The Persistence of Screening Community in Post–Cold War Hong Kong
The coda summarizes the book’s overarching narrative and goals, and followed by a discussion of the lasting impact of Those 72 Tenants (Qishier jia fangke, dir. Wang Weiyi, 1963) and its remake, The House of 72 Tenants (Qishier jia fangke, dir. Chor Yuen, 1973), on developments in Hong Kong cinema since the 1970s as they intersect with political and social change originating during the mid-1960s disturbances. A comparative analysis of these two films demonstrates the porous boundaries across media formats as well as across social and political realms of experiences. The coda concludes with a discussion of Kung Fu Hustle (Kungfu, dir. Stephen Chow, 2004). Kung Fu Hustle, which was financed and distributed by Columbia Pictures International, can be considered as global and international. However, it is also local in its nostalgic expressions. As the book’s final case study, the film demonstrates the Hong Kong cinema’s persistence of the portrayal of a screened community and local identity. In the final analysis, the unique identity of Hong Kong cinema rests in an ongoing quest to construct and screen its distinctive local community.
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