Abstract
abstract: This article examines Hsia Moon and her momentous transition from a celebrated movie star emblematic of the Hong Kong leftist cinema in the 1950s and 1960s to a prescient and resourceful producer who returned to the film circle and founded Bluebird Movie Enterprises to produce three important pieces in 1982 to 1984: Touben nvhai ( Boat People , Ann Hui), Zigu yingxiong chu shaonian ( Little Heroes , Mou Dunfu), and Sishui liunian ( Homecoming , Yim Ho). Through a close analysis of the film texts and production background alongside an original research of the historical documents and interviews with the filmmaker, I argue that Hsia Moon's Bluebird productions, ephemeral but highly influential, serve as conjuncture films at the crossroads of the post–Cold War and Sino-British negotiation era.
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