‘Crossings’ : documentary elements and essayistic devices in the fiction and non-fiction films of Evans Chan

Research output: Journal PublicationsJournal Article (refereed)Researchpeer-review

3 Citations (Scopus)

Abstract

Evans Chan is a transnational Chinese film-maker, based in New York, but originating from China and educated in Hong Kong and Macau. This paper focuses particularly on the historical, cultural and political elements in Chan's oeuvre and also examines the important role of historical, documentary components in the structure of Chan's notionally fictional films in addition to his more conventional documentaries. The locus of Chan's film-making attention to date is predominantly Hong Kong and Macau. He is particularly interested in the way these enclaves on the China coast have responded to their reintegration into the China Mainland, following their Handovers of the late nineties from British and Portuguese rule respectively. Nobody produces better documentary and fictional-documentary crossover work about these subjects than Chan, especially in relation to the complex cultural and historical contexts involved. All of his films are essayistic in structure and style and difficult to categorise, which is perhaps why he is not better known. The paper introduces Chan's work and, in doing so, makes a strong argument for the wider recognition of his importance, in terms of his approach to both the content and the form of contemporary cinema.
Original languageEnglish
Pages (from-to)21-33
Number of pages13
JournalStudies in Documentary Film
Volume1
Issue number1
DOIs
Publication statusPublished - 1 Jan 2007

Fingerprint

China
Hong Kong
reintegration
cinema
Coastal zones
Documentary
Non-fiction
Fiction
Conventional
Filmmaking
Coast
Film Maker
Mainland China
Enclaves
Cinema
Historical Context
Locus
Cultural Context

Keywords

  • Essay film
  • Evans Chan
  • Hong Kong
  • Tiananmen Square
  • transnational

Cite this

@article{e5be337a4e81430ab16b0f0faf5b598c,
title = "‘Crossings’ : documentary elements and essayistic devices in the fiction and non-fiction films of Evans Chan",
abstract = "Evans Chan is a transnational Chinese film-maker, based in New York, but originating from China and educated in Hong Kong and Macau. This paper focuses particularly on the historical, cultural and political elements in Chan's oeuvre and also examines the important role of historical, documentary components in the structure of Chan's notionally fictional films in addition to his more conventional documentaries. The locus of Chan's film-making attention to date is predominantly Hong Kong and Macau. He is particularly interested in the way these enclaves on the China coast have responded to their reintegration into the China Mainland, following their Handovers of the late nineties from British and Portuguese rule respectively. Nobody produces better documentary and fictional-documentary crossover work about these subjects than Chan, especially in relation to the complex cultural and historical contexts involved. All of his films are essayistic in structure and style and difficult to categorise, which is perhaps why he is not better known. The paper introduces Chan's work and, in doing so, makes a strong argument for the wider recognition of his importance, in terms of his approach to both the content and the form of contemporary cinema.",
keywords = "Essay film, Evans Chan, Hong Kong, Tiananmen Square, transnational",
author = "INGHAM, {Michael Anthony}",
year = "2007",
month = "1",
day = "1",
doi = "10.1386/sdf.1.1.21_1",
language = "English",
volume = "1",
pages = "21--33",
journal = "Studies in Documentary Film",
issn = "1750-3280",
publisher = "Taylor and Francis Ltd.",
number = "1",

}

‘Crossings’ : documentary elements and essayistic devices in the fiction and non-fiction films of Evans Chan. / INGHAM, Michael Anthony.

In: Studies in Documentary Film, Vol. 1, No. 1, 01.01.2007, p. 21-33.

Research output: Journal PublicationsJournal Article (refereed)Researchpeer-review

TY - JOUR

T1 - ‘Crossings’ : documentary elements and essayistic devices in the fiction and non-fiction films of Evans Chan

AU - INGHAM, Michael Anthony

PY - 2007/1/1

Y1 - 2007/1/1

N2 - Evans Chan is a transnational Chinese film-maker, based in New York, but originating from China and educated in Hong Kong and Macau. This paper focuses particularly on the historical, cultural and political elements in Chan's oeuvre and also examines the important role of historical, documentary components in the structure of Chan's notionally fictional films in addition to his more conventional documentaries. The locus of Chan's film-making attention to date is predominantly Hong Kong and Macau. He is particularly interested in the way these enclaves on the China coast have responded to their reintegration into the China Mainland, following their Handovers of the late nineties from British and Portuguese rule respectively. Nobody produces better documentary and fictional-documentary crossover work about these subjects than Chan, especially in relation to the complex cultural and historical contexts involved. All of his films are essayistic in structure and style and difficult to categorise, which is perhaps why he is not better known. The paper introduces Chan's work and, in doing so, makes a strong argument for the wider recognition of his importance, in terms of his approach to both the content and the form of contemporary cinema.

AB - Evans Chan is a transnational Chinese film-maker, based in New York, but originating from China and educated in Hong Kong and Macau. This paper focuses particularly on the historical, cultural and political elements in Chan's oeuvre and also examines the important role of historical, documentary components in the structure of Chan's notionally fictional films in addition to his more conventional documentaries. The locus of Chan's film-making attention to date is predominantly Hong Kong and Macau. He is particularly interested in the way these enclaves on the China coast have responded to their reintegration into the China Mainland, following their Handovers of the late nineties from British and Portuguese rule respectively. Nobody produces better documentary and fictional-documentary crossover work about these subjects than Chan, especially in relation to the complex cultural and historical contexts involved. All of his films are essayistic in structure and style and difficult to categorise, which is perhaps why he is not better known. The paper introduces Chan's work and, in doing so, makes a strong argument for the wider recognition of his importance, in terms of his approach to both the content and the form of contemporary cinema.

KW - Essay film

KW - Evans Chan

KW - Hong Kong

KW - Tiananmen Square

KW - transnational

UR - http://commons.ln.edu.hk/sw_master/2503

U2 - 10.1386/sdf.1.1.21_1

DO - 10.1386/sdf.1.1.21_1

M3 - Journal Article (refereed)

VL - 1

SP - 21

EP - 33

JO - Studies in Documentary Film

JF - Studies in Documentary Film

SN - 1750-3280

IS - 1

ER -