By Audrey Yue
This booklet examines "Song of the Exile" as diasporic cinema. As textual content, its practices of diasporic intimacy problem the exilic myths of domestic and go back. As style, its use of postcolonial feminist autobiography articulates another Hong Kong heritage. As pedagogy, its border practices allow the instructing of transcultural literacy.
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Additional info for Ann Hui's Song of the Exile
She continues to live with her grandparents in Macau when her mother joins her father in Hong Kong until she is fifteen. Macau is the diasporic home for the grandparents, Aiko and Hueyin. In this space, all try to re-make a second home. The second home is a shared space consisting of predominantly two rooms on 38 ● Ann hui’s Song of the exile the first floor. Grandparents occupy one room where they also cook while Aiko and Hueyin live in the other. The rooms, like the one in Guangzhou, are dark and narrow.
1996: 94) After the Second World War, it was a neutral place to settle refugees and trade in gold. It became a haven for pro-Mao communists during the Cultural Revolution. During the 1970s, Portugal granted a large degree of autonomy to the colony. In the wake of the leftist military coup in Portugal in 1974, Macau was regarded by Portugal and China as ‘a Chinese territory under (temporary) Portuguese administration’ (Fung 1999: 148). It is currently a free trade port, a tax haven and a key destination for gambling tourism.
Britain, as a centre of colonial distinction, is unhinged through surrender. For the naturalized Chinese Hueyin, it is also a place of discrimination and isolation. China, as the origin of tradition and descent, is apprehended with foreboding. For the nationalist grandfather, it is also a place of socialism. Japan, as the comfort of home, is intimated through food and social networks. For the exiled Aiko, it is also a place of nostalgia. In these journeys of return, the imagined communities of the homeland are reworked.
Ann Hui's Song of the Exile by Audrey Yue