Jump to ContentJump to Main Navigation
ExtraterritorialityLocating Hong Kong Cinema and Media$
Users without a subscription are not able to see the full content.

Victor Fan

Print publication date: 2019

Print ISBN-13: 9781474440424

Published to Edinburgh Scholarship Online: January 2021

DOI: 10.3366/edinburgh/9781474440424.001.0001

Show Summary Details
Page of

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: 26 October 2021

The Time it Takes for Time to End

The Time it Takes for Time to End

Chapter:
(p.111) Chapter 3 The Time it Takes for Time to End
Source:
Extraterritoriality
Author(s):

Victor Fan

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474440424.003.0004

This chapter is about how extraterritoriality was elevated from the level of spontaneous awareness to a fully formed political consciousness in the 1980s and 1990s under the uncertainty of the future of Hong Kong. It argues that the sociopolitical unpredictability, irresolution, and disquietude during this period created a milieu in which individuation, subjectivisation, and autonomisation were impossible, an environment constituted by a perpetual failure of becoming: the time it takes for time to end. This chapter offers a historical account of the Sino-British negotiation of the future of Hong Kong between 1979 and 1984. After that, it analyses how such a traumatic experience was actively negotiated by a kaleidoscopic media environment from both industrial and cultural perspectives. Eventually, it departs from most scholars’ tendency to focus on Hong Kong’s successful mainstream film and television industries by examining how artists responded to these relationships in video art. It scrutinises the works of artists from an organisation called Videotage, which further developed the experimental ethos of the women (and in the 1980s, lesbian and gay) filmmakers in an intersection of three modes of extraterritoriality: as Hong Kongers, as women, and as lesbians and gay men.

Keywords:   Hong Kong future, Hong Kong cinema and media in the 1980s, Extraterritoriality and kairos, Videotage, Lesbian and gay video artists in Hong Kong

Edinburgh Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.