The Global Musical and Perhaps Love
Peter Chan’s 2005, Perhaps Love, depicts the filming of a musical film, and serves as a prime example of mise-en-abîme metacinema, or in other words, the metacinema of production. Close reading of the film reveals the circulation of musical genre conventions from Bollywood to Hollywood to Hong Kong and China. Key among these conventions are the display of spectacular images of singing and dancing in combination with dazzling editing speeds reflecting the influence, particularly, of Baz Lurhmann’s Moulin Rouge! Gender relations, always an important focus in musical film, here point to postcolonial formations linking (and distinguishing) mainland China, Hong Kong, and Hollywood, and which, in the end, abandon the female lead.
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