Intro; Series; Contents; Illustrations; Acknowledgments; Introduction; Part 1. Toward a Colonial Modernity; 1. Film Censorship and the Regulatory Context of Postwar Hong Kong; 2. Between Idealism and Pragmatism; Part 2. Toward a Leftist Vernacular Modernism; 3. May Fourth and Postwar Hong Kong's Leftist Cantonese Cinema; 4. Familial Address and the Aesthetics of Lunli; Part 3. Toward a Gendered Industrialized City; 5. The Nanyang Ethos and Engendering the Chinese Overseas Experience; 6. Girls in Masquerade; Coda; Glossary; Notes; Filmography; Bibliography; Index
Postwar Hong Kong cinema played an active role in building the colony's community in the 1950s and 1960s. To Jing Jing Chang, the screening of movies in postwar Hong Kong was a process of showing the filmmakers' visions for Hong Kong society and simultaneously an attempt to conceal their anxieties and mask their political agenda. It was a time when the city was a site of intense ideological struggles among the colonial government, Chinese Nationalists, and Communist sympathizers. The medium of film was recognized as a powerful tool for public persuasion and various camps competed to win over t.
Includes bibliographical references and index.
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