The city has always been a prominent subject in Hong Kong cinema. Land has been seen only as a profitable commodity, controlled by property developers and the wealthy. Instead of exploring the countryside and the traditional farming and fishing villages, people shifted their focus to
Hong Kong: its skyline became the only valid point of perception. This marginalization of nature, however, was challenged in 2008 during the dispute between the villagers of Choi Yuen village and the Hong Kong government regarding the construction of Guangzhou‐Hong Kong High-Speed Rail
Link, which would demolish the village of 500 people that lay along its path. This article looks at Jessey Tsang’s documentary Flowing Stories (2014) and adopts an ecofeminist perspective on the ways in which Hong Kong’s cultural imaginary has been reinvented in films. The
role of documentaries in the independent film scene will be reviewed, especially the social-issue documentaries that have become popular since 2008. An ecofeminist approach to our understanding of Hong Kong could shift the paradigm of our stagnant cultural imaginary ‐ the urban city
‐ and resituate Hong Kong in a closer connection with its surroundings and the world.
The formation of a place and community involves both a spatial definition and a coherent narrative of its historical existences. If a cohesive nation relies heavily on a unified and linear narrative of itself, then the acknowledgement of diverse and multiple temporalities would challenge and disturb that nation’s political discourse, which would, in turn, render its identity fluid and provisional. The three works discussed in this review touch upon different issues concerning Hong Kong and China. In various ways, the three writers put temporality on centre stage in order to challenge the notions of cohesive political discourse and fixed identity.
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