Category Archives: Academic Papers by Dr. Cheung

A Companion to Hong Kong Cinema: Introduction

Time haunts Hong Kong cinema in a peculiar way that sets it apart from other film cultures. Critics talk about it in terms of “time pieces” (Stephens 1996), “poets of time” (Rayns 1995), “translating time” (Lim 2001), “violence of time” (Law 2006), and “marking time” (Ma 2010). As Esther M.K. Cheung and Chu Yiu-wai (2004) remind us, Hong Kong film […]

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The Urban Maze Crisis and Topography in Hong Kong Cinema

Situating the new millennial films vis-à-vis several critical turns in the representations of the city in Hong Kong cinema, this chapter aims to examine the cinematic city as an episteme that grounds our knowledge of political, cultural, and socio-economic dynamics of Hong Kong society within a complex global–national–local network. It is argued that the urban cinema provokes critical discourses on […]

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Between Demolition and Construction: Performing Drifting Identities in Jia Zhangke’s Films

Contemporary Chinese filmmaker Jia Zhangke demonstrates how auteurism performs an essential role in shaping an impressive grassroots poetics within a rapidly vanishing space. Hailed by some critics as “the cinematic poet” of postsocialist China, Jia has developed an expansive field of citation where the recurrent spaces of demolition and construction are notable tropes. Bound up with the transformations of local […]

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概論:尋找香港電影的獨立景觀

獨立電影的路途悠遠漫漫,險惡重重。在香港電影業減產轉型的今天,主流工業也上下求索,尋找生存的路徑,獨立電影人所走的路豈不是更崎嶇?香港的獨立及實驗電影由來已久,卻從未開展真正的電影運動。論者都一致認為本地的獨立電影始於上世紀六十年代,於九十年代復甦。香港於六十年代透過電影學會引進十六米釐菲林及超八,那時候還未有政府資助,業餘製作者的興趣已萌芽。「第一影室」(Studio One)在1962年成立,主要成員是在港工作的外國人,後來「大影會」在1966年成立,其前身亦即「大學生活社」學生活動的「電影小組」,主辦放映、研討和座談等活動,並且推廣電影創作的風氣。一群愛好文學電影的青年是影會的成員,包括我們熟悉的羅卡、陸離、石琪、西西、金炳興和林年同等人,編輯撰寫《中國學生周報》,除了文藝創作和評論以外,還介紹西方著名的電影大師,締造電影文化國際化的視野,並為七十年代獨立創作的蓬勃景氣作開路先鋒。[…] (原刊於《尋找香港電影的獨立景觀》,主編:張美君,香港:三聯書店(香港)有限公司,2010。)

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Realisms within Conundrum: The Personal and Authentic Appeal in Jia Zhangke’s Accented Films

Abstract: With persistent efforts on constructing personal and collective memories arising from the unprecedented transformations in post-socialist China, Jia Zhangke has produced an ensemble of realist films with an impressive personal and authentic appeal. This paper examines how his films are characterised by a variety of accents, images of authenticity, a quotidian ambience, and a new sense of materiality within […]

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關錦鵬電影中的上海魅影

「為了證實自己的存在,古老的記憶比未來的瞭望更明晰、親切。」──張愛玲〈自己的文章〉《流言》 「我在你自戀的鏡像中看見自己,欣喜若狂。」──佚名 鬼魅、雙城、對話 人總有一死,文本卻生生不息,新的文本在連綿不絕的文化承傳、革新和交流中再生逝去的人與事。我們不得不承認,許多時候,歷史傳統對當下上下求索的眾生來說,有若揮之不去的鬼魅,創作者必須竭力驅魔,「破舊立新」,解開心結。改編小說為電影的人,也常常把舊的文本輪迴再生,在創新和忠於原著的衝突中,尋求出路。若說原著小說有時像鬼魅般纏繞改編者,也沒有誇大其辭。但曾幾何時,在鬼影幢幢的新文本內,我們看見「過去」與「現在」彷彿一對好友知己,在斷裂的歷史脈絡中促膝談心。對話不是情話,沒有海誓山盟的浪漫,卻為活著的人提供了有如甘霖的恩賜,而這種恩賜,往往在時代的轉捩點顯得不可缺少。已辭世的解構大師德希達 (Jacques Derrida) 在後冷戰的世局中深切思考莎翁名劇《王子復仇記》(Hamlet) 中出自哈姆雷特的名句:「這是一個青黃不接的時期!」(原文為:The time is out of joint.) 在迷惘中,哈姆雷特正與父親的鬼魂對話,找出自己應走的路向 (Derrida 1994:3)。德希達以此為引旨,思考在柏林圍牆倒下後,社會主義於今天的位置。幽幽鬼魅的出現,往往在驟變的空間中突顯人們內心的不安,我們不知何去何從,只得與歷史對話,期盼找出安身立命的丁點端倪。[…] (原刊於《關錦鵬的光影記憶》,主編:張美君,香港:三聯書店(香港)有限公司,2007。)

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The Hi/Stories of Hong Kong

Abstract: This paper examines the formation of modernity in three colonialist epics of Hong Kong and the recent historical and fictional works that aim to rewrite the history of the ‘local’. Adopting a challenge-response structure, the paper argues that the colonialist epics construct a monolithic discourse of modernity-as-progress via the amnesia of conflicts, tensions, and processes of domination and negotiation […]

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