
Contents
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I I
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II Being Chinese in the south: Recognizing the local in Halfway Down (1957), The Greatest Civil War on Earth (1961), and The Greatest Wedding on Earth (1962) II Being Chinese in the south: Recognizing the local in Halfway Down (1957), The Greatest Civil War on Earth (1961), and The Greatest Wedding on Earth (1962)
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III Outwards and beyond: Constructing Chineseness abroad in Comrades, Full Moon in New York (1990), and An Autumn's Tale (1987) III Outwards and beyond: Constructing Chineseness abroad in Comrades, Full Moon in New York (1990), and An Autumn's Tale (1987)
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IV Conclusion IV Conclusion
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6 Southwards and Outwards: Representing Chineseness in New Locations in Hong Kong Films
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Published:March 2009
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Abstract
This chapter examines films that represent these two moments when a concern with relocation and thus new locations pressed upon the inhabitants of Hong Kong, hence opening up a discussion about Chineseness. It argues that a gradual and sometimes reluctant recognition of the diversity of Chineseness manifested itself in the acknowledgment of the local, specifically of Hong Kong itself. It then discusses films that imagine a Chinese diaspora moving beyond the confines of Hong Kong especially in reaction to 1997. In these films, a move towards a fictive unity based on a common ethnic identity is made as new locations replace Hong Kong as home. However, this unity is undermined as the films consistently explore the meaning of diaspora with a sharp eye on the cracks that run through the “sameness-in-dispersal” that Ien Ang has characterized as the dominant construction especially in Chinese diasporic imaginations.
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