The study of Hong Kong modernism often uses the term “modernism” without a clear definition. For instance, Liu Yichang yu Xianggang xiandaizhuyi (Liu Yichang and Hong Kong Modernism), edited by Leung Ping-kwan et al. and published in 2010, discusses Hong Kong modernism, arguing that it shares similarities with Shanghai modernism while differing from its Western counterpart. However, the contributors seem to consider the concept of modernisms to be self-evident and do not provide a definitive...

Cinephilia is generally known as the feverish love of cinema. [1] In Hong Kong during the 1960s, such affection towards cinema was entangled with the complex sensation and sentiments revolving around Chinese nationalism (“Cultural China”), the British colonial rule and locality during the contesting ideologies in the Cultural Cold War and demonstrated in wide ranging practices. As Thomas Elsaesser proposed, cinephilia began with “topographically site-specific” and “a detour of place and space, a...

Hong Kong has enjoyed a long film history, which dates back to as early as the invention of film. Recent scholarship has begun to pay attention to the early screen culture of Hong Kong cinema. These findings paved the way for exploring the cinephilic culture in Hong Kong that has taken shape since the mid-1920s, when local critics and movie lovers began to group themselves to form cine clubs and unions and published film magazines. Yinguang ( 銀光 ) was