Use this URL to cite or link to this record in EThOS: http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.569123
Title: Cross-media and cultural study of music in Hong Kong film and Cantonese opera
Author: Cheng, Ling-Yan
Awarding Body: University of Liverpool
Current Institution: University of Liverpool
Date of Award: 2012
Availability of Full Text:
Access from EThOS:
Abstract:
This thesis focuses on the cross-media adaptation of films and Cantonese opera performances in Hong Kong, a former British colony located at the Southern border of China, This especial status of Hong Kong gradually constituted its peripheral position, in which Hong Kong struggled to survive-between Mainland China and the British colonial governments. Issues of diasporic consciousness, floating identity, and freedom of creativity are closely associated with the creation of experimental Cantonese operas in the 1950s and the contemporary Hong Kong cinema. With extensive fieldwork and archival research carried out in Hong Kong, Singapore, and China, an in-depth investigation is made to study various adaptations between films and Cantonese operas in Hong Kong after the Second World War and its Japanese occupation. Through analysing the influence of Western films on the new Cantonese opera productions and their later film versions, the changes in music made in the adaptation process demonstrate the close connection of Southeast Asia and Hong Kong, as well as the freedom of creativity Hong Kong benefited from its marginal position at the time. The adaptation practices in contemporary Hong Kong cinema are significant to the studies of the social and political circumstance of Hong Kong prior to its return to China in 1997. An attempt is made to examine how the reappearance of Cantonese opera in 1990s films contributed to the reaffirmation of local identities. A Mainland Chinese film featuring Peking opera in political turbulence is cited as cross-reference to the concurrent Hong Kong cinema. The crucial changes made in the film adaptation, and the censorship experienced by the production in its homeland and Taiwan, clearly suggest Hong Kong's identity as 'other' to Chinese. In conclusion, I argue the cross-media and cross-cultural adaptations of Cantonese opera and Hong Kong films demonstrate the hybrid identity of Hong Kong, which in turn signifies its refusal to assimilation into Chinese culture as it assumed quasi-colonial status.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.569123  DOI: Not available
Share: