Ann Hui’s Allegorical Cinema

  • Jessica Siu-Yin Yeung


Yeung argues that Ann Hui’s co-produced films in her post-CEPA oeuvre embody a framework of “allegorical cinema.” Yeung theorizes this framework with reference to Walter Benjamin’s “baroque allegory,” Ackbar Abbas’s “cinema of the fragment as a nation,” and Yau Ka-Fai’s “cinema of the political.” The chapter first identifies the features of allegory in Hong Kong new cinema. It then explicates the necessity of allegory in the context of CEPA, state censorship, and self-censorship. After illustrating Hui’s mode of allegorical storytelling in The Golden Era (2014) and Our Time Will Come (2017), Yeung concludes with the uses of allegorical cinema in regard to investigating the future possibility of Hong Kong cinema under the influence of mainland China.


Allegory Ann Hui CEPA Co-production Censorship 



I am grateful to Jason S. Polley, Vinton Poon, Lian-Hee Wee, my anonymous reviewers, Jeremy Tambling, Michael Cheuk, Tom Cunliffe, Po-Wai Kwong, and Louis Lo for their help in enabling the writing of this essay. This essay commemorates Yau Ka-Fai, who inspires me with his passion for Hong Kong cinema and comparative literature.


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Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Jessica Siu-Yin Yeung
    • 1
  1. 1.SOASUniversity of LondonLondonUK

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