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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

Re-imagining Hong Kong–China from the Sidelines:

Re-imagining Hong Kong–China from the Sidelines:

Fruit Chan's Little Cheung and Durian Durian

(p.111) 7 Re-imagining Hong Kong–China from the Sidelines:
Hong Kong Screenscapes

Wendy Gan

Hong Kong University Press

This chapter explores dissemination in the context of Hong Kong cinema and in particular it looks at two films made back-to-back by award-winning independent director Fruit Chan, Little Cheung, and Durian Durian. Little Cheung as the final installment of Chan's “Handover Trilogy” is of interest for its disseminatory take on Hong Kong as Chan highlights both the hidden heterogeneity of the territory with his attention to marginalized ethnic groups such as the Filipinas and South Asians amid the dominant Cantonese-speaking locals and the homogeneity that nonetheless holds these diverse communities together. Little Cheung balances centripetal and centrifugal forces at work within Hong Kong, revealing differences and divisions but also using the tropes of money and friendship to act as bridges between fragmented groups. Chan's next film after Little Cheung and Durian Durian, though the beginning of a different trilogy, can be usefully seen as developing the ideas of fragmentary nationhood explored in its predecessor.

Keywords:   dissemination, Hong Kong, cinema, Fruit Chan, Little Cheung, Durian Durian, Handover Trilogy, Filipinas, South Asians, nationhood

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