This article is a translation of a chapter from the collective monograph Draculas, vampires, and other undead forms: essays on gender, race, and culture, edited by John Edgar Browning and Caroline Joan (Kay) Picart (2009, Scarecrow Press). The author analyzes the question of how Hong Kong cinema responds to the complex situation of Hong Kong's transition from its status as a British territory on loan to a special territory with extended autonomy within the PRC. As a marker pointing to the crisis development of this process, the Chinese people's particular ideas about the so-called “goeng si” (“jumping corpses”) were chosen. These revived corpses move in a peculiar jumping way, due to which they received this name. According to the author, in the images of these creatures, as well as in the cinematic vampires that have become an integral part of films made by Hong Kong studios, all the contradictions of the cultural and political situation in Hong Kong are manifested as in a mirror. Despite the fact that Hong Kong was able to actively oppose the global cinema represented by Hollywood, it had to adjust to the global cinematic trends in which vampires played an important role. All of this led to a certain hybridity of images that combined both Western and Chinese traits.
Abbas, A. (1997). Hong Kong: Culture and the Politics of Disappearance. Minneapolis: University of Minnesota Press.
Ai, M. (2002, August). The Transition of Hong Kong People’s Nationality after World War II. Retrieved January 16, 2007, from E-Journal on Hong Kong Cultural and Social Studies 2 website: https://hku.hk/hkcsp/ccex/ehkcss01/issue2_ar_ma_01.htm
Ansen, D. (1996, February 19). Movies: Chinese Takeout. Newsweek.
Aronowitz, S., Arrighi, G., Brennan, T., Bull, M., Callinicos, A., Gindin, S., … Wood, E. M. (2003). Debating Empire (G. Balakrishnan, Ed.). London ; New York: Verso.
Barmé, G. R. (1985). Persistance de la tradition au royaume des ombres: Quelques notes visant à contribuer à une approache nouvelle du cinéma chinois, chapter in Le Cinéma chinois (M.‑C. Quiquemelle, Ed.). Paris: Centre Georges Pompidou.
Berry, C., & Farquhar, M. A. (2006). China on Screen: Cinema and Nation. New York: Columbia University Press.
Bordwell, D. (2000). Planet Hong Kong: Popular cinema and the art of entertainment. Cambridge, Mass: Harvard University Press.
Chan, N. S.-H. (2000). Rewriting History: Hong Kong Nostalgia Cinema and Its Social Practice. In P. Fu & D. Desser (Eds.), The Cinema of Hong Kong: History, arts, identity. Cambridge, UK ; New York, NY: Cambridge University Press.
Cheung, E. M. K., & Chu, Y. (2004). Introduction: Between Home and World. In E. M. K. Cheung & Y. Chu (Eds.), Between Home and World: A Reader in Hong Kong Cinema. Hong Kong, China: Oxford University Press.
Chow, R. (1994). Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema. New York: Columbia University Press.
Chu, Y. (2004). Introduction: Globalization and the Hong Kong Film Industry. In E. M. K. Cheung & Y. Chu (Eds.), Between Home and World: A Reader in Hong Kong Cinema. Hong Kong, China: Oxford University Press.
Ciecko, A. T. (2005). Introduction to Popular Asian Cinema. In A. T. Ciecko (Ed.), Contemporary Asian Cinema: Popular Culture in a Global Frame. New York and Oxford: Berg Publishers.
Dai, J. H. (2002). Postcolonialism and Chinese Cinema in the Nineties. In J. Wang & T. E. Barlow (Eds.), & H. H. Kuoshu (Trans.), Cinema and desire: Feminist Marxism and cultural politics in the work of Dai Jinhua. London New York: Verso.
Dai, J. H. (2005). Order/Anti-order: Representation of Identity in Hong Kong Action Movies. In M. Morris, S. L. Li, & S. C. Ching-Kiu (Eds.), & J. Zhang (Trans.), Hong Kong Connections: Transnational Imagination in Action Cinema. Durham : Hong Kong: Duke University Press Books.
Dannen, F., & Long, B. (1997). Hong Kong Babylon: An insider’s guide to the Hollywood of the East. New York: Hyperion/ Miramax.
Dummett, M. (2001). On immigration and refugees. London ; New York: Routledge.
Fu, P., & Desser, D. (Eds.). (2000). The Cinema of Hong Kong: History, arts, identity. Cambridge, UK ; New York, NY: Cambridge University Press.
Giukin, L. (2001). Boy-Girls: Gender, Body, and Popular Culture in Hong Kong Action Movies. In M. Pomerance (Ed.), Ladies and Gentlemen, Boys and Girls: Gender in Film at the End of the Twentieth Century. Albany: State University of NY Press.
Gomery, D. (2005). The Hollywood studio system: A history. London: BFI Publ.
Hammond, S., & Wilkins, M. (1996). Sex and Zen & A Bullet in the Head. New York: Simon & Schuster.
Hardt, M., & Negri, A. (2000). Empire. Cambridge, Mass.: Harvard University Press.
Hardt, M., & Negri, A. (2004). Multitude: War and Democracy in the Age of Empire. New York, NY: Penguin Books.
Hong Kong Movie DataBase. (2001, February 20). Retrieved December 14, 2002, from Hong Kong Movie DataBase website: https://hkmdb.com/
Hoover, M., & Stokes, L. O. (2002). At the Hong Kong Hop: Mr. Vampire Spawns Bloodsucking Genre. Paradoxa, (17), 68–76.
Hutchings, P. (2001). Terence Fisher. New York: Manchester University Press.
Li Cheuk-to. (1989). Introduction. In Li Cheuk-to (Ed.), Phantoms of the Hong Kong Cinema. Hong Kong: The Urban Council of Hong Kong.
Li, S. L. (2001). Kung fu: Negotiating nationalism and modernity. Cultural Studies, 15(3–4), 515–542. doi: 10.1080/095023800110046687
Lo, K. (2001). Transnationalization of the Local in Hong Kong Cinema of the 1990s. In E. C. M. Yau (Ed.), At Full Speed (pp. 261–276). University of Minnesota Press.
Logan, B. (1996). Hong Kong action cinema. Woodstock, N.Y: Overlook Press.
Lu, H. (Ed.). (1997). Transnational Chinese cinemas: Identity, nationhood, gender. Honolulu, HI: University of Hawaii Press.
Luo, Y. (1989). A Preliminary Discussion of National Style in Film [in Chinese]. In Y. Luo, P. Li, & H. Xu (Eds.), Anthology of Chinese Film Theory (Vol. 1). Beijing: Wen hua yi shu chu ban she.
Marchetti, G. (1998). Introduction: Plural and Transnational. Jump Cut, 42, 68–72.
Marchetti, G. (2006). From Tian’anmen to Times Square: Transnational China and the Chinese Diaspora on Global Screens, 1989-1997. Philadelphia: Temple University Press.
Marx, K. (1977). Capital: A Critique of Political Economy (B. Fowkes, Trans.). New York: Vintage.
Moretti, F. (1988). Signs Taken for Wonders: Essays in the Sociology of Literary Forms (D. Fischer, D. Forgacs, & D. Miller, Trans.). London ; New York: Verso.
Morris, M. (2005). Introduction: In M. Morris, S. L. Li, & S. C. Ching-kiu (Eds.), Hong Kong Connections (pp. 1–18). Hong Kong University Press.
Newman, K. (1993, January). Bloodlines. Sight and Sound.
Ng Ho. (1989). Abracadaver: Cross-Cultural Influences in Hong Kong Vampire Movies. In C. Li (Ed.), Phantoms of the Hong Kong Cinema. Hong Kong: The Urban Council of Hong Kong.
Pile, S. (2003). Perpetual Returns: Vampires and the Ever-Colonized City. In R. Bishop, W. W. Yeo, & J. Phillips (Eds.), Postcolonial Urbanism: Southeast Asian Cities and Global Processes. Routledge.
Roberts, J. A. G. (1998). Modern China: An Illustrated History. Stroud, Gloucestershire: The History Press.
Rofel, L. (2001). Discrepant modernities and their discontents. Positions: East Asia Cultures Critique, 9(3), 637–649. doi: 10.1215/10679847-9-3-637
Sassen, S. (1991). The Global City: New York, London, Tokyo. Princeton, N.J: Princeton University Press.
Stam, R. (2003). Beyond Third Cinema: The Aesthetics of Hybridity. In A. R. Gunerante & W. Dissanayake (Eds.), Rethinking Third Cinema. New York and Oxford: Routledge.
Stokes, L. O., & Hoover, M. (2000). City on fire: Hong Kong cinema. London ; New York: Verso.
Teo, S. (1989). In the Realm of Pu Songling. In Li Cheuk-to (Ed.), Phantoms of the Hong Kong Cinema. Hong Kong: The Urban Council of Hong Kong.
Teo, S. (1997). Ghost, Cadavers, Demons, and Other Hybrids. In Hong Kong Cinema: The Extra Dimension. London: British Film Institute.
Teo, S. (2000). Local and Global Identity: Whither Hong Kong Cinema? Retrieved March 22, 2003, from Sense of Cinema online website: http://senseofcinema.com/contents/00/7/hongkong.html
Teo, S. (2002). The Legacy of T. E. Lawrence: The Forward Policy of Western Film Critics in the Far East. In A. L. Williams (Ed.), Film and nationalism (pp. 181–194). New Brunswick, N.J.: Rutgers University Press.
Thomas, R. (1985). Indian Cinema: Pleasures and Popularity. Screen, 26(3–4), 116–131. doi: 10.1093/screen/26.3-4.116
Vié, C. (1996). Jiang shi. In K. Newman (Ed.), The BFI Companion to Horror. London: British Film Institute.
Wilson, K. M. (1998). The History of the Word Vampire. In A. Dundes (Ed.), The Vampire: A Casebook. Madison: University of. Wisconsin Press.
Yang, J. (2003). Once upon a time in China: A guide to Hong Kong, Taiwanese, and mainland Chinese cinema. New York: Atria Books.
Yau, C.-M. E. (Ed.). (2001). At full speed: Hong Kong cinema in a borderless world. Minneapolis: University of Minnesota Press.
Yau, K. S. (2005). Interactions Between Japanese and Hong Kong Action Cinemas. In M. Morris, S. L. Li, & Chan Stephen Ching-kiu (Eds.), Hong Kong Connections (pp. 35–48). Hong Kong University Press.
Yung, S. (2005). Moving Body: In M. Morris, S. L. Li, & S. C. Ching-kiu (Eds.), Hong Kong Connections (pp. 21–34). Hong Kong University Press.
Zhang, Y. (2002). Screening China: Critical interventions, cinematic reconfigurations, and the transnational imaginary in contemporary Chinese cinema. Ann Arbor, Mich: Center for Chinese Studies.
This work is licensed under a Creative Commons Attribution 4.0 International License.