Abstract

Rather than being read in exclusively postmodernist terms, Tsui Hark's series Once upon a Time in China may be understood as a new version of a Hong Kong cinematic discourse involving historical "interflow." It deals with dispersion, China's relationship to the outside world, and strategic forms of reintegration designed to strengthen national identity.

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Additional Information

ISSN
2578-4919
Print ISSN
2578-4900
Pages
pp. 3-24
Launched on MUSE
2000-11-01
Open Access
No
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