Experimental shorts, film culture, and Third World Cinema in 1950s–1970s Hong Kong: An interview with Law Kar

Abstract

Law Kar provides a comprehensive overview of his thoughts on the historical development of left-wing and progressive cinema in Hong Kong from the 1940s–1970s. Law Kar introduces the concept of ­“spontaneous” in relation to “third cinema” produced in Hong Kong, which allows space for the critical thinking of the creative personnel working on the films and the audiences watching them. Law’s insights complicate the political horizon of left-wing films and moves beyond simply repeating the line of the studios’ dominating the films within the Cold War context; instead, what emerges is a political spectrum that is much wider than the studio. This not only echoes the idea of spontaneity laid out by Fanon in the decolonization project but challenges understanding of the strengths and weaknesses of progressive films and media in Hong Kong. Law Kar is a veteran film critic in Hong Kong. Since the 1960s he has served as editor for publications such as The Chinese Student Weekly (Zhongguo xuesheng zhoubao), Intellectual Biweekly (Zhishi fenzi shuang zhou kan), and made several experimental films such as Beg for Life (Qi shi). He later worked for the Hong Kong International Film Festival and Hong Kong Film Archive. He recently received the Award for Professional Achievement at the Hong Kong Film Awards.