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Transnational Film and the Politics of Becoming: Negotiating East Asian Identity in Hong Kong Night Club and Moonlight Express

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Recent years have witnessed the growth of a body of literature concerned with what Sheldon Hsiao-peng Lu has termed "Chinese cinemas,"1 sparked by the increased international visibility of films from mainland China, Taiwan, and Hong Kong, and characterized by an emerging interest in the ways that such works negotiate both "the triumphantly universal and the resiliency particular"2 in their unique situatedness within both regional Chinese and global media markets.

In the context of the 1997 return of Hong Kong to mainland China, this emphasis has engendered significant critical attention to issues of local Hong Kong identity within a dramatically altered political, social, and cultural climate, represented by two discursive trends that at once implicitly and explicitly reference 1997 as the seminal turning-point of Hong Kong's media industries.

Keywords: Chinese cinema; East Asia; Hong Kong Night Club; Moonlight Express; Transnational; identity

Document Type: Research Article


Affiliations: Indiana University

Publication date: March 1, 2002

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  • Asian Cinema is a seminal journal, which has been published since 1995 by the Asian Cinema Studies Society under the stewardship of Professor John Lent. From 2012 Asian Cinema will be published by Intellect as part of our Film Studies journal portfolio. The journal currently publishes a variety of scholarly material - including research articles, interviews, book and film reviews and bibliographies - on all forms and aspects of Asian cinema. The journal's broad aim is to advance understanding and knowledge of the rich traditions of the various Asian cinemas, thereby making an invaluable contribution to the field of Film Studies in general.
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