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Andrew Lau and Alan Mak's Infernal Affairs - The Trilogy$
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Gina Marchetti

Print publication date: 2007

Print ISBN-13: 9789622098015

Published to Hong Kong Scholarship Online: September 2011

DOI: 10.5790/hongkong/9789622098015.001.0001

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Thieves and Pirates: Beyond “Auteur” Cinema

Thieves and Pirates: Beyond “Auteur” Cinema

Chapter:
(p.154) (p.155) 6 Thieves and Pirates: Beyond “Auteur” Cinema
Source:
Andrew Lau and Alan Mak's Infernal Affairs - The Trilogy
Author(s):

Gina Marchetti

Publisher:
Hong Kong University Press
DOI:10.5790/hongkong/9789622098015.003.0006

Infernal Affairs self-consciously reflects on its use of cliché. It also presents two types of film in one package. Director Andrew Lau contributes primarily to the visual design of the trilogy — its dramatic use of Hong Kong rooftops, its contrasting cool and warm colors, its organization of space on the streets and in office interiors. Co-director Alan Mak, as the co-screenwriter, takes on the task of storytelling and working with the ensemble cast on performance. Within postmodernity, the question of identity speaks to a global crisis, and the fate of two moles in Hong Kong captivates viewers whose “forgotten times” may have nothing to do with Greater China but everything to do with the decay of the patriarchy, transnational capitalism, and the crisis of the nation-state. As generic cycles echo the karmic cycles of Buddhism, “continuous hell” metamorphoses into the continuous dramatic, visual, and thematic revival of Hong Kong commercial cinema through the turn of the New Wave art house wheel of cinematic fate.

Keywords:   Infernal Affairs, Hong Kong, New Wave, commercial cinema, Andrew Lau, Alan Mak, Buddhism, identity

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