The Cultural and Historical Openness of Bernard Narokobi’s ‘Melanesian Way’

ABSTRACT

Narokobi’s call for a distinctive ‘Melanesian Way’ was not rigid traditionalism. Narokobi understood Melanesian indigeneity as agentively engaging the foreign, seeking and welcoming it, as opposed to merely acquiescing to it as an unbidden, external force. This understanding was informed by Narokobi’s Arapesh cultural background and his experience of a historic movement led by the visionary Arapesh leader Sir Pita Simogun in the 1950s to modernize the distinctive cultural institution of the Arapesh ‘roads’, which were practical travel passageways as well as valued channels of exchange and social relationships. The modernized Arapesh road facilitated Narokobi’s passage to advanced education just as new scholarships and opportunities were created by Australia’s acceleration of decolonization, positioning him to study law in Sydney and play a central role in planning for PNG’s constitution. It was also a potent Indigenous model that Narokobi built upon in his famous concept of the ‘Melanesian Way’.     

Policy and creative strategies: Hong Kong CEPA films in the China market

Abstract

This article examines the creative strategies of Hong Kong Closer Economic Partnership Arrangement (CEPA) films in engagements with the China market under the framework of CEPA introduced in 2004. One of the aims of CEPA for the film sector is to boost co-production between Hong Kong and the mainland. In the past 10 years, CEPA has dramatically changed Hong Kong cinema’s relationship with China in that major film directors have moved to produce CEPA films to tap into the rapidly growing mainland market. This shift has been considered as part of HKSAR’s overall mainlandization and subsequent disappearance of a distinct local identity. This article revisits this view by presenting two case studies to see if indeed Hong Kong CEPA pictures are devoid of Hong Kong elements. The case studies analyze textual elements of two CEPA blockbuster films, The Mermaid (dir. Stephen Chow, 2016) and The Taking of Tiger Mountain 3D (dir. Tsui Hark, 2014). Citing the intertextual allusions to the directors’ old works seen in these two films, the authors argue that the market advantage granted by the CEPA scheme in effect allowed Hong Kong filmmakers to revive and extend signature creative strategies of Hong Kong cinema, despite censorship constraints.