Tropical Hong Kong: Narratives of absence and presence in Hollywood and Hong Kong films of the 1950s and 1960s
Tropical Hong Kong: Narratives of absence and presence in Hollywood and Hong Kong films of the 1950s and 1960s
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DOI：
10.1111/j.1467-9493.2008.00316.x
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发表时间：
2008-03
影响因子：
2.2
通讯作者：
W. Gan
中科院分区：
文献类型：
--
作者：
W. Gan
尽管香港地处亚热带，但在 20 世纪 50 年代和 1960 年代的好莱坞和香港电影中，香港常常被描绘成热带地区。我认为，这种微妙的气候省略具有特定的政治价值，根据电影传统的不同而不同。在好莱坞的叙事中，香港的热带风情是一种异国情调的手段，并最终边缘化当地的现实。这是将香港的实际存在变成缺席的一种方式。在同样冷战环境下的香港电影中，这座城市的相对温和是其电影业与东南亚自由国家重新结盟的一种尝试。因此，对于香港电影来说，热带化策略是一种远离中国的手段，并将香港重新定义为位于东南亚阳光明媚的热带地区的资本主义、现代、海外华人城市网络的一部分。
Despite being subtropical, Hong Kong, in both Hollywood and Hong Kong films of the 1950s and 1960s, is often filmically represented as tropical. This subtle climatic elision, I argue, holds a particular political valence that varies according to filmic tradition. In Hollywood narratives, Hong Kong's tropicality is a means to exoticize and, ultimately, marginalize the realities of the local. It is a way to turn Hong Kong's physical presence into an absence. In Hong Kong films in that same cold war environment, the relative blandness of the city is an attempt to realign its film industry with the free nations of Southeast Asia. For Hong Kong films, the strategy of tropicalization was thus a means to turn away from China and redefine Hong Kong as part of a network of capitalist, modern, overseas Chinese cities located in the sunny tropics of Southeast Asia.