Transnational Cinema, Hybrid Identities and the Films of Evans Chan

Marchetti, Gina

doi:10.1353/pmc.1998.0013

Cited by 4 publications

(3 citation statements)

References 9 publications

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“…A partial list: anthropology (Thomas, 1996), critical race studies (Werbner and Modood, 1997), cultural studies (Gilroy, 1993), art criticism (Clarke, 1997;Coombes, 1992), popular music and ethnomusicology (Boggs, 1991;Hutnyk, 1997;Nexica, 1997;Salamone, 1998), sociology (Nederveen Pieterse, 1994, film studies (Marchetti, 1998), literary criticism (Jussawalla, 1995;Moreiras, 1999;Young, 1995), migration studies (Papastergiadis, 2000), postcolonial theory (Ahmad, 1995;Bhabha, 1994;Said, 1994), and performance studies (Joseph and Fink, 1999). Hybridity is also used in studies of tourism (Hollinshead, 1998), folklore (Kapchan and Turner-Strong, 1999), sports (Archetti, 1999), and architecture (Morton, 2000).…”

Section: Policy Matters: Hybridity and The Statementioning

confidence: 99%

Hybridity, or the Cultural Logic of Globalization

Kraidy¹

2006

369

418

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Section: Policy Matters: Hybridity and The Statementioning

confidence: 99%

Hybridity, or the Cultural Logic of Globalization

Kraidy¹

2006

369

418

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“…Despite these contrasts the topic of space is no more representative of Hong Kong's hybridity than any other; hybridity is a term used in reference to a variety of issues like education [Luk-Fong 2006], language use [Wright and KellyHolmes 1997;Pannu 1998;Lin 2005], and cinema [Leung 2004;Marchetti 2004]. Hong Kong films in particular are notable for their hybridity, because they not only represent Hong Kong's hybrid culture [Cheung 2004: 268] but also export and market this hybridity locally, regionally and internationally [Erni 2001].…”

Section: Hong Kong's Everyday Hybriditymentioning

confidence: 99%

Everyday Hybridity and Hong Kong's Muslim Youth

O’Connor

2010

Visual Anthropology

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This article explores hybrid Hong Kong through empirical representation of the territory's cultural mix and fusion. The research applies the concept of everyday hybridity that seeks to engage with the quotidian aspects of intercultural exchange and multiculturalism. Young Muslims in Hong Kong provide the focus for the enquiry and represent everyday scenarios of hybridity connected to themes of identity, urban space and fasting during Ramadan. Importantly the work challenges ideas of Muslims as a problematic component of multicultural societies and questions how Hong Kong's special status facilitates its hybrid culture.

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“…However, cultural hybridity challenged diasporic artists, writers, filmmakers, and intellectuals to develop fresh hybrid selves as a means of re-examining issues with representation, cultural identity, and national affiliation in practice (Joseph and Fink 1999). In the realm of film and cultural studies, numerous academics have engaged with the theory of cultural hybridity to look at the artistic creation, representation, and cultural identity of Third World Cinema in the post-colonial discourse (Hall 1989;Gilroy 1993;Shohat and Stam 1994;Kolar-Panov 1996;Marchetti 1998;Wang and Yeh 2007;Prysthon 2016;Fan 2019).…”

Section: Introductionmentioning

confidence: 99%

Hollywood Genre, Cultural Hybridity, and Musical Films in 1950s Hong Kong

2023

Arts

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Following the trauma of the Second World War, Hong Kong, under British governance, enjoyed considerable economic and political freedom to establish a local entertainment industry. Musical films became a major genre of Hong Kong’s film releases in the 1950s. Local melodramas, Hollywood musicals, celebrities, and ideals of female beauty were all present in the growth of Hong Kong musical films, which culminated in a glorious display of cinematic art. This article aims to provide insight into the popularity of Chinese-speaking musical films by examining the social, economic, and political complexity of 1950s Hong Kong, including post-war migration and colonial censorship. An in-depth analysis of Li Han-Hsiang’s The Kingdom and the Beauty demonstrates how Hong Kong studios adapted the Hollywood musical to tell Chinese stories and how Hong Kong musical films incorporated Chinese literature and music to represent cultural memory, local identity, and modern aesthetics. This case study sheds light on the localization of a Hollywood genre and the hybridization of Chinese and Western entertainment forms to appeal to a Chinese audience, thereby broadening the definition of cultural hybridity and informing the practice of Hong Kong’s musical filmmaking.

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Transnational Cinema, Hybrid Identities and the Films of Evans Chan

Cited by 4 publications

References 9 publications

Hybridity, or the Cultural Logic of Globalization

Hybridity, or the Cultural Logic of Globalization

Everyday Hybridity and Hong Kong's Muslim Youth

Hollywood Genre, Cultural Hybridity, and Musical Films in 1950s Hong Kong

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