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By Esther M. K. Cheung

The books takes an interdisciplinary method of learn Fruit Chan's Made in Hong Kong, utilizing views starting from sociology, heritage, movie reports, cultural and demanding theories, and globalization studies.

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28 I have followed Michel de Certeau to call it “the art of making-do,” which refers to how one can make do by constructing one’s own space within and against the other’s space, speaking one’s own meanings with other people’s language. 30 While it is true that Durian Durian adheres less to commercial genres than his earlier films and is more like an art-house production, the film is better known as an alternative at the edge of the mainstream. Echoes of these values have been found in the ways Chan’s independent oeuvres have impacted upon local and international cinematic discourses.

It addresses the unhappiness, solitude, and fragile lives of adolescent girls although the characters in Coppola’s film do not fall into the lower stratum of society. The social realism in Made in Hong Kong also finds echoes in some examples of the cinemas of Taiwan and the PRC during times of critical transition in Chinese communities. Edward Yang’s A Brighter Summer Day (1991) is mainly about the killing of a young school girl by a school boy in Taipei in the early 1960s. It depicts the life of teenage gangs and their search for identity at a time when Taiwan’s political future was unclear.

In comparative light, some notable films about disaffected youth in the international cinema can be cited. 18 The bleak destiny of the youth in Oshima’s Cruel Tragedy of Youth echoes with those in Made in Hong Kong. If Oshima’s disillusionment with the political left is noticeable in his portrayal of the destructive youth, Chan constantly casts doubts on the capacity of the lower-class people to engage in a utopian socialist struggle. Oshima was also fond of mixing farce and satire together, for example in Death by Hanging (1968).

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