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No one becomes a patriot like an immigrant and Tsui, born in Vietnam, learned about China from secondary sources: books, movies, comics. He’s revitalized almost every major trope of Chinese popular culture and, if background counts, he’s barely even Chinese. He wants to knock off the dust and kick out the jams. People dismiss this and it drives him crazy. Tsui looks at Chineseness and sees a neverending source of ideas, a river of strength that will never run dry. He believes that he is the only person who understands the wonders of Chinese culture and history and that with his great understanding comes great responsibility: he must save it. You’d think a guy like this would be sitting behind a desk with his feet up, puffing on a big cigar, but Tsui Hark struggles.
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His Zu: Warriors from the Magic Mountain (1983) created, from scratch, the modern Hong Kong special effects industry, and his A Chinese Ghost Story: The Animation (1997) built an animation industry from the ground up.
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(1) The genres most identified with ’80s and ’90s Hong Kong film (heroic bloodshed, fantasy swordplay, ghost romances, period martial arts) were genres he created. As a director and producer, Tsui has made 54 films, directing 31 of them, producing blockbusters in every genre known to man, and creating most of the stars in the Hong Kong heavens (John Woo, Chow Yun-fat, Jet Li, Ching Siu-tung, and Brigitte Lin all owe their current careers to Tsui). Called “the Steven Spielberg of Asia”, at this point in his career, Steven Spielberg should be so lucky. No one takes this curatorial job more seriously than Tsui Hark. Consequently, it became the keeper of the flame, the custodian of a mythic Chinese identity. So while Hong Kong’s film industry was on the one hand a slick, sophisticated machine that exported itself internationally, it was also the only agent of Chinese culture that could move freely between overseas Chinese communities. The Chinese Nation, so mistreated by its twentieth century custodians, was placed for safekeeping in the hearts and minds of dreaming Chinese all over the world. The twentieth century shattered Chinese identity, forcing overseas Chinese who longed for a collective homeland to look beyond the China of the Communist party to a pre-Revolutionary, pre-Republican China. Those who appreciated Hong Kong’s industry on its own terms were regarded as hick fans, girly sentimentalists or humorless, anti-Hollywood multiculturalists who just didn’t “get” the glib, party hearty film writing that carried the day.īut Hong Kong’s film industry is more than a playground for cultural gatekeepers on vacation. Described as the id to Hollywood’s super-ego, Hong Kong was seen as a land of noble savages making primitivist movies that were valuable only in their inadvertent transgressions or excesses. Looking back at the raves and the cover stories one reads of a Hong Kong film industry that has no independent identity, just a more extreme notch on a dial where Hollywood is the “normal” setting. When it rains it pours and for five years in the mid-1990s Hong Kong cinema was swamped by a flood of critical enthusiasm that managed to be refreshing and patronizing at the same time. January 2, 1951, French Cochinchina (Vietnam)