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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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Ann Hui at the Margin of Mainstream Hong Kong Cinema

Ann Hui at the Margin of Mainstream Hong Kong Cinema

(p.50) (p.51) 3 Ann Hui at the Margin of Mainstream Hong Kong Cinema
Hong Kong Screenscapes

Mirana M. Szeto

Hong Kong University Press

Women filmmakers generally lack long-term visibility in the mainstream Hong Kong film industry. Ann Hui, however, succeeds most persistently in the mainstream playing field, with a clear grasp of box-office expectations and a few runaway hits to her name. Ann Hui's films, however, consistently question and elide these usual set analytical frameworks under which Hong Kong films are studied. Ten years after the 1997 return to Chinese sovereignty, a re-reading of her films beyond the “China factor” fixation can open up critical visions towards an internally varied and inter-locally related Hong Kong. This struggling and silenced local and inter-local Hong Kong is attentively portrayed through what this chapter calls Ann Hui's cinematics of everyday life. With such a re-reading, one can attend to aspects of her films that best illuminate how she, among all Hong Kong women filmmakers, can best sustain high critical expectations and visibility.

Keywords:   women filmmakers, Hong Kong, film industry, Ann Hui, China factor, cinematics, everyday life, films

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