From local cinema to national : Stephen Chow's 'competent loser' and the question of Hong Kong identity

This study centres on a recent development in the filmmaking career of the well- known Hong Kong comedian, actor and director, Stephen Chow; by focusing on a character typically applied by him, the competent loser. While much of the widely cited studies on Chow focus only on his nonsensical style of...

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Main Author: Tseng, Christian Ke Ting
Other Authors: Marc Gloede
Format: Thesis-Master by Research
Language:English
Published: Nanyang Technological University 2021
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Online Access:https://hdl.handle.net/10356/148475
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spelling sg-ntu-dr.10356-1484752023-03-11T20:03:02Z From local cinema to national : Stephen Chow's 'competent loser' and the question of Hong Kong identity Tseng, Christian Ke Ting Marc Gloede School of Art, Design and Media marc.gloede@ntu.edu.sg Visual arts and music::Film This study centres on a recent development in the filmmaking career of the well- known Hong Kong comedian, actor and director, Stephen Chow; by focusing on a character typically applied by him, the competent loser. While much of the widely cited studies on Chow focus only on his nonsensical style of humour (known as mo lei tau), as well as his success(es) within the Hong Kong television and film industry, Chow’s productions for the mainland remain relatively understudied. Since moving on to seemingly produce films exclusively for the mainstream mainland Chinese audience from the 2010s, a lack of close attention and scrutiny is afforded to his recent work. The question of Chow’s Hong Kong identity, or a lack of Hong Kong identity, is the central concern among Hong Kong insiders and locals as Chow’s mainland productions continue to receive little regard. Since Ackbar Abbas’ widely cited theory of Hong Kong as a culture of disappearance in the lead up to Hong Kong’s transfer of sovereignty to the People’s Republic of China in 1997, the primary concern among Hong Kong critics and scholars has been the loss of cultural identity and its fears of mainlandisation. Thus, the more pressing question arises as to how much of these ongoing fears can actually be attributed to Chow. Through a formal analysis of films like Love on Delivery (1994), King of Comedy (1999), Journey to the West: Conquering the Demons (2013) and The New King of Comedy (2019), this study is able to recognise, define and trace the developments of Chow’s competent loser; and appreciate that all is not lost for the cultural identity of both Hong Kong and Chow. Master of Arts 2021-04-28T11:57:43Z 2021-04-28T11:57:43Z 2020 Thesis-Master by Research Tseng, C. K. T. (2020). From local cinema to national : Stephen Chow's 'competent loser' and the question of Hong Kong identity. Master's thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/148475 https://hdl.handle.net/10356/148475 10.32657/10356/148475 en This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License (CC BY-NC 4.0). application/pdf Nanyang Technological University
institution Nanyang Technological University
building NTU Library
continent Asia
country Singapore
Singapore
content_provider NTU Library
collection DR-NTU
language English
topic Visual arts and music::Film
spellingShingle Visual arts and music::Film
Tseng, Christian Ke Ting
From local cinema to national : Stephen Chow's 'competent loser' and the question of Hong Kong identity
description This study centres on a recent development in the filmmaking career of the well- known Hong Kong comedian, actor and director, Stephen Chow; by focusing on a character typically applied by him, the competent loser. While much of the widely cited studies on Chow focus only on his nonsensical style of humour (known as mo lei tau), as well as his success(es) within the Hong Kong television and film industry, Chow’s productions for the mainland remain relatively understudied. Since moving on to seemingly produce films exclusively for the mainstream mainland Chinese audience from the 2010s, a lack of close attention and scrutiny is afforded to his recent work. The question of Chow’s Hong Kong identity, or a lack of Hong Kong identity, is the central concern among Hong Kong insiders and locals as Chow’s mainland productions continue to receive little regard. Since Ackbar Abbas’ widely cited theory of Hong Kong as a culture of disappearance in the lead up to Hong Kong’s transfer of sovereignty to the People’s Republic of China in 1997, the primary concern among Hong Kong critics and scholars has been the loss of cultural identity and its fears of mainlandisation. Thus, the more pressing question arises as to how much of these ongoing fears can actually be attributed to Chow. Through a formal analysis of films like Love on Delivery (1994), King of Comedy (1999), Journey to the West: Conquering the Demons (2013) and The New King of Comedy (2019), this study is able to recognise, define and trace the developments of Chow’s competent loser; and appreciate that all is not lost for the cultural identity of both Hong Kong and Chow.
author2 Marc Gloede
author_facet Marc Gloede
Tseng, Christian Ke Ting
format Thesis-Master by Research
author Tseng, Christian Ke Ting
author_sort Tseng, Christian Ke Ting
title From local cinema to national : Stephen Chow's 'competent loser' and the question of Hong Kong identity
title_short From local cinema to national : Stephen Chow's 'competent loser' and the question of Hong Kong identity
title_full From local cinema to national : Stephen Chow's 'competent loser' and the question of Hong Kong identity
title_fullStr From local cinema to national : Stephen Chow's 'competent loser' and the question of Hong Kong identity
title_full_unstemmed From local cinema to national : Stephen Chow's 'competent loser' and the question of Hong Kong identity
title_sort from local cinema to national : stephen chow's 'competent loser' and the question of hong kong identity
publisher Nanyang Technological University
publishDate 2021
url https://hdl.handle.net/10356/148475
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