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6 results

  • Introduction

  • Marco Wan, The University of Hong Kong
  • Book:
    Film and Constitutional Controversy
    Published online:
    05 February 2021
    Print publication:
    04 February 2021, pp 1-25

  • Summary

    The Introduction posits that Hong Kong cultural identity is intertwined with law, and traces the historical development of how this came to be so. Drawing on the notion of the politics of disappearance by cultural theorist Ackbar Abbas, it argues that the major constitutional controversies in the city threaten, or are perceived to threaten, this sense of selfhood. It further argues that through its diverse modes of representation, film provides a forum for the visual expression of identity, and registers the ways in which it reacts to these controversies.

Film and Constitutional Controversy
  • Visualizing Hong Kong Identity in the Age of 'One Country, Two Systems'
  • Marco Wan
  • Published online:
    05 February 2021
    Print publication:
    04 February 2021
  • In modern-day Hong Kong, major constitutional controversies have caused people to demonstrate on the streets, immigrate to other countries, occupy major thoroughfares, and even engage in violence. These controversies have such great resonance because they put pressure on a cultural identity made possible by, and inseparable from, the 'One Country, Two Systems' framework. Hong Kong is also a city synonymous with film, ranging from commercial gangster movies to the art cinema of Wong Kar-wai. This book argues that while the importance of constitutional controversies for the process of self-formation may not be readily discernible in court judgments and legislative enactments, it is registered in the diverse modes of expression found in Hong Kong cinema. It contends that film gives form to the ways in which Hong Kong identity is articulated, placed under stress, bolstered, and transformed in light of disputes about the nature and meaning of the city's constitutional documents.

  • 25 - End Times in the Antipodes: Propaganda and Critique in On the Beach

  • from Part III - The Parochial/Plural Cold War
  • Edited by Matthew Craven, School of Oriental and African Studies, University of London, Sundhya Pahuja, University of Melbourne, Gerry Simpson, London School of Economics and Political Science
  • Book:
    International Law and the Cold War
    Published online:
    05 December 2019
    Print publication:
    19 December 2019, pp 559-581

  • Summary

    This chapter undertakes to explore a particular seismic shift in the fields of both thought and perception unfolding during the early part of the Cold War, as governments and publics grappled uneasily with the threat of nuclear war. I focus on the exploration of a particular cinematic event: the global release in late 1959 of the anti-nuclear war dystopian film On the Beach. Directed by the American Stanley Kramer and based on a 1957 novel by the British-Australian Nevil Shute, the film offers an opportunity to revisit and reflect on the tangled intersections between the cultural, legal and geopolitical orientations of this ‘hot’ Cold War moment from a new angle. While in 1959 an international legal architecture governing nuclear testing and nuclear non-proliferation had yet to emerge, the approach taken in this chapter suggests that a re-examination of this kind – that is attentive to the modes of perception (as well as discourse) that are emergent in this moment may be of interest to contemporary legal scholars seeking to make sense of a world in which nuclear threats have not abated, and international law’s role in managing that threat remains in question.

  • Reflections on I Just Didn't Do It, the Lay Judge System, and Legal Education in and out of Japan

  • Kent Anderson
  • Journal:
    Asian Journal of Comparative Law / Volume 7 / 2012
    Published online by Cambridge University Press:
    16 April 2015, pp. 1-21

  • In 2007 the Academy Award winning director of Shall We Dance released his new film, a critique of the Japanese criminal justice system from a wrongful conviction perspective. In this article, I use the filmas avehicle to serve three disparate goals. First, I provide the firstlegal critique of the film, a genre of legal scholarship developing over the past 15 years. Second, I use the film to reflect on criminal justice reforms in Japan, in particular the introduction of the Lay Judge System (quasi-jury saiban-in seido) from 2009. Third, I critically ask whether use of film as a legal text assists or distracts from my primary pedagogical objectives in teaching comparative Japanese law. I conclude with a cautious recommendation of I Just Didn't Do It as legal cinema, as a catalyst for reform of the Japanese criminal justice system and as an educational text.

  • Screening Desire: Same-Sex-Marriage Documentaries, Citizenship, and the Law

  • BJ Wray
  • Journal:
    Canadian Journal of Law & Society / La Revue Canadienne Droit et Société / Volume 24 / Issue 1 / April 2009
    Published online by Cambridge University Press:
    18 July 2014, pp. 1-21

  • This article explores how the legal arguments in favour of same-sex marriage recognition in the United States and Canada have been taken up in two recent documentaries on the subject: Tying the Knot: The Union That's Dividing America (USA, 2004) and The End of Second Class (Canada, 2006). My interest in these films lies in how they represent the legal challenges to their audiences. Like the litigation itself, each of these documentaries is built upon representational strategies that are intended to have the maximum impact on their audiences. Tying the Knot and The End of Second Class replicate the legal arguments and litigation strategies used by advocates of same-sex marriage. In particular, I analyse how each film represents the case for same-sex marriage through an appeal to three markers of equality rights discourses: rights evolve over time; rights are comparative; rights are indicators of national belonging. I contend that in their reliance on these markers, Tying the Knot and The End of Second Class unwittingly re-inscribe dominant notions of what it means to have full and equal national belonging and, thus, delimit what it means to be a “good” sexual citizen.