Hong-Kong
by Arjun Raghuraman 2021A4PS1648H
Cinema has been a significant part of Hong Kong-China's cultural and artistic landscape for almost a century, with its first significant era during the 1940s to 1950s. However, this period was marked by wartime challenges and political upheavals that greatly influenced film-making. The impact of wartime and unrest can be studied upon in two major cases: the Second Sino-Japanese War (1937-1945) and the Chinese Civil War.
During the Second Sino-Japanese War, cinema and film-making was characterized by heavy censorship and strict regulations. The Japanese authorities only allowed films that reflected their ideology and promoted their war efforts to be produced, leading to the creation of propaganda films in Hong Kong. Some elements indicative of Japanese influence included the use of Japanese actors and themes, as well as the adoption of Japanese film techniques and styles. “800 Heroes” (1938) was a Hong Kong produced film which promoted ideologies of patriotism among the Chinese audience. On the other side of the spectrum, movies like “The Battle of Hong Kong” (1942) were produced by the Japanese government depicting the Japanese as heroes in the war effort.
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| Still from 800 Heroes (1938) |
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| The Battle of Hong Kong (1942) |
The Chinese Civil War in the 1930s and 1940s lead to another period of censorship and political propaganda. While the movies produced during the Sino-Japanese war gave rise to emotions of freedom and propaganda among the public, the cinema during the age of the Chinese Civil War focused more on the changing social and cultural landscape of China. One of the best examples of such movies is “The Kid” (1950), directed by Fung Fung and starring Bruce Lee. It depicts the struggle of working-class families in Hong Kong to survive in a rapidly changing society. The film also touches on issues such as child labor, education, and the role of women in society.
Filmography from these two important time periods show us how cinema evolved and influenced the changing political, cultural and social landscape of Hong Kong into what it is today. In today’s age, Hong Kong cinema is mostly known by the New Wave era in the 1990s, pioneered by famous directors like Wong Kar-Wai and Stanley Kwan. It is interesting to note how this era is linked to the cinema from turbulent times in the 30s and 40s.
One of the most significant links between these two periods of Hong Kong cinema is the use of personal, intimate storytelling to explore complex social and political issues. The strict censorship laws during the war years led to the development of a distinctive style of storytelling that relied heavily on character-driven narratives and the exploration of personal experiences. This style of storytelling was carried forward into the Hong Kong New Wave cinema of the 1990s, as seen in Wong Kar-Wai’s “Fallen Angels” (1995). Secondly, both the age of cinema during wartime and the Hong Kong New Wave cinema were marked by a sense of innovation and experimentation. During wartime, the directors found ways to express their creativity despite censorship laws. Similarly, the New Wave directors pushed the boundaries of traditional cinema with innovative techniques.
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| Fallen Angels (1995) |
Cinema in Hong Kong during wartime was unique in its blend of Eastern and Western influences, multilingualism, focus on social and political issues, and creative approach to filmmaking. These factors set Hong Kong cinema apart from other Asian countries during this period and helped to establish it as a distinctive and important voice in world cinema.
Sources:
2. http://www.lcsd.gov.hk/CE/CulturalService/HKFA/en/4-1-30a.php on the Wayback Machine
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