By Audrey Yue
This booklet examines "Song of the Exile" as diasporic cinema. As textual content, its practices of diasporic intimacy problem the exilic myths of domestic and go back. As style, its use of postcolonial feminist autobiography articulates another Hong Kong background. As pedagogy, its border practices permit the educating of transcultural literacy.
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Additional resources for Ann Hui's Song of the Exile
This approach is appropriate for Hui as not only the most established female director in contemporary Hong Kong but one of the first to define an ‘alternative’ cinema (Ortiz Dy 2008). This section critically examines the contexts of Hui’s authorship and Song of the Exile within their cultural specificities and as Re-turn to Hong Kong 51 ● historical discourses to consider how a counter-cinema has emerged as a feature of her cine-feminism. The next section examines the textual author through the practice of postcolonial feminist autobiography.
As she comes to accept her bicultural Chinese-Japanese identity, Japan becomes a place to re-imagine her diasporic inheritance. Similarly, as Aiko comes to accept her enculturation, Japan also becomes a place to re-imagine her exilic consciousness. Japan’s colonization of Manchuria during the Pacific War, its cultural hegemony over China and China’s postcolonial relationship with Japan, are also represented in these sequences through the 32 ● Ann hui’s Song of the exile politics of nationalisms, language and ethnicity.
Two of Eileen Chang’s (Zhang Ailing) novels were adapted into Love in a Fallen City and Eighteen Springs. Eighteen Springs features the late Canto-pop singer and film star Anita Mui, while Love in a Fallen City has Chow Yun Fatt supporting the lead female protagonist played by Cora Miao. Like Love in a Fallen City, the mid-life male crisis explored in July Rhapsody is also sparked by a young female protagonist. Written by Ivy Ho (An Xi) who also penned the equally award-winning Comrades, Almost a Love Story (dir.