Popular culture in Hong Kong has long been perceived as a pivot in the fostering of an identity for this former British colony and current Chinese Special Administrative Region. From the production of horror spanning across the period of the 60s to the recent decade, especially along the fantastical invention and stereotypical representation of a spectralized Southeast Asian cinema, this particular geopolitical imagination of Hong Kong is projected through an otherworldly phantasmagoria of black magic, curses and spells, eerie happenings and, often, pornographic images. While delineating the border between the city of Hong Kong and its Southeast Asian neighbors, such imaginaries are perceived as compensation for Hong Kong’s national ambiguity, which originates from a filtering of nationality in colonial governance and an obsession with ethnic revival in the post-colonial era. Hauntings as such illustrate a process of un-imagining the nation in Hong Kong’s popular culture: although the former Southeast Asian colonies have all become independent sovereign states since decolonization, they have yet to be fully grounded in secular modernity, capitalistic progression and ethical abstinence. As a form of inter-Asian Orientalism which dictates Hong Kong geopolitical imaginary of Southeast Asia, the cinema of black magic is a collective defensive mechanism against the intrusion of the eerie and, most essentially, against the normalcy of nationality.
Abstract
Popular culture in Hong Kong has long been perceived as a pivot in the fostering of an identity for this former British colony and current Chinese Special Administrative Region. From the production of horror spanning across the period of the 60s to the recent decade, especially along the fantastical invention and stereotypical representation of a spectralized Southeast Asian cinema, this particular geopolitical imagination of Hong Kong is projected through an otherworldly phantasmagoria of black magic, curses and spells, eerie happenings and, often, pornographic images. While delineating the border between the city of Hong Kong and its Southeast Asian neighbors, such imaginaries are perceived as compensation for Hong Kong’s national ambiguity, which originates from a filtering of nationality in colonial governance and an obsession with ethnic revival in the post-colonial era. Hauntings as such illustrate a process of un-imagining the nation in Hong Kong’s popular culture: although the former Southeast Asian colonies have all become independent sovereign states since decolonization, they have yet to be fully grounded in secular modernity, capitalistic progression and ethical abstinence. As a form of inter-Asian Orientalism which dictates Hong Kong geopolitical imaginary of Southeast Asia, the cinema of black magic is a collective defensive mechanism against the intrusion of the eerie and, most essentially, against the normalcy of nationality.
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