This article confronts key postcolonial theoretical concepts through an examination of critical incongruities in and between Hollywood and Hong Kong filmic discourses. By challenging certain assumptions of postcoloniality (hybridity, bricolage, the subaltern, etc.), the authors expose inconsistencies in industrial, academic, and literary practices- ambiguities lurking between discursive patterns of Eastern and Western film production, consumption, and criticism—and show how such postcolonial constructs are found wanting when it comes to representing the flux and mangle found in Hollywood/Hong Kong interaction.
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