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.As Yang Chun points out, one of theobstacles to interaction between the Pearl River Delta and Hong Kong isthe lack of a regional identity, and therefore it is paradoxically an inte-grated region in lack of identity (2006: 75).If Yang is right, how do wegrasp such a paradox? When integration produces new aspirations, areeconomic and political alliances inadequate to give rise to a new imag-ined community? What languages and cultural forms are generated tohelp us understand the integration without a regional identity? Indeed,how does culture come into play in the process of regionalization? Toanswer these questions, I will look at identity imagination in the contextof regionalization, by exploring two representative contemporary HongKong films, Comrades, Almost a Love Story (1996) and Durian, Durian(2000), that address the cross-border subjects between Hong Kong andthe PRD at different phases.Particular attention will be paid both to theways Hong Kong people conceive of linkage and integration from theireveryday encounter with those who are brought about by cross-borderflow, and the meanings of regionalization from the perspective and 172 Cinematic Imagination of Border-Crossingexperience of those who move across the border between Hong Kongand the PRD.As micro and artistic accounts of the integration, these twocultural texts illustrate how the border of city-regions, as Étienne Balibardescribes, are creating problems in the heart of civic space where they generateconflicts, hopes, and frustration for all sorts of people, as well as inextricableadministrative and ideological difficulties for states (109 10, emphasisadded).The myriad emotions and feelings evoked by border-crossing pro-vide us a window through which to see the (im)possibility of a regionalidentity of Hong Kong and the PRD.First I analyze representations of border-crossing in Comrades, Almosta Love Story and Durian, Durian in the context of Hong Kong s relation-ship with the PRD at different historical junctures of integration toillustrate the complexity of recognizing those who come to Hong Kongas a result of regionalization.I argue that Comrades, Almost a Love Story,Peter Chan s box-office success before the handover, is a romance thatforesees the emergence of a new social subject in Hong Kong, namelynew immigrants from the Mainland, particularly the PRD.I will explainhow the characterization of the female protagonist from Guangzhouas a fake Hong Kong girl as well as the lack of representation of herhometown Guangzhou interestingly echo a long-held identity imagina-tion of Hong Kong as a global city facing the world, turning its back tothe PRD.The Hong Kong PRD relationship as seen in the film corre-sponds to the front shop, back factory economic partnership.On theother hand, Fruit Chan s Durian, Durian points to another possibility fordefining one s imagined community shaped by the ever-intense region-alization.The film not only presents the PRD as a concrete endpoint ofthe city-region network instead of an empty narrative signifier merelyto contrast or complement Hong Kong s identity as Asia s world city,but also offers a more realistic version of the multiplicity of a new trans-local community in Hong Kong s city-region and the problems involvedin cross-border governance.Besides suggesting a contrapuntal relationship between the films andthe geopolitical changes between Hong Kong and the PRD, I attemptto highlight how both films presuppose a new audience, anticipatingthe emergence of Hong Kong as a global city-region and of a new socialsubject.The hospitality shown in different degrees in the films suggestsa possibility for regional integration to reformulate a collective identity.In other words, the films articulate a politics of recognition.The rec-ognition of the cross-border subject here carries two meanings.First,employing cross-border people as the narrating protagonists, the filmspush front and center their existence in Hong Kong.More importantly, Tsung-yi Michelle Huang 173through the narrative plot and perspective of the film, cross-borderpeople are endowed with subjectivity and respected as individuals withagency.Despite living under a limited social and material context, theyare entitled to the right to urban space and the possibility of movingacross borders.The films shed light on their aspirations and frustrationsas well as a vast array of living and emotional needs.What cannot beignored is that the politics of recognition in these films does not merelypolish the image of the other and preach hospitality, but negotiatesa new self/other relationship and sense of boundary through casting,generic conventions, narrative strategies, and cinematic language.Comrades, Almost a Love Story: Almost a tale ofHong Kong and Guangzhou, but not quiteNarrating the love affair of a couple coming from Wuxi and Guangzhouto Hong Kong from 1986 to 1996, the director ingeniously takes theromance of new immigrants from the Mainland to define the identityof Hong Kong (people) [ Pobierz caÅ‚ość w formacie PDF ]
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.As Yang Chun points out, one of theobstacles to interaction between the Pearl River Delta and Hong Kong isthe lack of a regional identity, and therefore it is paradoxically an inte-grated region in lack of identity (2006: 75).If Yang is right, how do wegrasp such a paradox? When integration produces new aspirations, areeconomic and political alliances inadequate to give rise to a new imag-ined community? What languages and cultural forms are generated tohelp us understand the integration without a regional identity? Indeed,how does culture come into play in the process of regionalization? Toanswer these questions, I will look at identity imagination in the contextof regionalization, by exploring two representative contemporary HongKong films, Comrades, Almost a Love Story (1996) and Durian, Durian(2000), that address the cross-border subjects between Hong Kong andthe PRD at different phases.Particular attention will be paid both to theways Hong Kong people conceive of linkage and integration from theireveryday encounter with those who are brought about by cross-borderflow, and the meanings of regionalization from the perspective and 172 Cinematic Imagination of Border-Crossingexperience of those who move across the border between Hong Kongand the PRD.As micro and artistic accounts of the integration, these twocultural texts illustrate how the border of city-regions, as Étienne Balibardescribes, are creating problems in the heart of civic space where they generateconflicts, hopes, and frustration for all sorts of people, as well as inextricableadministrative and ideological difficulties for states (109 10, emphasisadded).The myriad emotions and feelings evoked by border-crossing pro-vide us a window through which to see the (im)possibility of a regionalidentity of Hong Kong and the PRD.First I analyze representations of border-crossing in Comrades, Almosta Love Story and Durian, Durian in the context of Hong Kong s relation-ship with the PRD at different historical junctures of integration toillustrate the complexity of recognizing those who come to Hong Kongas a result of regionalization.I argue that Comrades, Almost a Love Story,Peter Chan s box-office success before the handover, is a romance thatforesees the emergence of a new social subject in Hong Kong, namelynew immigrants from the Mainland, particularly the PRD.I will explainhow the characterization of the female protagonist from Guangzhouas a fake Hong Kong girl as well as the lack of representation of herhometown Guangzhou interestingly echo a long-held identity imagina-tion of Hong Kong as a global city facing the world, turning its back tothe PRD.The Hong Kong PRD relationship as seen in the film corre-sponds to the front shop, back factory economic partnership.On theother hand, Fruit Chan s Durian, Durian points to another possibility fordefining one s imagined community shaped by the ever-intense region-alization.The film not only presents the PRD as a concrete endpoint ofthe city-region network instead of an empty narrative signifier merelyto contrast or complement Hong Kong s identity as Asia s world city,but also offers a more realistic version of the multiplicity of a new trans-local community in Hong Kong s city-region and the problems involvedin cross-border governance.Besides suggesting a contrapuntal relationship between the films andthe geopolitical changes between Hong Kong and the PRD, I attemptto highlight how both films presuppose a new audience, anticipatingthe emergence of Hong Kong as a global city-region and of a new socialsubject.The hospitality shown in different degrees in the films suggestsa possibility for regional integration to reformulate a collective identity.In other words, the films articulate a politics of recognition.The rec-ognition of the cross-border subject here carries two meanings.First,employing cross-border people as the narrating protagonists, the filmspush front and center their existence in Hong Kong.More importantly, Tsung-yi Michelle Huang 173through the narrative plot and perspective of the film, cross-borderpeople are endowed with subjectivity and respected as individuals withagency.Despite living under a limited social and material context, theyare entitled to the right to urban space and the possibility of movingacross borders.The films shed light on their aspirations and frustrationsas well as a vast array of living and emotional needs.What cannot beignored is that the politics of recognition in these films does not merelypolish the image of the other and preach hospitality, but negotiatesa new self/other relationship and sense of boundary through casting,generic conventions, narrative strategies, and cinematic language.Comrades, Almost a Love Story: Almost a tale ofHong Kong and Guangzhou, but not quiteNarrating the love affair of a couple coming from Wuxi and Guangzhouto Hong Kong from 1986 to 1996, the director ingeniously takes theromance of new immigrants from the Mainland to define the identityof Hong Kong (people) [ Pobierz caÅ‚ość w formacie PDF ]