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Yeung, Jessica Siu-yin (2018) 'Ann Hui’s Allegorical Cinema.' In: Polley, Jason S., Poon, Vinton and Wee, Lian-Hee, (eds.), Cultural Conflict in Hong Kong: Angles on a Coherent Imaginary. Singapore: Palgrave Macmillan, pp. 87-104.

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Abstract

Yeung argues that Ann Hui’s co-produced films in her post-CEPA oeuvre embody a framework of “allegorical cinema.” Yeung theorizes this framework with reference to Walter Benjamin’s “baroque allegory,” Ackbar Abbas’s “cinema of the fragment as a nation,” and Yau Ka-Fai’s “cinema of the political.” The chapter first identifies the features of allegory in Hong Kong new cinema. It then explicates the necessity of allegory in the context of CEPA, state censorship, and self-censorship. After illustrating Hui’s mode of allegorical storytelling in The Golden Era (2014) and Our Time Will Come (2017), Yeung concludes with the uses of allegorical cinema in regard to investigating the future possibility of Hong Kong cinema under the influence of mainland China.

Item Type: Book Chapters
Additional Information: "Erratum to: Ann Hui’s Allegorical Cinema": https://link.springer.com/chapter/10.1007/978-981-10-7766-1_17
Keywords: Allegory, Ann Hui, CEPA, Co-production, Censorship
SOAS Departments & Centres: School Research Centres > Centre for Cultural, Literary and Postcolonial Studies
Subjects: P Language and Literature > PI Oriental languages and literatures
ISBN: 9789811077661
DOI (Digital Object Identifier): https://doi.org/10.1007/978-981-10-7766-1_6
Date Deposited: 10 Feb 2021 20:08
URI: https://eprints.soas.ac.uk/id/eprint/34754

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