Re-nationalizing the transnational? The cases of exiled and missing in Hong Kong-China film co-production
Popular culture co-productions and collaborations in East and Southeast Asia
This chapter examines the possible politics around co-productions, and the challenges it poses on the dynamics of transnational media and cultural circulation. Notions of transnationality and post-coloniality apply at this trajectory, as co-producing companies are caught in the tensions of globalization, localization, and even nationalization. How co-producing with China is seen as a financial means to revive its ailing film industry, but also a surrender of its political and cultural identity, becomes an impending dilemma for Hong Kong film producers. In the following discussion, I will focus on how Hong Kong film companies negotiate with the (shifting) censorship standards when involved in film co-productions in China, and some of the tactics involved in working round the censorship system through production and distribution. I will base my discussion on interviews with directors of film companies and specific film producers, using case studies such as Exiled (2006) and Warlords (2007). The two cases will hopefully pose interesting questions on the dynamics and challenges of co-production as a trajectory in the East Asian film collaboration and circulation.
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ISBN of the source publication: 9789971696252
Leung, Y. M. L. (2012). Re-nationalizing the transnational? The cases of exiled and missing in Hong Kong-China film co-production. In N. Otmazgin & E. Ben-Ari (Eds.), Popular culture co-productions and collaborations in East and Southeast Asia (pp.115-135). Singapore: NUS Press.