This project examines the major
role Hong Kong women
filmmakers play in local,
regional, and global motion
picture culture since the
establishment of the HKSAR in
1997. The research focuses on
key films by established and
emerging women directors,
producers, and scriptwriters in
order to explore the way these
women highlight specific issues
involving gender, sexuality,
politics, and aesthetics. A website hosted by the Women’s
Studies Research Centre and the Department of Comparative
Literature at the University of Hong Kong documents currently
active Hong Kong women filmmakers with biographies,
filmographies, bibliographies, critical reviews, film stills, and other
visuals (https://hkwomenfilmmakers. wordpress.com/). The site also
includes news items and screening schedules. Local filmmakers
and scholars attended the launch of the site on March 6, 2015,
and expressed their appreciation of having their work included to
facilitate networking among women working in the field and to
juxtapose their own films with work by their female peers.
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The Hong Kong
Women
Filmmakers
research team
from left: Iris EU,
Prof Gina
MARCHETTI, Man
Man WONG and Dr
Derek LAM (inset) |
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As a perusal of titles by HKSAR women filmmakers indicates, these
female motion picture artists tend to be attracted to specific
subjects and aesthetic forms; notably, women’s roles in the Chinese
family, working women, women’s position in public life and politics,
feminism, domestic violence, female sex workers, consumerism,
women’s sexuality, lesbianism, romance, and female desire. They
have been very sensitive to women outside of Hong Kong, and
many have chosen to look at women in the PRC or within the
Chinese diaspora as well. They have been leaders in the innovative
use of the medium to explore subjectivity, memory, narrative form,
character psychology, and domestic space. Building on this
foundation, the principal investigator, Gina MARCHETTI, analyzed
a selection of key films using the methodological tools of close
textual analysis and feminist ideological critique in order to explore
the ways in which these films can be contextualized as part of broader political, cultural, and
aesthetic developments in
world cinema. |
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MARCHETTI has published her
research on HKSAR women
filmmakers in A Companion to
Hong Kong Cinema (Wiley-
Blackwell Press, 2015) as well
as contributing to the scholarly
literature review in Oxford
Bibliographies in Cinema and
Media Studies (with the
assistance of Dr Derek LAM). Other articles and book chapters are
forthcoming from Alphaville: Journal of Film and Screen Media,
Feminist Media Studies, Emergent Feminisms and the Challenge
to Postfeminist Media Culture, Citing China: Politics, Postmodernism,
and World Cinema, and the Palgrave Handbook of Asian Cinema.
She has presented her research findings at conferences in Dublin,
London, New Delhi, Macau, and Ningbo, and she has been invited
to speak on Hong Kong women filmmakers in Taiwan, Glasgow,
and locally.
Her findings indicate that HKSAR women filmmakers play an active
part in the local industry and an increasingly important role in the
region through their participation in co-productions with the PRC.
They build on their transnational connections and diasporic
associations to produce and exhibit their work globally, garnering
critical recognition and awards at international film festivals such
as Venice and Berlin. At the crossroads of the British Empire and
the People’s Republic of China, these women contribute their
unique perspective to world screen culture.
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(From left to right) Man Man WONG (Research Assistant), Prof Gina MARCHETTI
(Principal Investigator), Prof Louisa WEI (filmmaker), Cassandra CHAN
(filmmaker), Vicky DO (filmmaker), Angie CHEN (filmmaker), Gina WONG
(filmmaker), Prof Katrien JACOBS (filmmaker) and Dr Staci FORD |
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Prof Gina MARCHETTI
Department of Comparative Literature
The University of Hong Kong
marchett@hku.hk
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