Stanley Kwan's center stage

Mette HJORT

Research output: Scholarly Books | Reports | Literary WorksBook (Author)Research

4 Citations (Scopus)

Abstract

Center Stage is widely recognized as a classic of the New Hong Kong cinema. The film's status has until now been attributed to the fascinating way in which Kwan combines a reconstruction of Ruan Lingyu's tragic life as a Chinese film star with sequences documenting the making of his film. This reflexive dimension is typically held to show that Kwan endorses a broadly postmodernist conception of historical knowledge as essentially unattainable. Mette Hjort takes issue with the standard reading of Kwan's classic film. She argues rather that the Hong Kong filmmaker, while recognizing the fallibility of historical knowledge, is committed to the ideal of creating the best available account of Ruan's story. Whereas many film scholars regard Center Stage as an example of the Hong Kong nostalgia film, Hjort shows that it is better understood as a heritage film that provides a precious cultural resource for rethinking relations between Hong Kong and China. She argues that Kwan's film is ultimately a condemnation of the kind of authoritarian and hierarchical modes of social organization that fuel mean-spirited gossip and the scapegoating that it entails. Kwan's film emerges as a passionate defense of an ever-relevant egalitarian culture characterized by a sense of deep horizontal camaraderie and mutuality.
Original languageEnglish
PublisherHong Kong University Press
ISBN (Print)962209791X
Publication statusPublished - 2006

Fingerprint

Hong Kong
Historical Knowledge
Mutuality
Film Stars
Scapegoating
Filmmaker
Condemnation
China
Ideal
Conception
Postmodernist
Heritage
Resources
Cinema
Fallibility
Gossip
Social Organization
Nostalgia

Cite this

HJORT, M. (2006). Stanley Kwan's center stage. Hong Kong University Press.
HJORT, Mette. / Stanley Kwan's center stage. Hong Kong University Press, 2006.
@book{dca639ca98df45aa9885b7caa2d57194,
title = "Stanley Kwan's center stage",
abstract = "Center Stage is widely recognized as a classic of the New Hong Kong cinema. The film's status has until now been attributed to the fascinating way in which Kwan combines a reconstruction of Ruan Lingyu's tragic life as a Chinese film star with sequences documenting the making of his film. This reflexive dimension is typically held to show that Kwan endorses a broadly postmodernist conception of historical knowledge as essentially unattainable. Mette Hjort takes issue with the standard reading of Kwan's classic film. She argues rather that the Hong Kong filmmaker, while recognizing the fallibility of historical knowledge, is committed to the ideal of creating the best available account of Ruan's story. Whereas many film scholars regard Center Stage as an example of the Hong Kong nostalgia film, Hjort shows that it is better understood as a heritage film that provides a precious cultural resource for rethinking relations between Hong Kong and China. She argues that Kwan's film is ultimately a condemnation of the kind of authoritarian and hierarchical modes of social organization that fuel mean-spirited gossip and the scapegoating that it entails. Kwan's film emerges as a passionate defense of an ever-relevant egalitarian culture characterized by a sense of deep horizontal camaraderie and mutuality.",
author = "Mette HJORT",
year = "2006",
language = "English",
isbn = "962209791X",
publisher = "Hong Kong University Press",
address = "Hong Kong",

}

HJORT, M 2006, Stanley Kwan's center stage. Hong Kong University Press.

Stanley Kwan's center stage. / HJORT, Mette.

Hong Kong University Press, 2006.

Research output: Scholarly Books | Reports | Literary WorksBook (Author)Research

TY - BOOK

T1 - Stanley Kwan's center stage

AU - HJORT, Mette

PY - 2006

Y1 - 2006

N2 - Center Stage is widely recognized as a classic of the New Hong Kong cinema. The film's status has until now been attributed to the fascinating way in which Kwan combines a reconstruction of Ruan Lingyu's tragic life as a Chinese film star with sequences documenting the making of his film. This reflexive dimension is typically held to show that Kwan endorses a broadly postmodernist conception of historical knowledge as essentially unattainable. Mette Hjort takes issue with the standard reading of Kwan's classic film. She argues rather that the Hong Kong filmmaker, while recognizing the fallibility of historical knowledge, is committed to the ideal of creating the best available account of Ruan's story. Whereas many film scholars regard Center Stage as an example of the Hong Kong nostalgia film, Hjort shows that it is better understood as a heritage film that provides a precious cultural resource for rethinking relations between Hong Kong and China. She argues that Kwan's film is ultimately a condemnation of the kind of authoritarian and hierarchical modes of social organization that fuel mean-spirited gossip and the scapegoating that it entails. Kwan's film emerges as a passionate defense of an ever-relevant egalitarian culture characterized by a sense of deep horizontal camaraderie and mutuality.

AB - Center Stage is widely recognized as a classic of the New Hong Kong cinema. The film's status has until now been attributed to the fascinating way in which Kwan combines a reconstruction of Ruan Lingyu's tragic life as a Chinese film star with sequences documenting the making of his film. This reflexive dimension is typically held to show that Kwan endorses a broadly postmodernist conception of historical knowledge as essentially unattainable. Mette Hjort takes issue with the standard reading of Kwan's classic film. She argues rather that the Hong Kong filmmaker, while recognizing the fallibility of historical knowledge, is committed to the ideal of creating the best available account of Ruan's story. Whereas many film scholars regard Center Stage as an example of the Hong Kong nostalgia film, Hjort shows that it is better understood as a heritage film that provides a precious cultural resource for rethinking relations between Hong Kong and China. She argues that Kwan's film is ultimately a condemnation of the kind of authoritarian and hierarchical modes of social organization that fuel mean-spirited gossip and the scapegoating that it entails. Kwan's film emerges as a passionate defense of an ever-relevant egalitarian culture characterized by a sense of deep horizontal camaraderie and mutuality.

UR - http://commons.ln.edu.hk/sw_master/767

M3 - Book (Author)

SN - 962209791X

BT - Stanley Kwan's center stage

PB - Hong Kong University Press

ER -

HJORT M. Stanley Kwan's center stage. Hong Kong University Press, 2006.