Postmodernism and Hong Kong Cinema

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless. As Hong Kong’s anti-climactic 1997 decolonization came and went, the British (post)colony experienced a tumultuous decade—it was discovered by the international media, by Hollywood, and finally by the post-modernists. Maybe the question put by a contemporary academic Sepulveda to a latter-day Bartholomew de Las Casas should be: “Are they True post-modernists?” or “Are they True post-colonialists?” If there is any doubt that the project of Enlightenment, or secular Rationalism, is still very much with us, the burgeoning publications of postmodern studies of developing countries and “Third-World” cultures testifies to the universalizing Western intellect’s mandate to name and classify. As we enter the new century, the knowledge-power regimes in which Hong Kong and China seem already to be enmeshed are apparently as inescapable and indispensable as the cyber

saved by

• Helen Deng