Reading Response

3. I think some of the factors that contributed to the unevenness films of this chapter is, I am not sure maybe what was going on in Hong Kong at the time, I need to re-read.
4.If we look at To's career as a system of correlated elements we can begin to consider inconsistency as one element in his authrorial system; To's career can be looked at as his films do not all fall into one certain genre, the common factor in his film genre is that they are all different.
5.
a. Teo says about generic plurality that there is no essentialist text and at the same time, there are many essentialist text. Meaning that a text can have a certain set of characteristics and at the same time there is no certain set of characteristics. An example comedies can be separated into pastiches, slapstick, romances, and phantasy. One film can combine one generic form or many.
b. the answer can be related to the “uneven market capitalist conditions” and the history of Hong Kong in the 1990s: the ending of the boom of the 1980s, the bursting the bubble in the property market, the unstable geopolitical environment, and the anxiety of great political changes. Postmodernism allows To to focus on one genre and dominate that genre, and in alternating time period it disrupts To concentration to make commercial entertainments in other genres. (not really understanding this whole part)
c. I am not sure how it is related
d. Hong Kong produced such a “broad church” film industry and audience because it accepts all forms of films, art and culture on both ends, in the Hong Kong film industry and the audience. This is related to Teo’s claims about unevenness in the films in this chapter because he made films about everything from morality to religion, marriage and commitment, life and death, his unevenness is he did not just do one certain genre, he did them all.