Hong Kong Post-colonial Cinema

The Construction of the ‘Western Other’ in Hong Kong Post-colonial Cinema

Hong Kong has always remained a very unique city, one which is said to have ‘a Western past, an Eastern future’. Since its colonisation by the British in the 1860s, it has maintained to a very large extent its Chinese identity and its connection to its Motherland, while at the same time, has frequent contact with the Western world, politically, economically, and culturally. Hong Kong’s unique position has made the city a vibrant international metropolis that acts as a bridge between East and West. Yet after it was returned to China in 1997, this former British colony has been constantly reassessing its British past, struggling to find its new position and redefining its identity.

The quest for identity quickly finds its place in the construction of the notion of ‘Hong Kong-ness’ in films. The local cinema has remained as a powerful cultural institution, both reflecting and intervening in the discourses of alterities and selfhood. It is therefore not surprising that in local films, the cinematic representations of Hong Kong have been seen as inextricably interwoven with the triangular relationship between the British coloniser, the Chinese motherland, and Hong Kong itself. Since its inception in the 1910s, the Hong Kong film industry has enjoyed much independence from colonial control, yet simultaneously much association with Western culture. Many films openly deal with the theme of ‘East meets West’ in which ‘Hong Kongese’ identity is often expressed in "transnational settings" against the existence of a Western Other, in particular through the portrayal of Westerners visiting Asia, and vice versa. After the handover, "Hong Kong" as a geopolitical en...

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...a journey of discovery/rediscovery of what the Western world comes to mean, while at the same time, negotiating the redefinition of selfhood and national identity of Hong Kong. The will to search for a reconciliation with the West in these films is certainly deeply embedded in Hong Kong’s search for its own identity in the post-colonial era. After its return to its Chinese motherland, Hong Kong consequently takes up the important position as the bridge between China and the West. Many recognize that its success to find its identity as part of China in the future depends on its ability to come to terms with its colonial past. Indeed, as we have seen, both films positively insist on the possibility of fulfilling such an aspiration. The process is not a comfortable one, and it is often one of pain and risks. Yet the films assure that it is also one of promise and hope.