英文摘要 |
This essay attempts to contribute to an understanding of the recent shifts in the Sino-Hong Kong relationship, towards one in which they are economically inseparable yet emotionally detached, through an examination of the political subtext of one particular Hong Kong film. Since the signing of the Mainland and Hong Kong Closer Economic Partnership Arrangement (CEPA), more and more joint-venture films have been telling stories about Hong Kong whilst simultaneously attempting to appeal to Mainland audiences, as well as towing the line in terms of China’s censorship policy. This essay focuses on the film Vulgaria (2012) by Hong Kong director Pang Ho-cheung, a film which emerged against this backdrop but claims to have forsaken the Mainland market to cater exclusively to local audiences. Drawing on Ara Wilson’s work on “intimate economies,” this essay analyzes the strategies of representation and promotion in an attempt to demonstrate how nativism, entangled with vulgarity, is (re)discoursed and mobilized to boost the local box office, whilst the film simultaneously constructs an image of the Mainlander as “an intimate other” in the geopolitics of the Pan Pearl River Delta to tell the story of a “successful” co-production between the Mainland and Hong Kong. By employing multiple effects of intimacy (linguistic, geopolitical and cultural) and capitalizing on the power of rising nativism in Hong Kong, the film negotiates the tension between taking advantage of the Mainland economic benefits and asserting Hong Kong’s subjectivity. |