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Hong Kong ScreenscapesFrom the New Wave to the Digital Frontier$
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Esther M. K. Cheung, Gina Marchetti, and See-Kam Tan

Print publication date: 2010

Print ISBN-13: 9789888028566

Published to Hong Kong Scholarship Online: September 2011

DOI: 10.5790/hongkong/9789888028566.001.0001

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PRINTED FROM HONG KONG SCHOLARSHIP ONLINE (www.hongkong.universitypressscholarship.com). (c) Copyright Hong Kong University Press, 2022. An individual user may print out a PDF of a single chapter of a monograph in HKSO for personal use.date: 17 May 2022

Surfing with the Surreal in Tsui Hark's Wave:

Surfing with the Surreal in Tsui Hark's Wave:

Collage Practice, Diasporic Hybrid Texts, and Flexible Citizenship

(p.33) 2 Surfing with the Surreal in Tsui Hark's Wave:
Hong Kong Screenscapes

Tan See-Kam

Hong Kong University Press

This chapter argues that the accentuated differences or different accents evident in Tsui Hark's early films have correlates with Hamid Naficy's notion of “accented cinema” made by diasporic and exilic filmmakers in which conflicting themes about homelands, borderlands, and diasporalands abound: central to these themes is the inevitable question of displacement, home, and belonging. Whether experienced at the individual or collective level, Tsui's multiple yet particular encounters with territorial colonialism and national independence, Chinese nationalisms and diasporas, and global re- and de-territorialization invariably invites one to look beyond the simple labeling of, despite Stephen Teo's assertion to the contrary, his work as “very Chinese indeed, referring as [it does] to Chinese history and culture, a Chinese environment.” They index instead, in both literal and analogical ways, transnational sensibilities that come with “flexible citizenship.”

Keywords:   Tsui Hark, Hamid Naficy, accented cinema, displacement, territorial colonialism, national independence, nationalisms, diasporas, flexible citizenship, China

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