Watching Hong Kong martial arts film under apartheid.
Since its initial popularization in Africa during the 1970s, Hong Kong martial arts cinema has enjoyed remarkably consistent popularity. This paper analyses some of the causes for this phenomenon by focusing on the consumption of Hong Kong martial arts cinema in South Africa during apartheid. It arg...
| Publicado en: | Journal of African Cultural Studies Vol. 29; no. 1; pp. 46 - 63 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Mar2017
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=ssf&AN=120863812&site=ehost-live header: @attributes: shortDbName: ssf uiTerm: 120863812 longDbName: Social Sciences Full Text (H.W. Wilson) uiTag: AN controlInfo: bkinfo: jinfo: jid: 13696815 36D jtl: Journal of African Cultural Studies issn: 13696815 maglogo: N pubinfo: dt: Mar2017 vid: 29 iid: 1 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 120863812 10.1080/13696815.2016.1236720 ppf: 46 ppct: 17 formats: fmt: – @attributes: type: T db: hlh ui: 120863812 – @attributes: type: P db: hlh ui: 120863812 tig: atl: Watching Hong Kong martial arts film under apartheid. aug: au: van Staden, Cobus affil: Department of Media Studies, University of the Witwatersrand, Johannesburg, South Africa su: Hong Kong (China) Apartheid Consumption (Economics) Popularity Martial arts in motion pictures Chinese films sug: subj: Apartheid Consumption (Economics) Popularity Hong Kong (China) Martial arts in motion pictures Chinese films keyword: Africa apartheid audiences China cinema Hollywood kung fu westerns Africa apartheid audiences China cinema Hollywood kung fu westerns ab: Since its initial popularization in Africa during the 1970s, Hong Kong martial arts cinema has enjoyed remarkably consistent popularity. This paper analyses some of the causes for this phenomenon by focusing on the consumption of Hong Kong martial arts cinema in South Africa during apartheid. It argues that film-watching under apartheid was jointly structured by state censorship and state-aligned monopolies controlling film distribution and exhibition. These factors facilitated the flow of Hollywood film into South Africa yet at the same time constrained black audiences. Due to a confluence of historical factors, Hong Kong martial arts film arrived in the country just as this dual system of state control via censorship and exhibition was weakening. In addition, the spectacular action and anti-hegemonic narrative in these films, can explain their popularity among black audiences who were familiar with the targeted censorship regimes, and versed in subverting the white supremacist narrative of Hollywood westerns. The paper uses a combination of political economy and film theory to historicize this moment and to understand the position of black audiences under apartheid vis-à-vis Hong Kong martial arts cinema. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: N holdings: @attributes: islocal: N |
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