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Kam Louie

Print publication date: 2010

Print ISBN-13: 9789888028412

Published to Hong Kong Scholarship Online: September 2011

DOI: 10.5790/hongkong/9789888028412.001.0001

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The “New” East Asia and Hong Kong Cinema

The “New” East Asia and Hong Kong Cinema

(p.112) (p.113) 7 The “New” East Asia and Hong Kong Cinema
Hong Kong Culture
Kam Louie
Hong Kong University Press

This chapter examines the increased dimensions of a New Asian regional identity since the 1980s by considering how Hong Kong cinema in the early twenty-first century has reworked itself in terms of this fractured New Asia. That is to say, Hong Kong and Hong Kong culture participate in the larger movements of modernity in the region. The chapter examines two films indicative of the particular cultural productiveness at stake: Jingle Ma's Tokyo—a Hong Kong film set almost entirely in a glossy Tokyo consonant with what might be said to be the libidinization of market modernity in the region—and Johnnie To's Fulltime Killer. Ma's film was one of the most popular in Hong Kong in 2000, and is distinct both in being a Hong Kong film set mainly in Japan and in having extensive Japanese dialogue. To's even more multilingual film unavoidably becomes an allegory of the East Asian core states competing.

Keywords:   regional identity, Hong Kong, cinema, New Asia, culture, Jingle Ma, Tokyo, libidinization, Johnnie To, Fulltime Killer

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