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Mass Camp in Contemporary Hong Kong Cinema

This chapter considers Hong Kong’s particular socio-historical context
 since the 1960s, which has been imperative to the diffusion of a local
 mass camp impulse characterized by a self-conscious, often parodic
 attitude toward the artifice of conventions, particularly those associated
 with art, gender behavior, and media representation. It then investigates
 the particular ways in which mass camp has at once informed and been
 informed by Hong Kong mainstream cinema from the 1970s onward. A
 crucial point made throughout lies in the intimate relationship between
 mass camp and the proliferating gender parody of contemporary Hong
 Kong cinema, culminating in films of the early 1990s (e.g. Swordsman II).
 This process, importantly, has also been coupled with the critical articulation
 of camp discourse since the mid-to-late 1970s.