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Peter Ho-Sun Chan's He's a Woman, She's a Man$
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Lisa Odham Stokes

Print publication date: 2009

Print ISBN-13: 9789622099708

Published to Hong Kong Scholarship Online: September 2011

DOI: 10.5790/hongkong/9789622099708.001.0001

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Commerce and Globalization

Commerce and Globalization

Chapter:
(p.58) (p.59) 4 Commerce and Globalization
Source:
Peter Ho-Sun Chan's He's a Woman, She's a Man
Author(s):

Lisa Odham Stokes

Publisher:
Hong Kong University Press
DOI:10.5790/hongkong/9789622099708.003.0004

Grounded mainly on the historic aspects of Mainland ties and the country's colonial and post-colonial relations between Britain, Hong Kong cinema during the period between the 1980s and the 1990s was characterized as “crisis cinema” since it gave way for the rise of new patterns of time and space, language, place and identity, and even meaning. Filmmakers recognized the return of Hong Kong to the mainland as text and subtext, and Hong Kong people were found to participate more actively in terms of politics after the 1989 crackdown on Tiananmen Square. Chan's gender bending can be perceived in the light of illiberal Mainland laws as well as commercialism within the Mainland's slowly changing economy. This chapter emphasizes how the film entails globalization and explains some economic aspects of the country's film industry.

Keywords:   Mainland, film industry, globalization, commercialism, economy, illiberal laws, crisis cinema, colonial relations

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