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Tsui Hark's Peking Opera Blues$
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Tan See Kam

Print publication date: 2016

Print ISBN-13: 9789888208852

Published to Hong Kong Scholarship Online: May 2017

DOI: 10.5790/hongkong/9789888208852.001.0001

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Postscript

Postscript

Chapter:
(p.190) Postscript
Source:
Tsui Hark's Peking Opera Blues
Author(s):

Tan See Kam

Publisher:
Hong Kong University Press
DOI:10.5790/hongkong/9789888208852.003.0007

Peking Opera Blues presents a jiegu fengjin metafiction to the 1980s Hong Kong of the film’s making and release. This is done by Tsui Hark evoking a past (Republican China), that draws on historical hindsights for allegorizing lessons of history with respect to colonial Hong Kong’s post-1997 future under the “one country, two systems” provision. While Peking Opera Blues does not have an explicit agenda for exerting pressure on the powers that be and for swaying public opinion in favor of democracy as an alternative to political China’s authoritarianism, it is nevertheless a commentary on the long, unsuccessful, march to Chinese democracy and its impact on contemporary society, most especially Hong Kong. Tsui Hark achieves this by particular forms of editing and mise en scène, and also by referencing Chinese cultural forms such as Peking opera, mandarin duck and butterfly fiction, the “three-women” films, and Canto-pop and Mandarin songs.

Keywords:   Tsui Hark, Peking Opera Blues, Jiegu fengjin metafiction, Mandarin duck and butterfly fiction, “Three-women” films, Canto-pop and Mandarin songs, Hong Kong

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