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Looking Like the Enemy: Hong Kong's Indigenous Filmmakers in the Age of Dissent

John Steinbeck

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Published in Looking Like The Enemy: My Story Of Imprisonment In Japanese American Internment Camps

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In the wake of Hong Kong's handover to China in 1997, the city's indigenous filmmakers have emerged as a powerful force for resistance against political repression. Through their films, these filmmakers have challenged the dominant narrative of Hong Kong as a prosperous and harmonious society, and given voice to the marginalized and voiceless.

One of the most important figures in this movement is Fruit Chan, whose films often explore the lives of marginalized communities in Hong Kong. His 1997 film Made in Hong Kong is a searing indictment of the city's rampant materialism and inequality, while his 2003 film The Midnight After tells the story of a group of young people who are struggling to make a life for themselves in the face of economic recession.

Looking Like the Enemy: My Story of Imprisonment in Japanese American Internment Camps

by Mary Matsuda Gruenewald

4.7 out of 5

Language	:	English
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Another important figure is Derek Yee, whose films often focus on the political and social issues facing Hong Kong. His 1992 film Cageman is a powerful allegory of the city's political repression, while his 2009 film Protege is a searing indictment of the city's corrupt elite.

Ann Hui is one of the most acclaimed filmmakers in Hong Kong, and her work has often explored the city's history and culture. Her 1984 film Boat People tells the story of a group of Vietnamese refugees who are trying to make a new life in Hong Kong, while her 2009 film A Simple Life is a moving tribute to the city's elderly.

These are just a few of the many indigenous filmmakers who are using their art to challenge the status quo in Hong Kong. Their films are essential viewing for anyone who wants to understand the city's complex political and social landscape.

The Challenges of Indigenous Filmmaking in Hong Kong

Indigenous filmmakers in Hong Kong face a number of challenges, including censorship, funding, and distribution. The Hong Kong government has a long history of censoring films that it deems to be politically sensitive. In recent years, the government has stepped up its censorship efforts, and a number of films have been banned or cut before they could be released.

Indigenous filmmakers also face challenges in obtaining funding and distribution. The Hong Kong film industry is dominated by a few large studios, which often give preference to films that are more likely to be commercially successful. This makes it difficult for indigenous filmmakers to get their films made and seen by a wider audience.

The Triumphs of Indigenous Filmmaking in Hong Kong

Despite the challenges they face, indigenous filmmakers in Hong Kong have achieved a number of important victories. Their films have won awards at international film festivals, and they have helped to raise awareness of the city's political and social issues. Indigenous filmmakers have also played a key role in the development of a new generation of Hong Kong filmmakers, who are committed to making films that reflect the city's true identity.

The work of indigenous filmmakers in Hong Kong is a testament to the power of art to resist oppression and give voice to the marginalized. Their films are an important part of the city's cultural heritage, and they will continue to play a vital role in shaping Hong Kong's future.

Looking Like the Enemy: Hong Kong's Indigenous Filmmakers in the Age of Dissent is a groundbreaking work that explores the challenges and triumphs of Hong Kong's indigenous filmmakers in the face of political repression. Through in-depth analysis of films by Fruit Chan, Derek Yee, and Ann Hui, the book reveals how these filmmakers have used their art to resist censorship, challenge authority, and give voice to the marginalized. Looking Like the Enemy is an essential read for anyone who wants to understand the complex political and social landscape of Hong Kong.

Looking Like the Enemy: My Story of Imprisonment in Japanese American Internment Camps

by Mary Matsuda Gruenewald

4.7 out of 5