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ExtraterritorialityLocating Hong Kong Cinema and Media$
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Victor Fan

Print publication date: 2019

Print ISBN-13: 9781474440424

Published to Edinburgh Scholarship Online: January 2021

DOI: 10.3366/edinburgh/9781474440424.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 01 August 2021

Breaking the Wave

Breaking the Wave

Chapter:
(p.70) Chapter 2 Breaking the Wave
Source:
Extraterritoriality
Author(s):

Victor Fan

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474440424.003.0003

This chapter asks the question: Can women filmmakers, cinematic spectators, and televisual viewers speak from their doubly––sociopolitically and gendered––extraterritorialised position? It -historicises the theoretical discourse and film practice of the first phase (1968–78) of the Hong Kong New Wave from the perspectives of women filmmakers and critics. It also discusses three different ways by which women speak through the cinema and television as authors, all aiming to establish what Pier Paolo Pasolini (1922–75) would call a free indirect discourse. For independent filmmaker Tang Shu-hsuen, through unlearning Euro-American aesthetics and relearning medieval Chinese one from the perspective of modern women, a cinema specific to the extraterritorial position of a Hong Kong female spectator can be fostered. For screenwriter Joyce Chan and her collaborator director Patrick Tam, a free indirect discourse can only be achieved when the addresser-message-addressee mode of communication in commercial television is actively challenged. Finally, for director Ann Hui and screenwriter Shu Kei and Wong Chi, the classical Hollywood paradigm can be reconfigured to enable desubjectivised and abjectivised gay male characters to negotiate their traumas and desires in terms that are understandable by heterosexual and heteronormative viewers.

Keywords:   Hong Kong New Wave, Extraterritorial consumerism and feminism, Hong Kong television, Tang Shu-hsuen, Joyce Chan, Patrick Tam, Ann Hui

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