Ann Hui’s allegorical cinema

Jessica Siu-Yin YEUNG*

*Corresponding author for this work

Research output: Book Chapters | Papers in Conference ProceedingsBook ChapterResearchpeer-review


Yeung argues that Ann Hui’s co-produced films in her post-CEPA oeuvre embody a framework of “allegorical cinema.” Yeung theorizes this framework with reference to Walter Benjamin’s “baroque allegory,” Ackbar Abbas’s “cinema of the fragment as a nation,” and Yau Ka-Fai’s “cinema of the political.” The chapter first identifies the features of allegory in Hong Kong new cinema. It then explicates the necessity of allegory in the context of CEPA, state censorship, and self-censorship. After illustrating Hui’s mode of allegorical storytelling in The Golden Era (2014) and Our Time Will Come (2017), Yeung concludes with the uses of allegorical cinema in regard to investigating the future possibility of Hong Kong cinema under the influence of mainland China.

Original languageEnglish
Title of host publicationCultural Conflict in Hong Kong: Angles on a Coherent Imaginary
EditorsJason S. POLLEY, Vinton W. K. POON, Lian-Hee WEE
Place of PublicationSingapore
PublisherPalgrave Macmillan
Number of pages18
ISBN (Electronic)9789811077661
ISBN (Print)9789811077654
Publication statusPublished - 2018
Externally publishedYes

Bibliographical note

Publisher Copyright:
© The Author(s) 2018.


  • Allegory
  • Ann Hui
  • Censorship
  • CEPA
  • Co-production


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