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Extraterritoriality Locating Hong Kong Cinema and Media VICTOR FAN EXTRATERRITORIALITY LOCATING HONG KONG CINEMA AND MEDIA Extraterritoriality To Sabina Extraterritoriality Locating Hong Kong Cinema and Media Victor Fan Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Victor Fan, 2019 Edinburgh University Press Ltd The Tun – Holyrood Road, 12 (2f) Jackson’s Entry, Edinburgh EH8 8PJ Typeset in Monotype Ehrhardt by Servis Filmsetting Ltd, Stockport, Cheshire, and printed and bound in Great Britain A CIP record for this book is available from the British Library ISBN 978 1 4744 4042 4 (hardback) ISBN 978 1 4744 4044 8 (webready PDF) ISBN 978 1 4744 4045 5 (epub) The right of Victor Fan to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 and the Copyright and Related Rights Regulations 2003 (SI No. 2498). Parts of the following articles and book chapters have been revised and incorporated in this book, with their publishers’ permission: ‘Cultural extraterritoriality: Intra-regional politics in contemporary Hong Kong Cinema,’ East Asian Journal of Popular Culture 1, no. 3 (September 2015), pp. 389–402. ‘Poetics of parapraxis and reeducation: The Hong Kong Cantonese cinema in the 1950s’, in The Poetics of Chinese Cinema, (eds) Gary Bettison and James Udden (London: Palgrave Macmillan, 2016), pp. 167–83. ‘Extraterritorial cinema: Shanghai jazz and post-war Hong Kong Mandarin musicals’, The Soundtrack 6, nos. 1 and 2 (2014 [2015]), pp. 33–52. Figure 3.2, a production still from the 1990 performance of Zuni Icosahedron’s Deep Structure of Chinese (Hong Kong) Cultures, is reproduced here with the permission of director Danny Yung. The cover photo, a production still from Ziyou xing [A Family Tour, 2018], is reproduced here with the permission of director Ying Liang. Contents List of Figures vi Acknowledgements viii Notes on Transliteration xi On Extraterritoriality 1 1. What is Hong Kong Cinema? 36 2. Breaking the Wave 70 3. The Time it Takes for Time to End 111 4. Posthistoricity 157 5. The Age of Precarity 196 The Body of Extraterritoriality 238 Notes 268 Filmography and Videography 315 Index 323 vi extraterritoriality 4.1 Timmy stares directly at the camera while Xiaobei reads his nominal identity 188 4.2 Xiaobei and Zhang Lei look up to Timmy 188 Figures 4.3 Timmy looks back at Xiaobei 188 4.4 Timmy and Zhang Lei occupy the same liminal position 191 4.5 A proto-military image of fishing boats leaving the harbour 192 4.6 The sight of Timmy being executed 194 5.1 Joshua Wong in Lessons in Dissent 216 0.1–0.8 The ‘Night of Shanghai’ sequence in An All- 5.2 Intercepting an attempt to investigate a water-balloon Consuming Love 26–7 incident in Midnight in Mongkok 219 0.9 An All-Consuming Love: Zhijian throws a record of 5.3 P recounts her experience of being sexually harassed in Do Xiangmei’s song into the sea 29 You Hear Women Sing? 220 1.1 Verticalisation of the social dialectics in In the Face of 5.4 Original footage of the protests framed as memories in Demolition 64 Road Not Taken 224 1.2 Development of in-group solidarity 65 5.5 Fung tries to reach Lam in Civic Square 225 2.1 The opening sequence of The Arch 79 5.6–5.7 Two sides of Admiralty and two modes of temporality in 2.2 The Arch: mirroring-drifting enables the spectator to be Yellowing 228 sexually stimulated 82 5.8 An intimate interview of Edward Leung in Lost in the 2.3 In The Arch, desolation is sensed through the process of Fumes 235 mirroring-drifting 83 6.1 A bird’s-eye view of a worker labouring in a gigantic 2.4 The final montage of The Arch 84 machine in We the Workers 260 2.5 In ‘Miu Kam-fung’, one of Joe’s girlfriends waits for him 94 6.2 In A Family Tour, the film momentarily decentres Xiaolin 2.6 In ‘Miu Kam-fung’, Joe and his two lovers wait for their and Yang’s story 263 dinner under a pop art mural 95 2.7 Joe flips through a capitalist and communist magazine side-by-side 95 2.8 Joe and his friends swagger into a car dealer to test drive an Austin Princess 2220 96 2.9 In ‘The Boy from Vietnam’, Hing-nin performs cạo gaió on Man 103 2.10 In a night market, Chung spots a ghostly sex worker 106 2.11 Man’s penultimate dream sequence 107 3.1 Boat People: the affect of extraterritoriality 129 3.2 The central motif of Deep Structure of Chinese (Hong Kong) Cultures 146 3.3 The blindfolded young woman in May Fung, She Said Why Me 147 3.4–3.6 Ellen Pau’s Drained II 150 3.7 ‘Letter 1’ in Video Letters 1–3 152 3.8 The abstract spectre of Yam Kim-fai in Song of the Goddess 155 figures vii 4.1 Timmy stares directly at the camera while Xiaobei reads his nominal identity 188 4.2 Xiaobei and Zhang Lei look up to Timmy 188 4.3 Timmy looks back at Xiaobei 188 4.4 Timmy and Zhang Lei occupy the same liminal position 191 4.5 A proto-military image of fishing boats leaving the harbour 192 4.6 The sight of Timmy being executed 194 5.1 Joshua Wong in Lessons in Dissent 216 5.2 Intercepting an attempt to investigate a water-balloon incident in Midnight in Mongkok 219 5.3 P recounts her experience of being sexually harassed in Do You Hear Women Sing? 220 5.4 Original footage of the protests framed as memories in Road Not Taken 224 5.5 Fung tries to reach Lam in Civic Square 225 5.6–5.7 Two sides of Admiralty and two modes of temporality in Yellowing 228 5.8 An intimate interview of Edward Leung in Lost in the Fumes 235 6.1 A bird’s-eye view of a worker labouring in a gigantic machine in We the Workers 260 6.2 In A Family Tour, the film momentarily decentres Xiaolin and Yang’s story 263 viii extraterritoriality circle and in academia. The most important people are James Mudge and Xie Jingjing at the Chinese Visual Festival (London) and the one and only Tony Rayns! Furthermore, I am extremely grateful to have Acknowledgements the opportunities to work with all past and current members of the Chinese Visual Festival team (Sylvia Zhan, Swani Ip, Matthew Hurst, Ciu Cen and Andrew Heskins, who also runs easternKicks.com), David Somerset from the British Film Institute, Roger Garcia from the Hong Kong International Film Festival, Yuni Hadi and Weijie Lai from the Revisiting memories – both lived and cinematic – from my childhood Singapore International Film Festival, my buddy from the University of and teenage years, an era during which Hong Kong went through some Southern California Aditya Assarat, and Hye-jung Jeon from the London of its most tumultuous trials and tribulations, was a painful experience. East Asian Film Festival. It is also wonderful to be pampered by all the Furthermore, to analyse how it feels to be a Hong Konger and why it is Nice Looking People of the Network of Asian Film Festival in Europe: so difficult to articulate those feelings required a level of self-honesty that Sonali Joshi from Day For Night (London), Kristina Aschenbrennerova was at times emotionally draining. I am therefore tremendously grateful from Art Film Fest (Košice), Nancy Fornoville from Camera Japan for many people who walked me through this extraordinary journey. (Rotterdam and Amsterdam), Jakub Królikowski from Five Flavours ‘Extraterritoriality’ as a concept was inspired by my many conversa- Film Festival (Warsaw) and Joshua Smith from the Japanese Avant-garde tions with my friend and mentor Thomas LaMarre, with whom I had the and Experimental Film Festival (London). Of course, I also want to thank privilege to work at McGill University from 2010 to 2012. Its intricacies the stunning-looking Julian Ross from the International Film Festival and complexities have been enriched over the years under the gener- Rotterdam, Davide Cazzaro from NANG and Sabrina Baracetti from the ous guidance of Thomas Elsaesser, the unconditional support of Dudley Far East Film Festival (Udine). Andrew and Haun Saussy, and the patience and encouragement from In the past eight years, the idea of ‘extraterritoriality’ has been devel- Chris Berry. Every word of this book, in truth, is indebted to the intel- oped, tested and defended in conferences and publications. I treasure the lectual companionship of my friend George Crosthwait. memories of my joyful time at the Society of Cinema and Media Studies I feel incredibly honoured that in the last eight years, many filmmakers, (SCMS) with Frederik Green, Wei Yang and Yanhong Zhu, with whom critics and scholars whose works I discuss in this book have put every I edited a special issue of East Asian Journal of Popular Culture, where confidence in my project. Some I have met in chance encounters, whose my discussion of Drug War was first published. I want to thank Robert works and words have left indelible traces on these pages. Others have Hyland for inviting me to give a keynote on extraterritoriality at the Bader become friends and kindred spirits.
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