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|Issue Date:||2016-05-23 14:52:58 (UTC+8)|
Since long, discussions held on Hong Kong’s art and literature events in the 50s have been focused on the way the left and the right confronted with each other in Cold War era. In fact, it is never an easy task keeping art and literature aesthetically and politically balanced. In this article, we take Pearl River Tears and Half Way Down, 2 Hong Kong-made films in the 50s as examples for discussion on the effort to locate an ideal space of their own made by novel writers and film workers of the left and the right. There, the artists could become identified while telling their stories when Hong Kong was considered mostly a city for refugees. Using their own wording and movie languages, the decade of the 50s was told and their ideal space built. Ironically, the two ideologies that appear different did look alike in certain ways.
|Relation:||政大中文學報, 9, 55-68|
Bulletin of the Department of Chinese Literature National Chengchi University
|Appears in Collections:||[政大中文學報 THCI Core] 期刊論文|
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