Ngee Productions. For a discussion on the influence of the 1960s on later films, see Wong Ain-ling (2006), ‘Preface’, The Glorious Modernity of Kong Ngee, pp. 16–21. 23. Teo (2005a), p. 117. 24. Wong Kar-wai speaking at a press conference at Cannes, quoted in Brunette (2005), p. 103. 25. This constitutes part of the so-called ‘China factor’ in Hong Kong films. Another dimension of this cultural nostalgia is seen in the reinvention of traditional China in wuxia (swordsplay) films by King Hu and Chang Cheh. 26. Wong Kar-wai’s foreword to Duidao (photo collection), quoted in Feng/ Chan (2004), p. 132. 27. Stephen Teo perceives a luring ‘potentiality’ for another love story in the last scene of Days of Being Wild; Another critic associates this inconclusiveness with the technique of ‘liubai’ (empty space) in traditional Chinese aesthet- ics. See Ching-siu Tong (2004), ‘Bashi niandai de liushi niandai wenhua xiangxiang—you huo shi A fei zhengzhuan de jiyi waiyan celue’ (The Six- ties in the Cultural Imagination of the Eighties: Or the Strategy of Extended Memory in Days of Being Wild). In The Film World of Wong Kar-wai, Pun and Lee, eds., pp. 45–47. Notes 221

28. Rey Chow (2007), ‘The Everyday in The Road Home and In the Mood for Love: From the Legacy of Socialism to the Potency of Yuan’, Sentimental Fabulations, Contemporary Chinese Films,p.73. 29. Pam Cook (2005), ‘Rethinking Nostalgia: In the Mood for Love and Far from Heaven’, Screening the Past, pp. 1–22. 30. Feng (2004), p. 136. 31. Chow (2007), pp. 74–75. 32. Ibid., p. 80. 33. Brunette (2005), p. 89. 34. According to Abbas, ‘reverse hallucination’ is ‘not seeing what is there’, ‘an inability to read what is given to view’, as opposed to hallucination, ‘seeing what is not there’. Reverse hallucination is an effect of the déjà desparu that characterizes Hong Kong culture in the 1990s. See Abbas (1997), pp. 25–26. 35. Referring to the camera’s fondness of showing the characters midsection, Brunette (2005) observes that Wong’s camera plays with the viewer’s desire ‘always to see more’, p. 90. 36. Teo (2005a), p. 3; Abbas (1997), pp. 48–62. 37. Dika (2003), p. 18. 38. Those who attended the premiere at Cannes recall the haphazard editing and the out-of-proportion soundtrack. See Brunette (2005), pp. 101–107; and Amy Taubin (2005), ‘The Long Good-bye’, Film Comment (July–August), p. 28. 39. For more on this aspect of the ﬁlm, see Stephen Teo (2005a), Wong Kar-wai, Chapter 9. 40. Teo (2005), p. 141. 41. Nathan Lee (2005), p. 32; Teo (2005a), pp. 135, 149. 42. Teo (2005a), p. 142. 43. Dika (2003), pp. 90–94. 44. Turner (2003), p. 39. 45. Dika (2003), pp. 13–14. 46. Taubin (2005), p. 29. 47. According to Teo (2005a), this is the theme and substance of Wong Kar-wai’s ﬁlms, p. 145.

2 Cinematic Remembrances: Ordinary Heroes and Little Cheung

1. A glance at the publications of the Hong Kong International Film Festival in the last ten years will reveal the still gripping power of identity not only in cinematic representations, but also in critical discourse on Hong Kong ﬁlms. In academic discourse, identity is tied up with the crisis of the local cinema itself and the ﬁlm industry’s ‘post-colonial’ engagements with the nation (China), the West (Hollywood), and the forces of globalization. See, for example, Eric Kit-wai Ma (2001), Yingchi Chu (2003), Hong Kong Cin- ema, pp. 119–133; Gina Marchetti (2007), Andrew Lau and Alan Mak’s Infernal Affairs—the Trilogy, pp. 117–153; and Esther Cheung and Yiu-wai Chu (2004), Between Home and World, pp. xxx–xxxiv. A broader regional perspective is offered in Michelle Tsung-yi Huang (2004, 2008) on globalization and 222 Notes

cultural representation in East Asia’s global cities, Walking Between Slumps and Skyscrappers and Miandui qubian zhong de dongya jingguan: daduhui de ziwo shenfen shuxie (East Asia in Face of Great Changes: Identity Discourses in Metropolitan Cities). 2. Huang (2008), pp. 50–51. 3. See Judith Butler (1993), Body That Matter, pp. 2, 15. 4. Ping-kwan Leung (2000), ‘Urban Cinema and the Cultural Identity of Hong Kong’, Poshek Fu and David Dresser, eds., The Cinema of Hong Kong p. 264. 5. Appadurai (1996) in Modernity at Large gives a compelling account of how globalization has contributed to this ‘dispersal’ of the nation into diverse localities across national borders, and how acts of the imagination have become crucial in forging a sense of community and identity. 6. ‘Narratively speaking, the temporal mode of Hong Kong cinema is not retrospective, but future interior—a syncretic culture caught in the complexity of an impending return that threatens to be a future undoing of its past achievement’ . Browne (1994), p. 7. 7. For a comprehensive study on the Hong Kong New Wave cinema, see Pak Tong Cheuk (2008), The Hong Kong New Wave Cinema (1978–2000). See also Teo (1997), pp. 137–203. 8. Jeremy E. Taylor (2004), ‘Nation, Topography, and Historiography: Writing Topographical Histories in Hong Kong’, Modern Chinese Literature and Culture, 15:2, p. 45. 9. Ibid., pp. 52–53. 10. Ibid., p. 66. 11. Abbas (1997), p. 85. 12. Huang (2004). 13. See, for example, Helen F. Siu (2003), ‘Hong Kong Cultural Kaleidoscope on a World Landscape’, Pun Ngai and Yee Lai-man, eds., Narrating Hong Kong Culture and Identity, pp. 113–135. 14. Ma (2001) offers an insightful case study of how this miracle tale is being mobilized in recent years in the mass media. 15. Huang (2008), pp. 59–66. Huang points out the irony between the ordinary people’s alienation from the ‘monumental space’ of the global city, and the ineluctable equation between Hong Kong and its skyscrapers (architectural monuments). 16. See Wendy Gan (2005), Fruit Chan’s Durian Durian, Chapter 1. 17. See Fruit Chan’s interviews in various editions of the Hong Kong Panorama 1997–98; 1999–2000; and 2002–2003. 18. Huang (2008), p. 55. 19. Poshek Fu (2003), Between Shanghai and Hong Kong, p. 54. 20. For a detailed analysis of this phase of Cantonese cinema in Hong Kong, see Ibid., pp. 51–92. 21. K. F. Yau (2001), ‘Cinema 3: Towards a Minor Hong Kong Cinemax’, Cultural Studies, 15:3–4, pp. 543–563. 22. The symbolic meanings of this song are discussed in detail in Huang (2008), pp. 55–56. 23. Fu (2003) observes that Hong Kong cinema from its early days has exhibited this ambiguity with regard to its identity, which was ‘not marked by a sense Notes 223

of double marginality in relation to the racial regime of British colonialism and the cultural hegemony of Chinese-centered nationalism’, p. 91. 24. After the mass protest of July 1, 2003, the Chinese authorities have openly expressed concerns about the lack of a sense of identification with China among Hong Kong people, and the need for promoting ‘patriotic thinking’ in the territory, especially among the young people. 25. The Chinese Communist Party’s military suppression of the student protest in Beijing’s Tiananmen Square in the early hours of June 4, 1989 provoked a public outcry in Hong Kong; over 1 million people took part in demon- strations in protest against the Chinese government’s action. Democrats in Hong Kong are still calling for the vindication of those killed or incarcerated during the June 4th incident. 26. Fu (2003), pp. 76–87. 27. See William Tay (2000), ‘Colonialism, the Cold War, and Marginal Space: The Existential Condition of Five Decades of Hong Kong Literature’, Chi Pang- yuan and David Der-wei Wang, eds., Chinese Literature in the Second Half of a Modern Century: A Critical Survey. 28. The ‘Boat People’s Incident’ refers to a mass demonstration against the government’s public housing policy, which seemed to have ignored the pressing needs of the boat population. 29. Scenes from a video recording of this street drama (The Story of Ng Chung-yin) are re-enacted in Ann Hui’s film. 30. Elaine Chan (2001), ‘Women on the Edges of Hong Kong Modernity: The Films of Ann Hui’, Esther Yau, ed., At Full Speed: Hong Kong Cinema in a Borderless Word, pp. 177–206. 31. During the right of abode controversy in 2000–2001, Father Francesco Mello led a series of hunger strikes to protest the government’s refusal to grant res- idency to Mainland spouses and children of Hong Kong residents. The fear of an influx of Mainland immigrants provoked a heated public debate. The Chinese central government stepped in to ‘interpret’ the Basic Law’s provisions, and effectively ruled out right of abode for these people. The priest’s support for the Mainlanders was criticized by many people as endangering Hong Kong’s long-term social and economic well-being. 32. ‘It’s kind of social duty for me ...Films need to be shot for these people. I’m middle class, but I find that lifestyle very, very boring and self-centred. That’s why I started making documentaries. People didn’t used to talk about politics at all in Hong Kong. It’s about time we soberly accepted and exam- ined our past.’ Ann Hui’s interview with Stuart Whitmore (1999), ‘First We Take Berlin: Hong Kong Director Ann Hui Hits the Festival Circuit with Her Ordinary Heroes’, Asiaweek, May 3, 1999. 33. Gayattri Spivak (1988), ‘Can the Subaltern Speak?’ C. Nelson and L. Gross- berg, eds., Marxism and the Interpretation of Culture, p. 310.

3 Allegory, Kinship, and Redemption: Fu Bo and Isabella

1. Macau is called ‘Ou Mun’ in Cantonese (or ‘Aomen’ in Mandarin). The English spelling is ‘Macao’. The more popular Portuguese spelling, ‘Macau’, is used throughout this book unless otherwise speciﬁed. 224 Notes

2. The Portuguese first landed in Macau in 1553, but official settlement began in 1557. See Christina Miu Bing Cheng (1999), Macau,p.7,n.4. 3. Ibid. 4. Fu Bo was filmed in DV, and for this reason was off the list of the Hong Kong Critics Society Awards despite the generally positive critical reception. See Tin Long (2004). The film was listed under ‘Hong Kong Independent Films’ in the Hong Kong International Film Festival’s Hong Kong Panorama 2002–2003. 5. Jay Seavers (2007), eFilmCritic, http://efilmcritic.com/review.php?movie= 14594&reviewer=371, and Kozo (2008), http://www.lovehkfilm.com/ reviews_2/isabella.htm (Accessed December 9, 2008). 6. Cf. n. 4. 7. In 2008, direct gaming tax income for the first 11 months amounted to 36.82 billion patacas (4.7 billion dollars). This amounted to over 75% of the MSAR’s 47.73 billion patacas (6.04 billion US) total public revenues. People’s Daily Online, http://english.peopledaily.com.cn/90001/90778/90857/90859/ 6556445.html (Accessed December 30, 2008). 8. This aspect of commercial horror is well-documented in critical studies of the genre. See, for example, Stephen Prince (2004), ‘Introduction: The Dark Genre and Its Paradoxes’, The Horror Film, pp. 1–11. 9. This parent–child trope is displaced in the shifu-tudi (teacher–student) in kung fu films, and godfather–underling in gangster films. For a discussion on the ‘father and son’ phenomenon in Hong Kong films, see Dang To/Deng Tu, ‘2006 Xianggang dianying de e fu yu nizi’ (Evil Fathers and Ungrate- ful Sons in 2006 Hong Kong Films), Hong Kong Cinema Retrospective 2006, pp. 74–78. 10. In a different context, Patrick Tam Ka-ming’s recent film, After This Our Exile (Fuzi, 2006), tells the tale of a little boy and his ‘fallen father’ whose redemption comes too late for the two to begin anew. Tam’s film won the Best Director and Best Film awards at the 2007 Hong Kong Film Awards. 11. Ching-siu Tong (2007a), ‘Hong Kong Films after CEPA’ (CEPA suo dailai de ‘xinbupian’ bianhua), 2003 Hong Kong Cinema Retrospective, pp. 52–54. 12. Pei Ah/Pi Ya (2004), ‘Impotent Males’ (Wuneng nan), 2003 Hong Kong Cinema Retrospective, pp. 55–57. 13. See Lai-kwan Pang (2005), ‘Post-1997 Hong Kong Masculinity’, Pang Lai- kwan and Day Wong, eds., Masculinities and Hong Kong Cinema, pp. 35–53. 14. Derek Elley (2006), ‘Isabella’, Variety, http://www.variety.com/index.asp? layout=features2006&content=jump&jump=review&head=berlin&nav= RBerlin&articleid=VE1117929655&cs=1&p=0 b 16 (Accessed December 12, 2008). 15. After Isabella, Pang made two other features, Exodus/Chu Aiji ji (2007), and Trival Matters/Po shi’er (2007), both are experimental works that were criti- cally appraised but not commercially successful. Exodus is a weird twist of the Hong Kong policier marked by Pang’s characteristic black humour and understatement; Trivial Matters consists of seven shorts encompassing a wide spectrum of genres revisiting themes of love, death, and sex. 16. Long Tin/Lang Tian (2007a), ‘Jia luanlun youxi’ (A Fake Game of Incest), Hong Kong Cinema Retrospective 2006, pp. 130–133. Notes 225

17. Cf. n. 15. 18. According to Butler, performativity involves the ‘resignification of norms [as] a function of their inefficacy’, p. 237. 19. The surge of Han nationalism among China’s younger generations during the pro-independence riots in Tibet and its xenophobic outlook reflects the pervasiveness of this racial logic in China today. The central government’s effort to promote patriotic pride is more than evident in the grandiose opening ceremony of the Beijing Olympics, whose glorification of the Chinese civilization sets the tone for the entire Games. 20. Cf. n. 13. 21. At the time of writing, the hitherto rhetoric of progress and prosperity of the Macau authorities is undercut by its over-reliance on China’s policy on Mainland tourist visas. From 2007 to 2008, China successively imposed stricter regulations on Mainland visitors to Macau, from one permission per individual every month to one in every three months. The revenue of Macau’s hotels and casinos allegedly dropped by over 40% soon after the new restrictions took effect.

4 Lost in the Cosmopolitan Crime Zone: Johnnie To’s Urban Legends

1. Tony Williams (1997), ‘Space, Place, and Spectacle: The Crisis Cinema of John Woo’, Cinema Journal 36:2, pp. 67–84. 2. Chris Berry and Mary Farquhar (2005), China on Screen: Cinema and Nation, p. 158. 3. See Andrew Grossman (2001), ‘Johnnie To: A Belated Auteur’, Senses of Cinema (January). http://www.sensesofcinema.com/contents/01/12/to.html; David Bordwell (2006), ‘Movies from the Milkyway’, Lawrence Pun, ed., Milkyway Image, Beyond Imagination—Wai Ka-fai + Johnnie To + Creative Team (1996–2005), p. 16; and Teo (2007), Chapter 4. 4. Stephen Teo (1998), ‘Sinking into Creative Depths’, Hong Kong Panorama 97– 98, pp. 11–13. 5. The ‘triad kid fad’ triggered by the Young and Dangerous series ran its course in about eight months, despite the later release of the final instalment in 1998. Li Cheuk-to (1997), ‘Young and Dangerous and the 1997 Deadline’, Hong Kong Panorama 96–97, p. 10. 6. Beginning as a production assistant at the Hong Kong Television Broadcast Ltd. (TVB), To worked briefly under Chang Che, a famous martial arts film director, and began making his own films in the late 1970s. To founded Milkyway Image in 1996, and 100 Years of Cinema in 2000 with a group of Hong Kong filmmakers with a view to reviving the local industry. 7. Li Cheuk-to and Bono Lee (2000), ‘Beyond Running Out of Time and The Mis- sion: Johnnie To Ponders 100 Years of Film’ (interview with Johnnie To), Hong Kong Panorama 1999–2000, p. 48. Also discussed in Teo (2007), Chapter 4. 8. Teo (2007), pp. 145–176. 9. Lai-kwan Pang (2005), ‘Post-1997 Hong Kong Masculinity’, pp. 48–49. 10. Ibid., pp. 49–53. 11. Teo (2007), pp. 117–126. 226 Notes

12. Johnnie To’s interview in Exiled, DVD bonus track. 13. See interviews with To and the actors in Exiled, DVD bonus tracks. 14. Teo (2007), pp. 189–195. 15. See Kam Louie (2002), Theorizing Chinese Masculinity, pp. 1–21, 140–159. 16. The same pathos of brotherhood is expressed by the actors at an interview. In Exiled, DVD bonus track. 17. Teo uses ‘unofficial trilogy’ to refer to the group movies, c.f. n. 14. To had in mind a third film after Mission and PTU with an all-female cast. Thomas Shin and Johnnie To (2003), ‘Johnnie To’s PTU: Blind Loyalty of a Night Voyager’, Hong Kong Panorama 2002–2003, p. 83. 18. In her analysis, ‘walkers’ are the flaneur-like characters in Wong’s film. See Huang (2004), pp. 31–48. 19. Shin and Johnnie To (2003), p. 83. 20. ‘...they are much more imposing than the real cops ...and should look smart in uniform’. Shin and Johnnie To (2003), p. 82. 21. Abbas (1997), pp. 25–26. 22. See Williams (1997), pp. 77–78. 23. Linda Chiu-han Lai (2001), ‘Film and Enigmatization: Nostalgia, Nonsense, and Remembering’, p. 235. 24. Rey Chow (2001), ‘A Souvenir of Love,’ p. 224. 25. For example, the world of the jianghu (meaning rivers and lakes), an alter- native social order in the martial arts tradition. Teo calls it an ‘inner world’ with its own codes of conduct. Teo (2007), Chapter 4. 26. Ibid. 27. Smith (2006), ‘Johnnie To and the Clockwork Metropolis’, Lawrence Pun, ed., Milkyway Image, Beyond Imagination—Wai Ka-fai + Johnnie To + Creative Team (1996–2005), p. 236. 28. Shin and Johnnie To (2003), p. 83. 29. Two famous shen tan figures are found in Yuan Zhenhe and Wei Sili, both from Wei Kang’s serialized sci-fi detective novels. The popularity of these fictional texts has led to a number of film adaptations in the 1990s. On local television, various types of detective stories will foreground this character, be it in contemporary or historical settings. 30. Teo (2007), pp. 102–103. 31. This ‘cultural China’ runs through the Chinese martial arts film tradition. See, for example, Stephen Teo’s (1997) discussion on King Hu in Hong Kong Cinema, pp. 87–96; also, Kenneth Chan (2004), ‘The Global Return of the Wu Xia Pian (Chinese Sword-fighting Movie): Ang Lee’s Crouching Tiger, Hidden Dragon’, Cinema Journal, 43:4, pp. 3–17. 32. Two well-known examples are the one-armed hero Yang Guo in Jin Yong’s popular martial arts novel, The Legend of the Condor Lovers/Shendiao xianü and Ti Lung’s character in Chang Cheh’s One-Armed Swordsman/Du bei dao.

5 The Kung Fu Hero in the Digital Age: Stephen Chow’s ‘Glocal’ Strategies

1. Chow’s career marked another stage in Cantonese comedy beginning in the late 1980s, 1990s, and owed much to his predecessors, the Hui Brothers led by actor-director Michael Hui Koon-man, whose Notes 227

ﬁrst efforts virtually pioneered the new Hong Kong comedy in the 1970s. 2. Davis and Yeh (2008), p. 43. 3. Instead of the more standard Chinese word ‘wu shu’ (meaning martial arts), Bruce Lee characteristically used ‘gung fu’ (kung fu) to describe his style and philosophy of martial arts, as evident in his 1963 book, Chinese Gung Fu: The Philosophical Art of Self-Defense published in the United States. See Hunt (2003), p. 1. 4. According to Stephen Teo audiences associate wuxia with the northern style, which is more ancient and historical, while kung fu is regarded as a southern style and more recent. See Teo (1997), pp. 98–99. 5. Hunt (2003), p. 7. 6. For accounts of the transnational trajectory of the Hong Kong martial arts ﬁlm, see Hunt (2003), pp. 1–20; and Teo (2005b). 7. See, for example, Sheldon Xiaopeng Lu (1997), Transnational Chinese Cine- mas: Identity, Nationhood, Gender, pp. 1–32. 8. Yomi Braester (2005), ‘Chinese Cinema in the Age of Advertisement: The Filmmaker as a Cultural Broker’, The China Quarterly 183, p. 550. 9. Hunt (2003), p. 22. 10. Tom Gunning (1994), p. 98 quoted in Angela Ndalianis (2000), ‘The Frenzy of the Possible: Spectacle and Motion in the Era of the Digital’, Senses of Cinema 3 (Accessed Feburary 19, 2006). 11. Ibid., n.p. 12. Teo (1997). 13. Siu Leung Li (2001), ‘Kung Fu: Negotiating Nationalism and Modernity’, Cultural Studies 15:3/4, p. 522. 14. Ibid., p. 537. 15. Abbas (1997), pp. 31–32; Hunt (2003), pp. 45–47. 16. The virtual camera is a combination of computer programming and a much earlier technique, photogrammetry, developed for mapmaking. For a detailed description, see Silberman (2003). 17. In Hong Kong’s local cinematic convention, wuxia represents the northern tradition of martial arts, while kung fu (a term coined by Bruce Lee himself, a Cantonese) associates with the southern tradition. Teo (1997), pp. 97–98. 18. As Charles Leary puts it, The Matrix is ‘an image of “totality” ’, ‘a network , a total system ...the imagination of the social totality’. See Leary (2004b), ‘What is the Matrix? Cinema, Totality, and Topophilia’, Senses of Cinema (May). 19. Ibid. 20. Hunt (2003), p. 184. 21. Ndalianis (2000). 22. Simon During, quoted in Meaghan Morris (2004), ‘Transnational Imagina- tion in Action Cinema: Hong Kong and the Making of a Global Popular Culture’, Inter-Asia Cultural Studies 5:2, p. 184. 23. Chan (2004). 24. Christina Klein (2004), ‘Crouching Tiger, Hidden Dragon: A Diasporic Reading’, Cinema Journal 43:4, pp. 18–42. 25. See Kenneth Chan (2004) for an analysis Ang Lee’s dilemmas in telling ‘a story with a global sense’, p. 5. 228 Notes

26. Evans Chan (2004), ‘Zhang Yimou’s Hero: The Temptations of Fascism’, Film International 2 (Revised May 2005). 27. Richard Alleva (2004), ‘Mythmaking: Hero and Vanity Fair’, Commonweal. September, p. 22. 28. Pauline Chen (2004), ‘Review of Hero’, Cineaste (Winter): pp. 40–42. 29. Ho (2005), pp. 74–75. 30. A popular expression from the 1980s, mo lay tau is the hallmark of Chow’s verbal humour, distinguished by ‘an irreverence expressed in mischievous, nonsensical comic remarks, often adopted by the defeated as a face-saving stance to claim moral victory’ (Ho 2005: 74). Ever since Chow’s masterly use of mo lay tau in his films, the expression has become Chow’s exclusive label in the showbiz of Hong Kong. 31. ‘Kung Fu Hustle Shatters HK Box Office’, 2005-02-09, XinhuaEnglish. From: http://english.sina.com/life/1/2005/0209/20998.html; Xinhua online: http://big5.xinhuanet.com/gate/big5/news.xinhuanet.com/english/2005-01/ 18/content_2475737.htm (Accessed January 22, 2006). 32. See Morris (2004), pp. 181–199. 33. According to Bolter and Brusin, remediation is ‘the process whereby a medium appropriates the techniques, forms, and social significance of other media and attempts to rival or refashion them in the name of the real’ (Bolter and Grusin, quoted in Hunt 2003: 86–87). 34. Srinivas, S. V. (2005), ‘Kung Fu Hustle: A Note on the Local’, Inter-Asia Cultural Studies 6:2, p. 294. 35. The series has been running since its TV debut in Japan in 1983. It is a story about how young Japanese athletes struggle to become the world’s leading soccer players. 36. For a discussion on Jackie Chan’s effort to break into the US market, see Steve Fore (2001), ‘Life Imitates Entertainment: Home and Dislocation in the Films of Jackie Chan’, Esther Yau, ed., At Full speed, pp. 115–141. See also Leo Hunt’s essay on Jet Li (2003) in Kung Fu Cult Masters, pp. 140–156. 37. Davis and Yeh (2008), p. 136. 38. The original version was set in Shanghai in 1945. The first Cantonese adap- tation was made in 1963, followed by the Shaw Brother’s remake in 1973 by director Chor Yuen. For more details, see Gina Marchetti (2005), ‘Going to the Source: Kung Fu Hustle and Its Cinematic Roots at the 29th HKIFF’, Hong Kong Cinemagic (Accessed April 20, 2008) and Gary Xu (2007), pp. 91–92. 39. For a critical review of Kung Fu Hustle’s multiple references to earlier Chinese films, see Marchetti (2005). 40. Gary Xu (2007), Sinascape: Contemporary Chinese Cinema, pp. 89–93. 41. Kung fu comics have been a popular pastime among young people in Hong Kong for decades. The reference to the comic book here also alludes to the familiar motif of the ‘scared scroll’, a mysterious training manual through which one will attain superhuman power.

6 Karmic Redemption: Memory and Schizophrenia in Hong Kong Action Films

1. As some critics have noted, loss of memory is a recurrent motif in post-1997 Hong Kong ﬁlms. See, for example, Chu (2003), pp. 129–130. Notes 229

2. Hong Kong action film has caught the interest of recent critical scholarship. Despite market setbacks and complaints of its decline, the best works and their creators have received due recognition. See, for example, Mor- ris, Li, and Chan (2005); Gina Marchetti (2007), The Infernal Affairs Trilogy; and Teo (2007), Action directors such as Johnnie To, Wai Ka-fai, Alan, and Andrew Lau were given special highlights at the HKIFF in the last few years. 3. The sensationalism of Hong Kong’s popular cinema is not to be dismissed altogether, however, as this is what first distinguishes Hong Kong films as ‘purely cinematic’ in the eyes of some Western critics and film scholars. See Bordwell (2000), pp. 6–7. 4. Leary (2003, 2004a) has published two articles on the trilogy in the online film journal, Senses of Cinema. For an allegorical reading of the films in the context of Hong Kong’s post-colonial politics, see Law (2006). 5. See Marchetti (2007); and Law (2006). 6. Marchetti (2007), pp. 24–25. 7. Some critics observe that memory loss and its ‘degeneration’ into physical and mental illnesses has been used as a metaphor for the predicament of Hong Kong filmmakers and their perceived ‘identity crisis’ in the post-1997 era. See, for example, Long Tin (2007b), pp. 25–26. 8. For a discussion on the uses of nostalgia as resistance in American cinema, see Dika (2003). Chan (2000) has convincingly argued the case for the social function of nostalgia films in 1990s Hong Kong. 9. Marchetti (2007), pp. 177–178. 10. Ibid., p. 44. 11. A representative of the Mainland authorities, ‘Shadow’ obliquely comments on the eclipse of Hong Kong’s freedom and autonomy after 1997. See Law (2005) for a discussion on the film’s character symbolism. 12. Marchetti (2007), p. 82. 13. Critics elsewhere have noted the political irony and symbolic significance of the promotion interview, as Lau speaks, in fluent English, about his confidence in the law to ‘back him up’ before and after the change of sovereignty in 1997. See Marchetti (2007), p. 87; and Law (2005), pp. 397–398. 14. Gerard Genette, quoted in Turim (1989), Flashbacks in Film,p.8. 15. The root of this apprehension can be traced back to the origins of triad societies in China as patriotic organizations and the long history of co- operation/co-option between powerful triads and government, which has been the substance of many Hong Kong gangster films in the 1990s. A more direct incident is a public comment made by the ex-Public Security Minister from Mainland China during a visit to Hong Kong in 1993: ‘Even triads can be patriotic’ (heishehui ye you ai guo de), which triggered widespread public discussion. 16. Turim (1989), p. 12. 17. Abbas (1997), p. 8. 18. Leung (2000), p. 264. 19. Marchetti (2007), p. 72. 20. The use of doubles is a common device in Hong Kong (and Hollywood) action films. Stephen Teo has an insightful analysis of the doppelgangers in his discussion on Johnnie To’s work. See Teo (2007), chapter 3. 230 Notes

21. Homoerotic overtones in Hei and Bong’s relationship are noted in Tong (2007a), pp. 18–19. 22. Teo (2007), p. 90. 23. See, for example, Abbas (1997), pp. 54–58. For a discussion on the representation of space in Chungking Express, see Huang (2004), pp. 31–56. 24. Abbas (1997), p. 54. 25. ‘Shallowness’ and ‘emptiness’ are common complaints in local reviews of the ﬁlm. See various references to the ﬁlm in Hong Kong Cinema Retrospective 2006.

7 Migrants in a Strange City: (Dis-)Locating the China Imaginary

1. The history of this interaction is detailed in Fu (2003). 2. See Allen Chun (1996), ‘Fuck Chineseness: On the Ambiguity of Ethnicity as Culture and Identity’, Boundary 2 23:2, pp. 111–138. 3. Fu (2003). 4. A special study published by the Hong Kong International Festival contains a series of articles on the subject. See Cheng (1990); also discussed in Teo (1997). 5. See, for example, Esther Yau (1994); Teo (1997); Abbas (1997); Ma (2001); Marchetti (2007). 6. See Xiaoming Chen (1997), ‘The Mysterious Other: Postpolitics in Chinese Film’, Boundary 2 24:3, pp. 123–141. 7. Abbas (1997), pp. 23–24. 8. Ibid., p. 22. 9. Arguing that the imagination is a social practice, Appadurai (1996) iden- tifies five interrelated dimensions of global cultural flows: ethnoscapes, mediascapes, technoscapes, financescapes, and ideoscapes. 10. Young (1995), Colonial Desire, p. 175. 11. Shih Shu-mei (2001), The Lure of the Modern, pp. 277–278; Yingjin Zhang (1999), The City in Chinese Literature and Film, pp. 137, 230. 12. Vivian Lee (2007), ‘In/Out of the Critical Divide: The Indeterminacy of Hero’. Scope 10 (4), http://www.scope.nottingham.ac.uk/article.php?issue= 9&id=955. 13. Chang (2003), ‘Golden Chicken: Samson Chiu Cooks up a Seasoned Chicken’, Hong Kong Panorama 2002–2003, the 27th Hong Kong International Film Festival, p. 75. 14. Linda Lai (2001) uses ‘enigmatization’ to describe the peculiar use of language in many Hong Kong films that address primarily a ‘closed community of locals’. 15. The Mainland character in pre-handover in Hong Kong film and television is discussed in Cheng 1990 and Yau 1994. 16. ‘Anti-intellectualism’ has been used by many local critics to describe the excessive use of vulgarity and sensationalism in Hong Kong commercial films. 17. Athena Tsui (2003) ‘2002 Applause—Reinvestigating the Emigrant and Eli- tist Mentalitym’, In Hong Kong Panorama 2002–2003, the 27th Hong Kong International Film Festival. Notes 231

18. Abbas (1997), p. 10. 19. Deleuze and Guattari, quoted in Abbas (1997), p. 10. 20. Shin and Tsui (2003) ‘Three—Going Home: Peter Chan’s Journey of a Non- believer’, Hong Kong Panorama 2002–2003, the 27th Hong Kong Interna- tional Film Festival, p. 38. 21. Gan (2005), Fruit Chan’s Durian Durian, pp. 4–8. 22. Durian Durian continues the story of Fan, the teenage illegal immigrant in Little Cheung. According to Fruit Chan the original idea of making another ﬁlm about the same working-class neighbourhood (Portland Street in Mongkok) came from the large amount of real-life stories collected by the crew during their research on Little Cheung. See Fruit Chan’s interview in Ye 2000. 23. Gan (2005), pp. 47–48. 24. Appadurai (1996), Modernity at Large. 25. Gan (2005), p. 52. 26. Ibid., p. 79. 27. Nienchen Ye (2003), ‘Can’t Pass up a Good story: From Little Cheung to Durian Durian’, Hong Kong Panorama 1999–2000, the 24th Hong Kong International Film Festival, p. 23. 28. Wang Gungwu (2003), Anglo-Chinese Encounters Since 1800. 29. Chang (2002), ‘Hollywood Hong Kong: Fruit Chan’s Heaven and Hell’, In Hong Kong Panorama 2001–2002, p. 84. 30. Ibid., p. 87. 31. Gan interprets this ‘metonymic trick’ in both ﬁlms as ‘a reminder of Hong Kong’s global connections’ and the necessity for ‘any negotiations of identity to be understood within a global context’. Gan (2005), p. 88. 32. Leo Ou-fan Lee (1999), Shanghai Modern, pp. 323–324. 33. Abbas (1997), p. 25.

8 Outside the Nation: The Pan-Asian Trajectory of Applause Pictures

1. Recent scholarship has shed light on how Asia as a popular cultural imaginary is implicated in the discourse of Asianism, hence the mass consumption of ‘Asian’ cultural products. For discussions on the historical development of Asianism, see Taizo Miyagi (2006), ‘Post-War Japan and Asianism’, Asia- Pacific Review 13:2, pp. 1–16; Gi-Wook Shin (2005), ‘Asianism in Korea’s Politics of Identity’, Inter-Asia Cultural Studies 6:4, pp. 617–630. For a critique of Asianness and its cultural manifestations in Japan and Asia, see Leo Ching (2000), ‘Globalizing the Regional, Regionalizing the Global: Mass Culture and Asianism in the Age of Late Capitalism’, Public Culture 12:1, pp. 233– 257; Koichi Iwabuchi (2002), ‘Nostalgia for a (Different) Asian Modernity: Media Consumption of “Asia” in Japan’, Positions 10:3, pp. 547–574; and Chua Beng-huat (2004), ‘Conceptualising an East Asian Popular Culture’, Inter-Asia Cultural Studies 5:2, pp. 200–221. 2. Applause Pictures ‘was created to forge new links between the film industries and film-makers of Asia Pacific’. http://www.applausepictures.com/profile/ index.html. 232 Notes

3. See Stephen Teo’s report in ‘Hong Kong Journal Report’, Film Comment November/December 2000, pp. 11–13. 4. The CEPA (Closer Economic Partnership Agreement) between Hong Kong and Mainland China came into being in 2003 in the wake of mounting public unrest over the ineffectual administration of former Hong Kong Chief Executive Tung Chee-hwa, as an attempt by the Chinese central government to reinvigorate the Hong Kong economy in the post-SARS period. Among the provisions are increased import quota and more relaxed regulations for the local film industry to operate in the Mainland. 5. Peter Chan was producer of The Eye (2008) for Lionsgate/Paramount Van- tage, a remake of Applause’s 2002 production, Jian Gui (meaning ‘seeing ghost’). The original version of the film was a co-production with Singapore’s Raintree Productions. 6. Pieter Aquilia (2006), ‘Westernizing Southeast Asian Cinema: Co- productions for a Transnational Market’, Continuum: Journal of Media and Cultural Studies 20:4, pp. 434–435. 7. For a discussion on the ‘social content’ and style of Hong Kong horror, see Lisa Odham Stokes and Michael Hoover (2003), ‘Enfant Terrible: The Terrible, Wonderful World of Anthony Wong’, Steven Jay Schneider, ed., Fear Without Frontiers: Horror Cinema Across the Globe, pp. 45–59. 8. Peter Chan’s interview with Thomas Shin in Hong Kong Panorama 2002–2003, pp. 32–38. 9. Jay McRoy (2005a), ‘Case Study: Cinematic Hybridity in Shimizu Takashi’s Ju-on: The Grudge’, Jay McRoy, ed., Japanese Horror Cinema, pp. 175–184. 10. This film was a critical but not a commercial success. Fruit Chan spend the subsequent years to complete his next project, Made in Hong Kong (1997), which formally launched his arthouse career. See Gan (2005), pp. 4–5. 11. Cynthia Freeland (2004), ‘Horror and Art-Dread’, Stephen Prince, ed., The Horror Film, pp. 192, 195–196. 12. Shin and Tsui (2003), p. 36. 13. ‘... I didn’t believe [Yu’s wife] could come back to life. Hence I put the wife into Eric Tsang’s mind’. Shin and Tsui (2003), p. 35. 14. Ibid., p. 37. 15. The police dormitory and the photo salon are on Wyndham Street in the older part of the Central District on Hong Kong island, where headquarters of public and commercial institutions are located. 16. Shin and Tsui (2003), p. 35. 17. Ibid., p. 38. 18. In the full 90-minute version, the heroine consumes the five-month old foetus of her husband’s mistress. 19. Stokes and Hoover (2003), p. 47. 20. McRoy (2005), p. 181. 21. For an account of the figuration of technology in post-industrial horror, see Ian Conrich (2005), ‘Metal-Morphosis: Post-Industrial Crisis and the Tormented Body in the Tetsuo Films’, McRoy ed., Japanese Horror Cinema, pp. 95–106. 22. See Stephen Hantke (2005), ‘Japanese Horror Under Western Eyes: Social Class and Global Culture in Miike Takashi’s Audition’, Japanese Horror Cinema, Jay McRoy ed., pp. 54–65. Notes 233

23. Isabel Cristina Pinedo (2004), ‘Postmodern Elements of the Contemporary Horror Film’, Stephen Prince ed., The Horror Film, pp. 106–107. 24. The breaking down of moral, social, and existential boundaries is widely noted as a central trope of horror. See Stephen Prince (2004), ‘Introduction: The Dark Genre and Its Paradoxes’, The Horror Film, pp. 1–14. 25. According to Robertson, ‘glocal’ emcompasses the multivalence of the terms ‘global’ and ‘local’, which he sees as complementary and simulta- neous, rather than diametrically opposed. Robertson’s proposition allows for a dialogic negotiation among ‘many different modes of practi- cal production of locality’ that both results from and constitutive of the ‘form’ of contemporary globalization. See Roland Robertson (1995), ‘Globalization—Localization: Homogenization—Heterogenization’, Feath- erstone, Scott Lash, and Roland Robertson eds., Global Modernities, pp. 25–44. 26. Among these awards are Best Director and Best Actress (Golden Horse Awards), and Best Actress and Best Cinematography (Hong Kong Film Awards). 27. Derek Elley, ‘The Warlords’, Variety, January 14, 2008. 28. The film won a number of major awards at the 2007 Hong Kong Film Awards, including Best Picture, Best Director, Best Actor, and Best Cinematography. 29. Nelson H. Wu, ‘The Warlords’, The China Post (Internet Edition), December 28, 2007. 30. See Georgette Wang and Emilie Yeh (2007), ‘Globalization and Hybridization in Cultural Production: A Tale of Two Films’, Chan Kwok-bun, Jan W. Walls, and David Hayward, eds., East West Identities, pp. 79–82. 31. Older musical films fall into two main categories: the huang mei diao, which are mainly sing-song costume dramas with conventional themes and play- acting; and the so-called gewu pian, the song-and-dance film featuring young female singers. Popular in the 1960s, these films are usually considered a ‘local’ invention, mixing dialogue and drama with musical numbers (an affil- iation to traditional opera), and hence not strictly speaking ‘musicals’ in the Western sense. 32. Sura Wood, ‘Perhaps Love’, The Hollywood Reporter, June 8, 2006. http:// www.hollywoodreporter.com/hr/film/reviews/article_display.jsp?&rid=405 (Accessed March 15, 2008). 33. Wang and Yeh (2007), p. 78. 34. Director’s interview included in the film’s DVD bonus track. 35. C.f. n. 35. An online film blog playfully titles the film ‘800’, for its obvi- ous resemblance to the Hollywood blockbuster, 300 (2007). For instance, an online film blog playfully titles the film ‘800’, after the Hollywood blockbuster 300 (2007). 36. Koichi Iwabuchi (2001), ‘Becoming Culturally Proximate: The A/scent of Japanese Idol Dramas in Taiwan’, B. Moeran, ed., Asian Media Productions. See also Iwabuchi (2002), ‘Nostalgia for a (Different) Asian Modernity: Media Consumption of “Asia” in Japan’, Positions 10:3, pp. 562–563. 37. Appadurai’s logic boomerangs back to the ‘source’ of this nostalgia: ‘... you’re your own past can be made to appear as simply a normalized modality of your present’. Appadurai (1996), pp. 29–31. 38. Derek Elley (2008). 234 Notes

39. Shao-hua Gua, Lords of War, http://storibord.blogspot.com/2007/12/lords- of-war.html (Accessed March 15, 2008). 40. David Desser (2005), ‘Making Movies Male: Zhang Che and the Shaw Broth- ers Martial Arts Movies, 1965–1975’, Pang and Wong, eds., Masculinities and Hong Kong Cinema, pp. 17–34. 41. Ibid., p. 23. 42. For a discussion on the ‘critical divide’ in the reception of Zhang Yimou’s ﬁlm, see Vivian Lee, October 2007; see also Lu Tonglin (1999), ‘The Zhang Yimou Model’, Journal of Modern Literature in Chinese 3:1, pp. 1–21. 43. Robertson (1995), p. 29.

The Hong Kong Multiplex: An Unfolding Narrative

1. Information based on ‘Mainland and Hong Kong Closer Economic Partner- ship Arrangement (CEPA): Third Phase of Trade Liberalization (CEPA III). Specific Commitments on ‘ “Cinema Theatre Services” and “Chinese Lan- guage Motion Pictures and Motion Pictures Jointly Produced” and Related Implementation Details’, Television and Entertainment Licensing Author- ity, Hong Kong Government, http:// www.fso-tela.gov.hk/doc/CEPAIII- Commitments.pdf; http://www.fso-tela.gov.hk/accessibility/eng/whats_new. cfm; and http://info.hktdc.com/main/si/spfilm.htm; also discussion in Davis and Yeh (2008), pp. 102–105. 2. The 80-million-US-dollar historical drama opened in 48 Beijing cinema. The ‘most expensive’ Chinese-language film ever made, the film grossed over RMB25 million ($3.65 million) on its first day of release in China, HK2,000,830 ($257,500) in Hong Kong, and reported 139,000 admissions on opening day in Korea, breaking the records of Zhang Yimou’s Hero and House of Flying Daggers (58,000 and 60,000 admissions, respectively). Sources: Variety, http://www.varietyasiaonline.com/content/view/6450/1&nid=3597; and China View, http://news.xinhuanet.com/english/2008-07/10/content_ 8524002.htm (Accessed December 15, 2008). 3. Taiwan’s film industry has shown signs of a long-awaited recovery with the surprise success of Cape No. 7/Haijiao Qihao (2008), a small-budget production that has stirred up sensations rivaling the best of Japanese TV dramas in Taiwan and Hong Kong. It was the highlight of the 2008 Golden Horse awards, and was hailed as signalling a turning point in Taiwan cinema. See discussion below. 4. Appadurai (1996), pp. 31–37. 5. Ulf Hannerz (1990), ‘Cosmopolitans and Locals in World Culture’, Global Culture: Nationalism, Globalization, and Modernity, p. 250. 6. Appadurai (1996), p. 184. 7. ‘Cross-cultural Perspectives on East Asian Cinemas: An International Sympo- sium’, City University of Hong Kong, July 3–4, 2008. The forum was held on July 4. 8. International film festivals have played an important role in this new mar- keting positioning of arthouse films. See Davis and Yeh (2008), pp. 140–164. 9. See Lee Cheuk-to and Bono Lee’s interview with Johnnie To in Hong Kong Panorama 1999–2000, pp. 46–50. Notes 235

10. Cape No. 7 won five awards in total, and Wei brought home the Outstand- ing Filmmaker Award. Warlords was awarded Best Film, and Peter Chan Best Director. 11. Tam Chi-wan/Tan Zhiyun (transcription) (2008), ‘Redefining Territo- rial Boundaries: The Impact of Cape No. 7’[Haijiao qian lang, bantu chongzheng], Hong Kong Economic Journal (Xin bao), December 8, p. 45. 12. Tong Ching-siu, ‘CEPA Effects and New Types of HK Films Exploring Mainland Market’, http://www.filmcritics.org.hk/en/criticism.php (Accessed December 15, 2008); c.f. n. 1. Hong Kong Cinema Since 1997: Glossary

Names

English Chinese Alan Mak Siu-fai Alfred Cheung Allan Fung Yi-ching Andrew Lau Wai-keung Andy Lau Andy On Ang Lee Anita Mui Ann Hui Anthony Wong Chau-sang Bai Ling Benny Chan Muk-shing Bruce Lee Carina Lau Carol ‘Do Do’ Cheng Chan Kwok-kwan Chapman To Man-chak Chen Daoming Chen Kaige Cheung Chi-leung Chow Yun-fat Chris Doyle Derek Yee Tung-sing Eddie Ko Edison Chen Edmond Pang Ho-cheung Eric Tsang Faye Wong/Wang Jingwen Fei Mu Francis Ng Fruit Chan Fung Xiaogang Gong Li

236 Hong Kong Cinema Since 1997: Glossary 237

Gordon Chan Ka-seung Hu Jun Isabella Leung Lok-sze Jackie Chan Jackie Cheung Jackie Lui Chung-yin Jay Chou Jeffrey Lau Chun-Wai Jet Li Ji Jun-hee Joe Cheung Tung-joe John Woo Johnnie To Jojo Hui Josephine Siu Fong-fong Josie Ho Kim Ji-woon Lai Man-wai Lam Ka-tung Lam Suet Lau Ching-wan Lee Chi Ngai Lee Kung-lok Leon Lai Leslie Cheung Leung Siu-lung Li Bihua Lin Shu-yu Liu Kai-chi Lo Hoi-pang Louis Koo Maggie Cheung Miriam Yeung Nicholas Cheung Ka-fai Pang Brothers Park Chan-wook Patrick Tse Yin Pauline Chan Po-chu Peter Chan Ho-sun Peter Pao Qin Hailu 238 Hong Kong Cinema Since 1997: Glossary

Ringo Lam Roy Cheung Sammo Hung Samson Chiu San Ma Sizang/Tang Wing-cheung Sandar Ng Kwan-yu Shaw Brothers Shawn Yue Shi Shuqing Simon Yam Sit Kar-yin Stanley Kwan Stephen Chow (Stephen Chiau) Takashi Kaneshiro Takashi Shimizu Takeshi Miike Teddy Chan Ti Lung Tony Leung Chiu-wai Tony Leung Kar-fai Tsui Hark Wai Ka-fai Wei Te-sheng Wong Ching-po Wong Kar-wai Wong Tin-lam Wong Yat-wah Xu Jiao Xu Jinglei Yau Tat-chi Yim Ho Yuen Qiu Yuen Wah Yuen Wo-ping Zhang Yimou Zhang Ziyi Zhao Wei Zheng Pei-pei Zhou Xuan Zhou Xun Hong Kong Cinema Since 1997: Glossary 239

Film titles

English Chinese 92 Legendary La Rose A Battle of Wits A Better Tomorrow / A Better Tomorrow II A Chinese Odyssey A Hero Never Dies A Wedding Banquet A.V. An All-Consuming Love As Tears Go By As Time Goes by Ashes of Time Breaking News Cape No. 7 Center Stage (a.k.a. The Actress) C’est la vie mon chéri Chicago Chungking Express CJ 7 Comrades, Almost a Love Story Confession of Pain Crouching Tiger, Hidden Dragon Days of Being Wild Divergence Dumplings Durian Durian Election Election II Enter the Dragon Exiled Expect the Unexpected Face Off First Option Flirting Scholar Forbidden City Cop From Beijing With Love Fu Bo Going Home Golden Chicken / Golden Chicken 2 240 Hong Kong Cinema Since 1997: Glossary

Happy Together He Ain’t Heavy, He’s My Father He’s a Woman, She’s a Man Her Fatal Ways Hero Hollywood, Hong Kong Homecoming House of 72 Tenants House of Flying Daggers In the Mood for Love Infernal Affairs / Infernal Affairs II/ Infernal Affairs III Isabella Jade Goddess King of Comedy Kung Fu Hustle Lawyer Lawyer Lifeline Linger Little Cheung Loving You Mad Detective Made in Hong Kong Men Suddenly in Black My Son A-Chang Once Upon a Time in China One Night in Mongkok Ordinary Heroes Out of the Dark Painted Face Perhaps Love Public Toilet Pushing Hands Red Cliff Road to Dream Rose, Rose, I Love You Rouge Royal Tramp Running Out of Time / Running out of Time II Hong Kong Cinema Since 1997: Glossary 241

Secret Shaolin Soccer Song of a Songstress Song of the Exile Sparrow Spring in a Small City Summer Snow The Eye / The Eye 2 The Longest Nite The Longest Summer The Mission The Postmodern Life of My Aunt The Promise The Warlords Three Three ...Extremes Three: Memory Three: The Wheel Three ...Extremes: Box Three ...Extremes: Cut Throwdown Tom, Dick, and Harry Too Many Ways to Be No. 1 Visible Secret Winds of September You Shoot, I Shoot Zu: Warriors of the Magic Mountain Bibliography

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action ﬁlm, 15–16, 76, 79, 82, 87–9, Chen, Daoming, 145, 236 93, 101–5, 110, 116–17, 120–1, Chen, Edison, 141, 146, 236 123, 138, 143, 159, 169, 205, 214, Cheng, Carol ‘Do Do’, 168, 236 228–9, 248 Chen, Kaige, 212, 236 An All-Consuming Love, 27, 239 Cheung, Alfred, 167, 188, 236 anime, 123, 130 Cheung, Chi-leung, 212, 236 art ﬁlm, the, 6, 21, 187–8, 216 Cheung, Jacky, 167, 202, 237 Ashes of Time, 22, 37, 239 Cheung, Ka-fai Nicholas, 95, 237 auteur, 14, 16, 21, 24, 26, 66, 87, 91, Cheung, Leslie, 28, 145, 237 94, 212, 225, 244 Cheung, Maggie, 30, 39, 123, 237 A.V., 78, 239 Cheung, Roy, 96, 238 Cheung, Tung-joe Joe, 215, 237 Bai, Ling, 38, 195, 236 Chicago, 202, 239 A Battle of Wits, 212, 239 Chineseness, 1, 13, 17, 46, 49, 120, From Beijing With Love, 118, 239 132, 189, 230, 243 A Better Tomorrow/A Better Tomorrow II, A Chinese Odyssey, 118, 239 89, 102, 105, 113, 145, 239 Chiu, Samson, 17, 165–6, 173, 187, blockbuster(s), 16, 18, 121, 125, 185, 214, 230, 238, 243 200–1, 206, 216, 233 Chou, Jay, 217, 237 Breaking News, 90, 93, 100, 104, 239 Chow, Stephen (Stephen Chiau), 4, 10, 15–16, 109, 117, 123–7, 130–1, Cantonese cinema, 14, 24, 52, 54, 64, 136, 170, 184, 214–15, 226, 238 79, 126, 220, 222 Chow, Yun-fat, 105, 109, 113, 123, Cape No. 7, 216, 234–5, 239, 248 211, 236 Center Stage (a.k.a. The Actress), 5, 239 Chungking Express, 22, 24, 40, 101, C’est la vie mon chéri, 44, 239 156–7, 180, 205, 230, 239 CGI (computer-generated imagery), CJ 7, 137, 239 16, 118, 121–2, 126, 128, 135 colonial history, 3, 22, 38, 55, 67, 69, Chan, Fruit, 13–14, 17–18, 43, 45, 89, 148, 165, 189 48–52, 63–5, 68, 88, 132, 137, colonialism, 3, 59, 164–5, 219, 223, 165, 169, 171–3, 175–6, 178, 180, 248 182, 186, 188, 193–4, 196, 199, comedy, 5–6, 15, 17, 22, 25, 45, 76, 214, 222, 231–2, 236, 243–4 82, 117–18, 126–7, 169–72, 185, Chan, Ho-sun Peter, 17, 24, 171, 184, 203, 226–7, 240 237 Comrades, Almost a Love Story, Chan, Jackie, 109, 119, 132, 228, 237, 185, 239 244 Confession of Pain, 16–17, 110, 138–9, Chan, Ka-seung Gordon, 212, 237 141, 150, 152, 154–9, 239 Chan, Kwok-kwan, 131, 236 Crouching Tiger, Hidden Dragon, 121–2, Chan, Muk-shing Benny, 138, 236 124, 135, 201, 203, 209, 212, Chan, Po-chu Pauline, 25, 237 226–7, 239, 243, 245, 248 Chan, Teddy, 184, 238 Cyber fu, 122

250 Index 251

Days of Being Wild, 5, 8, 22, 24, 28, 37, Happy Together, 31, 219, 240, 248 39, 220, 239, 248 He Ain’t Heavy, He’s My Father, 24–5, digital technology/technologies, 16, 240 118, 121, 128–30, 136 Her Fatal Ways, 167, 240 Divergence, 110, 138, 239 hero Doyle, Chris, 193, 204, 236 ﬁlm(s), 5, 8, 87, 89–90, 104, 107, Dumplings, 18, 186–8, 194–9, 209, 239 110, 157 Durian Durian, 17, 165, 171–3, 175–7, heroism, 88–90, 95, 98, 100, 104–5, 179–83, 189, 194, 196, 222, 231, 107, 109, 111–12, 115–16, 239, 244, 249 138–9, 143, 197 Hero, 125, 207, 209, 212, 228, 240, 243 Election, 90, 239 A Hero Never Dies, 105, 109, 239 Election II, 90, 239 He’s a Woman, She’s a Man, 185, 240 Enter the Dragon, 119, 239 Ho, Josie, 95, 237 Exiled, 66, 88–9, 91–5, 97–8, 100, Hollywood Hong Kong, 17, 165, 171–3, 110–11, 114, 116, 226, 239 177–83, 189, 194, 196, 231, 240, Expect the Unexpected, 90, 239 243 Eye, The/Eye 2, The, 186, Homecoming, 5, 8, 24, 240 232, 241 homelessness, 176–7, 183, 194, 199 (Hong Kong) New Wave, the, 1, 7–8, Face Off, 142, 239 14, 22, 24, 45, 50, 77, 220, 222, Faye, Wong/Wang, Jingwen, 37–8, 243 40, 236 horror, 5, 18, 70, 74, 109, 186–9, Fei, Mu, 27, 236 192–3, 195–7, 199–200, 209–10, First Option, 90, 239 224, 232–3, 243–4, 246–8 Flirting Scholar, 118, 239 House of 72 Tenants, 132, 240 Forbidden City Cop, 118, 239 House of Flying Daggers, 205, 212, 234, Fu Bo, 14–15, 66–70, 75–8, 80–4, 95, 240 214, 223–4, 239 Hui, Ann, 5, 8, 13–14, 24, 27, 44–5, Fung, Xiaogang, 131, 236 56–7, 59–61, 63–6, 68, 88, 132, Fung, Yi-ching Allan, 184–5, 236 169, 193, 211, 214, 223, 236, 243, 249 gangster ﬁlm, 66, 80–2, 87, 90, Hui, Jojo, 187, 189, 237 102, 132, 142, 145–8, 219, Hu, Jun, 168–9, 237 224, 229 Hung, Sammo, 109, 238 gender, 4, 17, 34, 43, 76–7, 83, 93–4, 113–14, 124, 152, 165, 170–1, identity 182, 196, 227, 246, 249 Hong Kong identity, 43–4, 166, 220, globalization, 3–4, 43–4, 47, 73, 246 120–1, 164, 184, 213, 221–2, local identity, 7, 43 233–4, 242, 244, 247, 249 national identity, 54, 59, 140 global visual culture, 15, 119, 122–3, Infernal Affairs/Infernal Affairs II/ 131 Infernal Affairs III, 16, 102, 110, Going Home, 18, 186–7, 189, 192–5, 138–44, 146–52, 154–8, 169, 221, 199, 209, 231, 239, 247 227, 229, 240, 245–6 Golden Chicken/Golden Chicken II, 2, intertextuality, 2, 5, 11, 14, 23, 29–31, 17–18, 165–71, 182–3, 189, 230, 42, 104, 108, 118, 126, 214 239, 243 Isabella, 14–15, 66–7, 69, 75, 77–84, Gong, Li, 38, 236 95, 214, 223–4, 240, 244, 247 252 Index

Jade Goddess, 211, 240 Little Cheung, 14, 43, 45–54, 56, 63–5, Ji, Jun-hee, 202, 237 137, 169, 172–3, 178, 214, 221, 231, 240, 249 Liu, Kai-chi, 68, 237 Kaneshiro, Takashi, 150, 156, 202, Lo, Hoi-pang, 102, 237 205–6, 238 Longest Nite, The, 66, 95, 109, 241 Kim, Ji-woon, 188, 237 Longest Summer, The, 48, 169, 178, 241 King of Comedy, 15, 117, 127, 240 Loving You, 109, 240 Ko, Eddie, 91, 236 Lui, Chung-yin Jackie, 91, 223, 237 Koo, Louis, 110, 237 kung fu Mad Detective, 89, 108–12, 114–16, film(s), 16, 117, 119–21, 123, 126, 138, 240 205, 224 Made in Hong Kong, 14, 48, 172, 176, hero(es), 117, 226 178, 232, 240 Kung Fu Hustle, 16, 117–18, 121–2, Mainlander, 17, 167–8, 172, 223 124–6, 128, 131–3, 135–6, 214, Mainland Other, 167, 169, 180–2 228, 240, 242, 244, 246, 248 Mak, Siu-fai Alan, 15–16, 102, 110, Kwan, Stanley, 5, 8, 10, 24, 46, 238 138, 140, 144, 214, 221, 236, 246 martial arts Lai, Leon, 105, 143, 190, 237 film(s), 1, 15–16, 96, 118–26, 128, Lai, Man-wai, 52, 237 131, 133–6, 163, 205, 213, 215, Lam, Ka-tung, 113, 237 225–7 Lam, Ringo, 109, 238 hero(es), 122, 136, 208 Lam, Suet, 96, 237 melodrama, 1, 6, 16, 22–3, 25, 27–9, Lau, Andy, 110, 141, 205–6, 236 132, 137 Lau, Carina, 38, 148, 236 Men Suddenly in Black, 78, 240 Lau, Ching-wan, 108, 237 Miike, Takeshi, 187–8, 196, 232, 238, 244 Lau, Chun-Wai Jeffrey, 24, 237 Mission, The, 88–91, 225, 241, 246 Lau, Wai-keung Andrew, 16, 236 In the Mood for Love, 14, 21, 23, 30, 37, Lawyer Lawyer, 118, 240 219–21, 240, 246 Lee, Ang, 75, 124, 226–7, 236, 243 Mui, Anita, 76, 80, 236 Lee, Bruce, 16, 52, 87, 119–21, 124, My Son A-Chang, 52, 137, 240 128–9, 131, 134, 136–7, 227, 236, 245 national cinema, 4, 218, 244 Lee, Chi Ngai, 24, 237 Ng, Francis, 92, 146, 236 Lee, Kung-lok, 14, 67, 237 Ng, Kwan-yu Sandar, 166, 238 92 Legendary La Rose, 8, 24–5, 239 nostalgia Leung, Chiu-wai Tony, 30–1, 37, 123, film, 7, 9, 11, 14, 23–5, 32, 36, 39, 141, 150, 154, 156, 238 41, 212, 229 Leung, Kar-fai Tony, 197, 238 post-nostalgic (imagination), the, Leung, Lok-sze Isabella, 77, 82, 237 23, 29, 41, 45, 104, 108, 125, Leung, Siu-lung, 134, 237 130, 138, 140–1, 144, 165, 184, Li, Bihua, 10, 237 212–215 Lifeline, 90, 240 Li, Jet, 8, 109, 121, 132, 205–6, 208, On, Andy, 114, 236 228, 237 Once Upon a Time in China, 8, 24, 121, Linger, 211, 240 240 Lin, Shu-yu, 217, 237 One Night in Mongkok, 125, 240 Index 253

Ordinary Heroes, 14, 27, 43, 45–7, Sit, Kar-yin, 25, 238 56–65, 169, 221, 223, 240, 249 Siu, Fong-fong Josephine, Otherness, 182, 195 25, 237 Out of the Dark, 109, 240 social realism, 6, 14, 68, 132, 172 Painted Face, 212, 240 social realist cinema, 45, 64–5 pan-Asian cinema, 184, 212 Song of the Exile, 5, 8, 24, 62, 66, 169, pan-Asian ﬁlmmaking, 17, 185–6, 241 200–1 Song of a Songstress, 27, 241 pan-Asian ﬁlm(s), 201, 203, 208–9 Sparrow, 216, 241 Pang Brothers, 186, 237 special effects, 121, 123, 128–9, 131, Pang, Ho-cheung Edmond, 14, 67, 77, 135–6, 188 236 Spring in a Small City, 27, 241 Pao, Peter, 204, 237 Summer Snow, 44, 241 Park, Chan-wook, 188, 237 parody, 5, 8, 11, 26, 36, 88, 104, As Tears Go By, 21, 37, 239 125–7, 133 Three ...Extremes: Box, 188, 196, 241 pastiche, 9–11, 126–7, 131, 133, 212, Three ...Extremes: Cut, 188, 196, 241 218, 244 Three, 18, 186, 187, 241 Perhaps Love, 18, 186, 200–3, 205, Three ...Extremes, 18, 186, 188, 196, 208–9, 215, 233, 240, 249 241 postcoloniality, 3 Three: Memory, 188, 241 postmodernism, 6, 9, 218, 244 Three: The Wheel, 188, 241 Postmodern Life of My Aunt, The, 211, Throwdown, 241 241 Ti, Lung, 145, 226, 238 Promise, The, 208, 212, 241 As Time Goes by, 63, 239 Public Toilet, 194, 240 To, Johnnie, 15, 66, 87, 90, 138, 143, Pushing Hands, 75, 240 145, 147, 154, 211, 214–16, 225–6, 229, 234, 237, 242, 244, Qin, Hailu, 173, 237 246–8 To, Man-chak Chapman, 77, Red Cliff, 212, 240, 242 169, 236 Road to Dream, 130, 240 Tom, Dick, and Harry, 185, 241 Rose, Rose, I Love You, 24, 240 Too Many Ways to Be No, 1, 90, 241 Rouge, 5, 10, 24, 202–3, 240 transnational cinema(s), 3, 218, 244 Royal Tramp, 118, 240 Tsang, Eric, 147, 169, 190, 194, 216, Running Out of Time/Running out of 232, 236 Time II, 102, 104, 109–10, 225, Tse, Yin Patrick, 127, 237 240, 246 Tsui, Hark, 1, 8, 24, 53, 96, 106, 121, 134, 145, 176, 238 San Ma Sizang/Tang, Wing-cheung, 50, 238 Visible Secret, 61–2, 241 Secret, 217, 241 Shaolin Soccer, 16, 117–18, 121, Wai, Ka-fai, 89, 114, 225–6, 229, 238, 124–33, 136, 214, 241 242, 247 Shaw Brothers, 119, 132, 234, 238, 244 Warlords, The, 18, 186, 200–1, 203, Shimizu, Takashi, 188, 210, 232, 238, 205–9, 215–16, 233, 235, 241, 246 244, 249 Shi, Shuqing, 165, 238 A Wedding Banquet, 75, 239 254 Index

Wei, Te-sheng, 216, 238 Yam, Simon, 96, 238 Winds of September, 217, 241 Yau, Tat-chi, 66, 238 Wong, Chau-sang Anthony, 92, 143, Yee, Tung-sing Derek, 44, 125, 236 236 Yeung, Miriam, 195, 237 Wong, Ching-po, 14, 66, 238 Yim, Ho, 5, 8, 24, 238 Wong, Kar-wai, 8, 12–14, 16, 21, 24, You Shoot, I Shoot, 78, 241 29–30, 35, 41, 45–6, 80, 101, 125, Yuen, Qiu, 134–5, 238 156, 180, 205, 214, 218–21, 238, Yuen, Wah, 134–5, 238 243, 245–8 Yuen, Wo-ping, 122, 129, 238 Wong, Tin-lam, 91, 238 Yue, Shawn, 141–2, 146, 238 Wong, Yat-wah, 169, 238 Woo, John, 5, 8, 12, 16, 87, 89, 97, Zhang, Yimou, 124, 132, 205–7, 212, 102, 104, 107, 142, 169, 211, 225, 228, 234, 238, 243, 246 237, 249 Zhang, Ziyi, 38, 123, 238 Zhao, Wei, 127, 238 Wuxia, 87, 110, 119, 121, 134, 200, Zheng, Pei-pei, 135, 238 212, 220, 227, 248 Zhou, Xuan, 27, 31, 238 Zhou, Xun, 177, 196, 202, 238 Xu, Jiao, 137, 238 Zu: Warriors of the Magic Mountain, Xu, Jinglei, 150, 206–7, 238 121, 241