Christianity flourishes in areas facing profound dislocations amidst regime change and warfare. This book explains the appeal of Christianity in the Chaozhou-Shantou (Chaoshan) region during a time of transition, from a stage of disintegration in the late imperial era into the cosmopolitan and entrepreneurial area it is today. The authors argue that Christianity played multiple roles in Chaoshan, facilitating mutual accommodations and adaptations among foreign missionaries and native converts. The trajectory of Christianization should be understood as a process of civilizational change that inspired individuals and communities to construct a sacred order capable of empowerment in times of chaos and confusion.
Acknowledgments -- Contents -- Notes on Contributors -- List of Figures -- Chapter 1: Situating Hong Kong and Bollywood Cinemas in the Global -- The Conceptualization of This Project -- Situating "Nation" and "World" in Asian Cinemas -- Recent Dynamics in Hong Kong and Bollywood -- Framing Hong Kong and Bollywood -- Organization of This Book -- Bibliography -- Part I: The Politics of Representation and Representation of Politics -- Chapter 2: The Trajectory of Bollywood Lyrics -- Introduction -- Lyrics and the Freedom Struggle -- Independence and the Progressive Moment
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Purpose The goal of this article is to examine the current trends of political cinema in postcolonial Hong Kong. Many leaders of the Hong Kong mainstream cinema have accepted the Chinese authoritarian rule as a precondition for expanding into the ever-expanding Mainland film market, but a handful of conscientious filmmakers choose to make political cinema under the shadow of a wealthy and descendant industry, expressing their desire for democracy and justice and critiquing the unequal power relations between Hong Kong and China.
Design/methodology/approach This paper consults relevant documentary materials and cinematic texts to contextualize the latest development of political cinema in Hong Kong. It presents an in-depth analysis of the works of two local independent filmmakers Herman Yau and Vincent Chui.
Findings This study reveals a glimpse of hope in the current films of Herman Yau and Vincent Chui, which suggests that a reconfiguration of local identity and communal relationship may turn around the collective despair caused by the oppressive measures of the Chinese authoritarian state and the end of the Umbrella Movement in late 2014.
Research limitations/implications Despite the small sample size, this paper highlights the rise of cinematic localism through a closer look at the works of Hong Kong independent filmmakers.
Practical implications This study reveals an ambivalent mentality in the Hong Kong film industry where critical filmmakers strive to assert their creativity and agency against the externally imposed Chinese hegemonic power.
Originality/value This investigation is an original scholarly study of film and politics in postcolonial Hong Kong.
