The colony writes back: nationalism and collaborative coloniality in the Ip Man series

Siu Keung CHEUNG, Wing Sang LAW

Research output: Journal PublicationsJournal Article (refereed)

Abstract

Purpose
The majority of Hong Kong filmmakers have pursued co-production with China filmmakers for having the Mainland market at the expense of local styles and sensitivities. To many critics, the two-part series of Ip Man and Ip Man II provide a paradigmatic case of film co-production that sell the tricks of Chinese kung fu, regurgitating the overblown Chinese nationalism against Japanese and kwai-lo. The purpose of this study is to rectify such observation of the Ip Man series.

Design/methodology/approach
The authors read the series deconstructively as a postcolonial text in which Hong Kong identity is inscribed in the negotiated space in between different versions of Chinese nationalism.

Findings
The analysis points to the varying subversive features in the series from which Hong Kong’s colonial experiences are tacitly displayed, endorsed and rewritten into the Chinese nationalistic discourse whose dominance is questioned, if not debased.

Originality/value
This paper advances new research insights into the postcolonial reinvention of kung fu film and, by implication, the Hong Kong cinema in general.
Original languageEnglish
Pages (from-to)159-172
JournalSocial Transformations in Chinese Societies
Volume13
Issue number2
DOIs
Publication statusPublished - 5 Sep 2017

Fingerprint

nationalism
Hong Kong
coproduction
cinema
critic
China
discourse
methodology
market
experience

Cite this

@article{1da81fc82be5480b8bc0c6f75258a12d,
title = "The colony writes back: nationalism and collaborative coloniality in the Ip Man series",
abstract = "PurposeThe majority of Hong Kong filmmakers have pursued co-production with China filmmakers for having the Mainland market at the expense of local styles and sensitivities. To many critics, the two-part series of Ip Man and Ip Man II provide a paradigmatic case of film co-production that sell the tricks of Chinese kung fu, regurgitating the overblown Chinese nationalism against Japanese and kwai-lo. The purpose of this study is to rectify such observation of the Ip Man series.Design/methodology/approachThe authors read the series deconstructively as a postcolonial text in which Hong Kong identity is inscribed in the negotiated space in between different versions of Chinese nationalism.FindingsThe analysis points to the varying subversive features in the series from which Hong Kong’s colonial experiences are tacitly displayed, endorsed and rewritten into the Chinese nationalistic discourse whose dominance is questioned, if not debased.Originality/valueThis paper advances new research insights into the postcolonial reinvention of kung fu film and, by implication, the Hong Kong cinema in general.",
author = "CHEUNG, {Siu Keung} and LAW, {Wing Sang}",
year = "2017",
month = "9",
day = "5",
doi = "10.1108/STICS-04-2017-0007",
language = "English",
volume = "13",
pages = "159--172",
journal = "Social Transformations in Chinese Societies",
issn = "1871-2673",
publisher = "Taylor and Francis Ltd.",
number = "2",

}

The colony writes back: nationalism and collaborative coloniality in the Ip Man series. / CHEUNG, Siu Keung; LAW, Wing Sang.

In: Social Transformations in Chinese Societies, Vol. 13, No. 2, 05.09.2017, p. 159-172.

Research output: Journal PublicationsJournal Article (refereed)

TY - JOUR

T1 - The colony writes back: nationalism and collaborative coloniality in the Ip Man series

AU - CHEUNG, Siu Keung

AU - LAW, Wing Sang

PY - 2017/9/5

Y1 - 2017/9/5

N2 - PurposeThe majority of Hong Kong filmmakers have pursued co-production with China filmmakers for having the Mainland market at the expense of local styles and sensitivities. To many critics, the two-part series of Ip Man and Ip Man II provide a paradigmatic case of film co-production that sell the tricks of Chinese kung fu, regurgitating the overblown Chinese nationalism against Japanese and kwai-lo. The purpose of this study is to rectify such observation of the Ip Man series.Design/methodology/approachThe authors read the series deconstructively as a postcolonial text in which Hong Kong identity is inscribed in the negotiated space in between different versions of Chinese nationalism.FindingsThe analysis points to the varying subversive features in the series from which Hong Kong’s colonial experiences are tacitly displayed, endorsed and rewritten into the Chinese nationalistic discourse whose dominance is questioned, if not debased.Originality/valueThis paper advances new research insights into the postcolonial reinvention of kung fu film and, by implication, the Hong Kong cinema in general.

AB - PurposeThe majority of Hong Kong filmmakers have pursued co-production with China filmmakers for having the Mainland market at the expense of local styles and sensitivities. To many critics, the two-part series of Ip Man and Ip Man II provide a paradigmatic case of film co-production that sell the tricks of Chinese kung fu, regurgitating the overblown Chinese nationalism against Japanese and kwai-lo. The purpose of this study is to rectify such observation of the Ip Man series.Design/methodology/approachThe authors read the series deconstructively as a postcolonial text in which Hong Kong identity is inscribed in the negotiated space in between different versions of Chinese nationalism.FindingsThe analysis points to the varying subversive features in the series from which Hong Kong’s colonial experiences are tacitly displayed, endorsed and rewritten into the Chinese nationalistic discourse whose dominance is questioned, if not debased.Originality/valueThis paper advances new research insights into the postcolonial reinvention of kung fu film and, by implication, the Hong Kong cinema in general.

U2 - 10.1108/STICS-04-2017-0007

DO - 10.1108/STICS-04-2017-0007

M3 - Journal Article (refereed)

VL - 13

SP - 159

EP - 172

JO - Social Transformations in Chinese Societies

JF - Social Transformations in Chinese Societies

SN - 1871-2673

IS - 2

ER -