Response for 9-21

3. What are some of the factors contributing to the so called “unevenness” of the films discussed in this chapter? Why does this unevenness present obstacles to discussing To as an auteur? Why does this unevenness present obstacles to discussing the films in terms of genre?

The unevenness comes from many sources. First, To co-directs many projects with another man, Wai. To’s job is to make things filmable and filmed in interesting ways, while Wai job is to write the stories and come up with the themes. The two director on a project can lead to an unevenness to the films produced.

Second, To works in multiple genres. He does not work in a set genre and often combines genres.

Because his work in uneven it is hard to judge To as an auteur because typical auteurs work in a single genre and their work is consistent. To’s films have inconsistencies and blemishes because he makes “one [film] for the people, one [film] for the critics.” He dives between the popular and high culture which adds to the inconsistency of his films.

4. Explain this tricky claim in your own words: “If we look at To’s career as a system of correlated elements, we can begin to consider inconsistency as one element in his authorial system.” Why does Teo consider inconsistency as a possible value rather than only a fault?

If there is a pattern of inconsistency then maybe it is conscious and stylistic of To’s filmmaking approach. It is just another condition of what make his films solely his own.

5. To understand Teo’s argument about To and Postmodernism, take the following small steps, and consider the relationship between your answers:

a. If genre is considered to be a social institution which leads to constraints on the author, in what ways do filmmakers (including To) “overcome structural constraints as part of a movement of postmodern cinema”? Hints: What does Teo say about generic plurality on p. 147 and sectarian modes of thought on p. 148?

Teo says there is no essentialist text at the same time there is. To’s films combine multiple forms of genre like comedy, for example, is separated into slapstick and romance in “Love on a Diet”. Sectarian modes of thought describe the values a film portrays that are typically a religious matter like charity (Christianity) or death and reincarnation (Buddhism).

b. How is the answer to a. related to the “uneven market capitalist conditions” and the history of Hong Kong in the 1990s?

There was a lot of anxiety in Hong Kong in the 90s because of the economy and the future turnover from British control to Communist China. At the same time, HK’s film industry was being influenced by outside forces. Directors had to adapt to the changing social and political conditions of the times.

c. How is the answer to a. and b. related to the claims that “postmodernism is a social theory that celebrates kitsch and camp, the bad along with the good”?

The films of postmodern directors were made to be commodities for popular consumption. Their imperfections make the films unique and interesting to a postmodern audience who finds inconsistencies and imperfections in the film a part of the film culture and art.

d. Tie all of these answers together: Why has the Hong Kong film industry and audience produced such a “broad church” definition of genre? How is this "broad church" related to Teo's claims about unevenness in the films in this chapter?

These films all fall into specific genres at the same time they fall into many genres. The films also deal in social and political subjects unique to HK. Also, they are made by directors interested in both the popular and higher film cultures. With the restrictions of film placed by genre, and the conflict of ideas of the director’s views of society and politics creating an unevenness of films, the definition of genre must expand to encompass all these related ideas.

P.S. I tried but I don't fully understand all these terms about genre.