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Generic Involution and Artistic Concession in Contemporary Hong Kong Cinema: Overheard Trilogy and Beyond

Generic Involution and Artistic Concession in Contemporary Hong Kong Cinema: Overheard Trilogy... Generic Involution and Artistic Concession in Contemporary Hong Kong Cinema: Overheard Trilogy and Beyond sun yi john c awelti’s influential essay “Chi- genres and the cultural myths they embodied natown and Generic Transformation in Recent “exhaust[ed] themselves” (578). Cawelti’s American Films,” published in 1979, ignited theory was developed (e.g., Collins) and widely considerable scholarly attention and debate on contested. Major criticisms, exemplified by the the issue of genre blending in cinema. Signifi - work of Janet Staiger, Rick Altman, and Steve cantly, there emerged an enduring dichotomy Neale, questioned the concept of genre blend- between genre blending as exhaustion and ing by rejecting the hypothesis of genre purity genre blending as evolution in understanding underpinning Cawelti’s claim; the authors the practice, which I will explicate in the first contributed to the growing consensus that films pages. In my research on a series of post- are more or less instances of genre blending, handover Hong Kong films, however, I find which is a standard practice in a system like neither the creative exhaustion nor the artistic Hollywood. Such criticisms have not denied evolution model adequate to depict and ex- altogether the phenomenon of genre blending plain the phenomenon of genre http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

Generic Involution and Artistic Concession in Contemporary Hong Kong Cinema: Overheard Trilogy and Beyond

Journal of Film and Video , Volume 73 (4) – Dec 1, 2021

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Publisher
University of Illinois Press
Copyright
Copyright © The Board of Trustees of the University of Illinois.
ISSN
1934-6018

Abstract

Generic Involution and Artistic Concession in Contemporary Hong Kong Cinema: Overheard Trilogy and Beyond sun yi john c awelti’s influential essay “Chi- genres and the cultural myths they embodied natown and Generic Transformation in Recent “exhaust[ed] themselves” (578). Cawelti’s American Films,” published in 1979, ignited theory was developed (e.g., Collins) and widely considerable scholarly attention and debate on contested. Major criticisms, exemplified by the the issue of genre blending in cinema. Signifi - work of Janet Staiger, Rick Altman, and Steve cantly, there emerged an enduring dichotomy Neale, questioned the concept of genre blend- between genre blending as exhaustion and ing by rejecting the hypothesis of genre purity genre blending as evolution in understanding underpinning Cawelti’s claim; the authors the practice, which I will explicate in the first contributed to the growing consensus that films pages. In my research on a series of post- are more or less instances of genre blending, handover Hong Kong films, however, I find which is a standard practice in a system like neither the creative exhaustion nor the artistic Hollywood. Such criticisms have not denied evolution model adequate to depict and ex- altogether the phenomenon of genre blending plain the phenomenon of genre

Journal

Journal of Film and VideoUniversity of Illinois Press

Published: Dec 1, 2021

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