Ambivalence of entertainment: the Cold War and pro-communist Mandarin cinema.
Colonial Hong Kong was a transregional hub of Cold War ideological confrontation. The United States and its Chinese ally, Chiang Kai-shek's Taiwan, struggled with Beijing for the hearts of overseas Chinese in Southeast Asia and around the world. Pro-Communist émigré cinema in the mid-twentieth centu...
| Publicado en: | Inter-Asia Cultural Studies Vol. 24; no. 6; pp. 1014 - 1033 |
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| Autores principales: | , |
| Formato: | Artículo |
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Taylor & Francis Ltd
Dec2023
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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=hlh&AN=173688135&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 173688135 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 14649373 B8U jtl: Inter-Asia Cultural Studies issn: 14649373 maglogo: N pubinfo: dt: Dec2023 vid: 24 iid: 6 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 173688135 10.1080/14649373.2023.2265694 ppf: 1014 ppct: 19 formats: fmt: – @attributes: type: T – @attributes: type: P size: 1.4MB tig: atl: Ambivalence of entertainment: the Cold War and pro-communist Mandarin cinema. aug: au: Fu, Po-Shek Yip, Man-Fung affil: Department of History, University of Illinois at Urbana–Champaign, Urbana and Champaign, USA Department of Film and Media Studies, University of Oklahoma, Norman, USA su: Motion pictures Cold War, 1945-1991 Communism Overseas Chinese Ideology sug: subj: Motion pictures Cold War, 1945-1991 Communism Overseas Chinese Ideology keyword: Chang-Feng-Xin Cinematic ecosystem cold war march first incident Zhu Shilin ab: Colonial Hong Kong was a transregional hub of Cold War ideological confrontation. The United States and its Chinese ally, Chiang Kai-shek's Taiwan, struggled with Beijing for the hearts of overseas Chinese in Southeast Asia and around the world. Pro-Communist émigré cinema in the mid-twentieth century was a prime cultural manifestation of this Cold War contest. After an initial period of radicalization and antagonism, the pro-Communist studios in Hong Kong gradually shifted to a moderate approach whose goal was not to undermine British colonial rule or espouse revolutionary ideologies. Rather, the new strategy was one of flexibility and restraint that aimed to maintain a strategic presence in the local film industry and serve as a point of contact for overseas Chinese. Later, with the emergence of two pro-Free China giant studios, Motion Pictures & General Investment Co. Ltd. and Shaw Brothers, the cinematic ecosystem in Hong Kong was significantly altered. In order to hold on to their market presence in an increasingly more competitive environment, pro-Communist film companies embraced a more entertainment-oriented ethos and experimented with various popular genres, while struggling to remain truthful to their ideal of "guiding people to do good." With in-depth analysis of two popular films by Zhu Shilin, The Dividing Wall (Yibang zhi ge) and Sweet as Honey (Tiantian mimi), this essay seeks to historicize the ways in which the Beijing-sponsored film establishment in 1950s Hong Kong negotiated and balanced a changing set of political, ideological, and commercial interests in pursuit of its strategic mission. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Inter-Asia Cultural Studies is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Inter-Asia Cultural Studies holder: Taylor & Francis Ltd dt: @attributes: year: 2023 holdings: @attributes: islocal: N |
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