Untitled
| dc.contributor.author | Leo Chia-Li Chu | en_US |
| dc.date.accessioned | 2020-09-03T06:36:24Z | |
| dc.date.available | 2020-09-03T06:36:24Z | |
| dc.date.issued | 2020-03-?? | |
| dc.description.abstract | This paper will examine the ambivalences and contradictions in post-handoverHong Kong cinema through the lens of gender, border, and the body politic inthree crime films. The first of them, Intruder (恐怖雞 Kongbu ji, 1997),released when sovereignty over Hong Kong had just been transferred fromBritain to China, may evoke a “crisis of masculinity” through itsborder-crossing female antagonist; in contrast, the portrayal of women, as wellas transgender and queer people, in Ming Ming (明明, 2006) and I Come withthe Rain (2009), appears to be more nuanced. Reading the three films againstone another and against established narratives about the city, I intend toinvestigate how these films adopt gendered narratives and the questions ofborder in the construction of identity politics in post-handover Hong Kong. Byjuxtaposing the fluid, unstable, and multi-faceted bodies of fictional characterswith the city’s history, this paper argues that the representation of past andfuture in these films reflects the struggle to narrate anxiety and hope inpost-handover Hong Kong. | en_US |
| dc.identifier | DFCBF576-5132-9096-A3A4-044F8FBC4E68 | |
| dc.identifier.uri | http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/109777 | |
| dc.language | 英文 | |
| dc.publisher | 英語學系 | zh_tw |
| dc.publisher | Department of English, NTNU | en_US |
| dc.relation | 46(1)，39-57 | |
| dc.relation.ispartof | 同心圓：文學與文化研究 | zh_tw |
| dc.subject.other | Hong Kong | en_US |
| dc.subject.other | crime films | en_US |
| dc.subject.other | handover | en_US |
| dc.subject.other | gender | en_US |
| dc.subject.other | border | en_US |
| dc.subject.other | body politic | en_US |
| dc.title.alternative | From “Crisis of Masculinity” to Queer History:Gender, Borders, and Body Politics in Post-HandoverHong Kong Crime Films | zh_tw |