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Anita Mui's death day | In addition to being strong, loyal, loving, and professional, what else should we continue?

2021-12-30T12:46:04.713Z


2021 finally comes to the last two days, but society did not abandon the old and welcome the new year, but fell into a sluggish negativity-because this year, the new crown epidemic has not improved, the economic performance has continued to be sluggish, and the migrant population has increased.


2021 finally reached the last two days, but the society did not abandon the old and welcome the new, but fell into a sluggish negativity-because this year, the new crown epidemic has not improved, economic performance has continued to be sluggish, and more and more people have migrated. The political struggle is endless.

The scars were scratched before the scabs formed, and the air pressure was so low that it was breathless, just like returning to the same turbulent and bleak future in 2003-the beginning of a lottery with "Nothing Good", with a generation of " The legendary queen" Anita Mui died.


Today, the superstar fell and the whole Hong Kong mourned. Everyone dubbed her the "Daughter of Hong Kong" because her short life on stage for 40 years was accompanied by the ups and downs of the city, and her strength, righteousness, great love and professionalism It is also the glorious reflection of this small island, and more importantly, her persistence in Hong Kong. At every moment when she consciously needs her in Hong Kong, she will be obliged to stand on the stage and come to the forefront to entertain the audience and gather everyone, even if The body is unwell and never loses the field.

Today, 18 years later, Hong Kong is facing another blow. The popularity of the biographical film "Anita Mui" has evoked the grief of countless Hong Kong people, but can everyone jump out of the movie to re-recognize Anita Mui's Hong Kong story and better extend her poor life The spiritual enlightenment that energy leaves us?


On the 18th anniversary of Anita Mui’s death, Hong Kong is facing another blow. The popularity of the biographical film "Anita Mui" has evoked the grief of countless Hong Kong people, but can everyone jump out of the movie to re-recognize Anita Mui’s Hong Kong story and better continue her poor life. The spiritual enlightenment left to us?

(Screenshot of concert)

Knowing Anita Mui


cannot stop at one-sided political imagination

Many people say that Anita Mui’s life is the history of the rise and fall of Hong Kong.

Born in poor Hong Kong in the 1960s, she went to Liyuan with her sister Mei Aifang to help make up for the family when she was less than 5 years old. Not only did she not have a normal childhood, but she was also scorned by her classmates. Wooden sticks are placed by the pillow to prevent harassment.

In the 1970s, Hong Kong's economy improved, and the British Hong Kong government began to popularize secondary education. Anita Mui dropped out of secondary school. She drove 13 or 14 performances every night and sang for ten hours. She couldn't stop singing until her vocal cords grew cocoon. , Because she has become an important economic pillar of the family.

In the 1980s, Hong Kong's development was in full swing. Anita Mui, who was appreciated for participating in the Rookie Singing Contest, devoted herself to her acting career. She became a superstar of no-comers under the constant self-improvement and favorable circumstances, opening up a "Hong Kong-style pop culture" dominance. The golden age of one party.

In the 1990s when the future was anxious, Anita Mui had been indifferent to fame and fortune, focusing on charity work and supporting younger generations.

Finally, in 2003 when Hong Kong was suffering from the SARS epidemic, economic crisis, and political controversy, Anita Mui, who was suffering from a stubborn illness, first organized a 1:99 concert to raise funds for the families of SARS patients, cheer for medical staff and Hong Kong society, and then a miracle. Generally held 8 solo concerts to bid farewell to the fans, and died 45 days later.

"In today's era of the Internet, the society is demanding "tide" and "In". The speed of information update is unprecedentedly fast, and so is the speed at which we forget. When the information is so flooded every day, when the goddess and goddess goods are like a rotation, why should we? What classics do you care about? Why bother to tell the new generation to look back at the past? I hope Anita Mui’s story can slow us down a bit, look at the time of Hong Kong, and see the context of social and cultural changes. Anita Mui’s life, and The Hong Kong story she represents is not a cultural relic of a museum, but can become a thinking resource and a driving force for Hong Kong today, and provide a possibility for Hong Kong's future." Li Zhanpeng, assistant professor of the Department of Communication Studies at the University of Macau who is a loyal fan of Anita Mui In the "Dream With This City-Anita Mui and Hong Kong Pop Culture" published in July 2019, Hong Kong has produced many superstars, but not all superstars can retain their spirit, and Anita Mui’s legend can definitely represent this In the city, her professionalism in acting, dedication to justice, care for the disadvantaged, righteousness to friends, and support to younger generations all show the good qualities of this small island.

However, after the six-year filming of "Anita Mui" by Hong Kong Anle Film Company was officially released on November 12, many discussions have focused on some blank spaces in collective memory. For example, the criticism did not touch Anita Mui's participation in the "1989 Democracy Movement." During this period, the important experience of how to mobilize the Hong Kong performing arts community in solidarity with mainland students, and then gave it a political imagination seeking self-comfort, and even simply concluded that "If Anita Mui is still there, she must be a "yellow silk"."

But in fact, Anita Mui's political outlook may not conform to these imaginations.

For example, in an interview with Zheng Yuling in 1992, she talked about her views on the opening up of the performing arts market in the Mainland. She admitted frankly that when the country is undergoing positive changes, as Chinese, we should support it. The two sides are like a slingshot. If they pull too tightly, they will fall apart, and foreigners will not respect us Chinese people even more.” In 2003, there was a major dispute in the society due to the legislation of Article 23 of the Basic Law. She believes "State-owned and national law", for the time being, I am not worried about its impact.

Inferring from political realities such as this, if Anita Mui is still alive, she will indeed not ignore the SAR government's brutal amendments in 2019, but she will definitely strongly condemn extreme violence and "speculation" behaviors, and will be saddened by Hong Kong. People beat themselves.

However, this inference is basically meaningless, because no one is qualified to answer Anita Mui's behalf.

Li Lifeng, a professor at the School of Journalism and Communication of the Chinese University of Hong Kong, explained the construction of these imaginations in "Anita Mui: Collective Memory and the Political Imagination of Stars": "A possible interpretation is that citizens who support democratic development need to be in different sectors. Find some icons (icons) that are willing to stick to their own values ​​and are willing to sacrifice personal interests for their ideas.” Therefore, as long as some collective memory is "absent", someone will immediately "construct" it, and when they construct this collective memory It doesn't matter whether the relevant image is the most "real" Mui Yanfang, but as long as it can meet certain factual foundations and political needs, it will continue to bless, establish, and continue in public discourse.

Anita Mui participated in the first "Rookie Singing Contest" in 1982 and won the championship with the song "Season of Wind".

The problem is that if the discussion of "Anita Mui" only remains in one-sided political imagination, it may be a pity for the understanding of "Anita Mui", and even unable to better sort out the context of changes in it, and it will be impossible to write a better Hong Kong story. .

"When talking about "Anita Mui", we should not regard it as a pure film text, but as a sociological event in Dulufu's mouth. The film caused a sensation because it cut into the social mood and hit the "feel structure" of the public. Li Zhanpeng quoted French director Du Lufu’s definition of film success in the film review "Anita Mui" is not just a movie, but also a social phenomenon. He believed that "Anita Mui" went from box office performance (breaking 60 million yuan in a month and a half) to a wide range of The social effect of the discussion has become a "sociological event" in Hong Kong; and although there are still many missing stories-for example, she suffered discrimination in her childhood for self-improvement, the bravery and innovation of creating pop culture, and the treatment of fans, friends, and younger generations. The true feelings with family members, etc., "But the Hong Kong story presented in "Anita Mui", the social emotions it captures, and its soothing power have made movies a social phenomenon."

The "social sentiment" and "power to soothe the heart" referred to by Li Zhanpeng are probably the time and space of film and reality. For example, in 2003 when Anita Mui died, Anita Mui, who was seriously ill, was still actively organizing concerts to cheer for Hong Kong people, and even A sonorously rebutting lazy government officials: "The show must go on! ... In the past few decades, I have never seen Hong Kong as miserable as it is now. Before the good times, we went everywhere to help people; now in adversity, we should stand up even more. Help everyone. This 1:99 concert is used to raise funds to set up a fund to help SARS patients and their families. In fact, the most important thing is to take this opportunity to help our medical staff and Hong Kong!" Fan All these are indeed filled with emotions, either warm or nostalgic.

And Li Zhanpeng’s so-called social phenomenon is "wonderful": "Here, Hong Kong people continue to chase Mirror wildly. Mirror shows the taste and talent of stars, and becomes popular one by one (If Mei Sister is still alive, she will definitely support Mirror. Kind of newcomer); On the other hand, Sister Mei became a hot topic in the society. After crying in the theater, everyone continued to search for the old Hong Kong. The new and the old went hand in hand. The streets were full of Sister Mei and Mirrors everywhere. Hong Kong pop culture, there is How long has it been so lively? How long has it not shown this power to sweep the city?"

However, whether it is wonderful or lively, anyone with a discerning eye understands that the social reasons and background of the current Mirror's popularity are obviously different from the glorious era created by Anita Mui, and even some of the meaning and color of "political correctness" are more similar. It is a manifestation of nihilism after the society has fallen into the ebb of political enthusiasm.

If we are satisfied with all kinds of political imagination and superficial spiritual comfort on the one hand, and on the other hand we mournfully miss the past years, complain about the world, and leave the hometown, then we are really ashamed of this man who has spent all his life practicing the spirit of Hong Kong. "Hong Kong Daughter".

Therefore, no matter what kind of "Anita Mui" is presented in "Anita Mui", we have to jump out of the movie to re-recognize her story in order to better understand the spiritual enlightenment she has left us with her life's energy.

As the "big sister" in the music world, Anita Mui consciously associates herself with Hong Kong's destiny. At every moment when she consciously needs her in Hong Kong, she will be obliged to stand on the stage and come to the forefront to entertain and gather everyone, even if she is unwell. Also never lost.

(Information Picture/Reuters)

Step by step


to write a "Hong Kong daughters' story

So, what is the "Anita Mui spirit" that we should regain and even inherit?

For Anita Mui, who was born for the stage, the tenacity of “The show must go on” is the clue from the beginning to the end of “Anita Mui” and a portrayal of “Anita Mui”'s life-whether it was running in a karaoke hall when he was a child, or ever since it became popular. There are still no 292 solo concerts that a Chinese female singer can break; whether it is the "Democratic Singing for China" in support of the "89 Democracy Movement" or the "Ecstasy Show in the Performing Arts" in support of the "East China Flood"; whether it is launching a protest "East Weekly" published nude photos of actresses in the "world cannot tolerate" rally, or organized a 1:99 concert to raise funds for the families of SARS patients, to cheer up the medical staff and the whole of Hong Kong; whether it is to fight for social respect and welfare for entertainers To establish the Hong Kong Performing Artists Association, or to fight for the mainland to relax restrictions on the distribution of Hong Kong films, she organized a delegation to visit the national ministries and commissions in Beijing at her own expense. Every time she felt that Hong Kong needed her, she would be obliged to stand on the stage and go to the forefront. , Entertain everyone, gather everyone, even if you are unwell, you will never lose.

The screenwriter of Anita Mui won the Golden Image Award, the Golden Horse Award and the Best Actress in the Asia Pacific Film Festival, the screenwriter of the film "Rouge Button". , Then has a more profound description of the "Anita Mui spirit": "Amei’s inspiration to us is that if people are strong, unyielding, and confident, they can: turn bad things into good things, turn misfortunes into great fortune, extend finiteness to infinity, and restore oneself. To others."

It’s a pity, not to mention that our society did not try to continue her spirit after Anita Mui died. In fact, people may not be able to focus accurately before she was alive, because some media are basically describing another story-Ye Ye Sheng Ge, Diner Three Thousand , "Bad girl" with chaotic emotional life.

For such a distortion, Wu Junxiong, a pop culture scholar and associate professor emeritus of the Department of Sociology of the University of Hong Kong, has long been observing. He hit the nail on the head in "The Last Man Zhu Shahua: Anita Mui's Acting Life" compiled by Li Zhanpeng in 2014: "I It feels that Anita Mui spent twenty years to give lectures, but the media did not attend the lectures. This is very disappointing. In fact, it may not be Anita Mui’s wish to return to peace. She wears a wedding dress to marry the stage. This is how the media is, it may be heard in Hong Kong. The version will deify you, and then the entertainment reporter will dig through the garbage in your house, and still can't get rid of falling into the rules."

"We enlarged Anita Mui and turned an artist into a "Hong Kong's daughter". This is a good thing. Of course, whether it was supporting students during the June 4th incident to the founding of the Hong Kong Performing Artists Association, she also consciously linked the fate of Hong Kong to herself. , We amplify her characteristics. Her initiative as a woman, her dedication to life, and her ability to express her own characteristics are all regarded as representative of Hong Kong. Indeed, if Hong Kong has more Anita Mui's characteristics, the Hong Kong story will be even better. Diversity, and the world will be better.” Wu Junxiong believes that one of the key reasons why the title of "Hong Kong Daughter" is recognized by people is that in the past, mainstream Hong Kong storytelling was usually male-dominated, and only emphasized Hong Kong men. The enthusiasm, struggle, and hard work of Wang Yanfang did not give full play to the "caring" of women, and Anita Mui's "big love" has enriched the Hong Kong story.

Anita Mui is an iconic figure in Hong Kong's popular culture.

Between 1985 and 1989, she won the Best Female Singer Award of the Top Ten Golden Song Awards for five consecutive years, and the limelight was unparalleled.

(Visual China)

After Anita Mui’s funeral, Wu Junxiong once wrote "One Funeral, Two Experiences" under the pseudonym "Liang Kuan". He mentioned another observation that Hong Kong people identify Anita Mui as a "Hong Kong daughter": "First, Hong Kong people have love for Hong Kong. This love has always been promoted by the focus of local performing arts; 2. Hong Kong people are willing to tell stories for Hong Kong, and these stories often appear in local performing arts superstars." At that time, the TV station broadcasted the entire funeral for days, like a party with all citizens. The related reports are overwhelming, one after another, just to help him relive this Hong Kong legend that climbed from Liyuan to the Red Pavilion, crossed the East, and then faced the world. It also made him sigh with emotion, "On the face of Anita Mui, I see starting from the bottom. , Striving for variety, constant self-improvement, and the Hong Kong-style brute force. In Anita Mui, I find a kind of arrogance that comes from maturity and the Hong Kong-style showmanship that Lin Yihua (Hong Kong screenwriter and writer) said is an infinitely blue-born Hong Kong-style showmanship from overseas. Seeing Anita Mui, I see Hong Kong."

What is "a Hong Kong-style showmanship that has been taught overseas but is infinitely young and blue"?

"As soon as Anita Mui appeared, she had already said goodbye to the world before." In the "Legend of the Undead" broadcast by Radio Hong Kong at the end of 2007, Wu Junxiong explained Anita Mui's shock and achievements in the development of popular culture in Hong Kong.

He later explained this statement in detail in Li Zhanpeng's book-first, she was saying goodbye to the previous female singers, which is different from the gentleness and introversion of Xu Xiaofeng and others. Life is a torture singing method. She handles the bass and treble well, and can make the song magnificent. All kinds of skills make her different." Secondly, she is saying goodbye to the old world. On the one hand, she actively refers to Madonna. "Unlike Chen Baozhu and Xiao Fangfang, Anita Mui took the initiative to absorb some Western ideas and integrate them into the local area." On the other hand, she also worked hard to absorb the gorgeous Japanese performance style of the 1980s and localized both. It can even be described as "an attempt at Hong Kong-style liberalism."

Some people regard Anita Mui as the "Madonna of the East", but Wu Junxiong believes that the two have different historical significance, because when Madonna debuted, the United States had already experienced the second wave of women's movements. Although she did not have a complete gender discourse, she did have its own reasons. The background of gender politics. In contrast to the rise of Anita Mui, Hong Kong does not have any female movement background, and the society as a whole is still quite conservative. "There is no theory behind Anita Mui’s female image, and it is a representative of Hong Kong-style liberalism. At the time, Hong Kong people did not touch it. Politics, there is no ideological discussion, but there is still freedom of information and speech. Anita Mui is an attempt of Hong Kong-style liberalism, which is very prominent on the stage."

One example that impressed Wu Junxiong was that the song "Bad Girl", which was once banned by the radio, was able to enter the house. "Back then, people said Anita Mui was wearing revealing clothes and that the lyrics taught bad ways, but this criticism still fell short of the masses. Preferences, this is a good thing for the whole society and culture... Anita Mui’s sensuality and art overwhelmed moral controversy. This is the reason why I love Hong Kong’s pop culture in the 1980s. There was no boundary at that time, so I could try something out of the ordinary. , The world’s popular culture is also breaking the old and creating the new.”

"The special thing about Anita Mui is that she has a lot of close friends, and she has a rich life experience, spanning several periods of history, and establishing relationships with different people in each period. Therefore, to revisit her story is to understand the world of Hong Kong pop culture. , Is also to understand the Hong Kong story. Hong Kong has a big background, it is a political orphan, but there is no political dogma, Hong Kong people are happy and unhappy are projected in popular culture. When it comes to the relationship between Hong Kong story and popular culture, Anita Mui is Very important point.” Wu Junxiong summed up the close relationship between Anita Mui and the people of Hong Kong. He is a "Hong Kong daughter" who sings and exhales, draws, and sorrows with us.

Li Zhanpeng also strengthened Anita Mui’s discourse about Hong Kong in "Finding Hong Kong for Daughters-Hong Kong Culture Represented by Anita Mui", and “there is no political baggage” that was the characteristic of that era: “Behind the close relationship between Anita Mui and the audience, It is pop culture and Hong Kong people’s lips and teeth. Once, music, film and television works were the biggest strengths of Hong Kong’s cultural export, and also the most important sustenance of Hong Kong’s local identity. Both sociologist Ma Jiewei and cultural scholar Luo Feng have pointed out that popular culture is Hong Kong. The core of culture is the foundation of Hong Kong people’s identification and even the inscription of Hong Kong’s history. As for politics, especially in the colonial era, it was not the focus of Hong Kong people’s attention. Looking back at the past, this is indeed the case: Chow Yun-fat, Jackie Chan, Anita Mui, Leslie Cheung represents Hong Kong externally and unites the spirit of Hong Kong people internally."

Both "externalization" and "internalization" are the keys to Anita Mui's success in promoting the development of Hong Kong's popular culture.

(Profile picture)

Externalization and internalization


create Hong Kong's trend and cultural brilliance

Both "externalization" and "internalization" are the keys to Anita Mui's success in promoting the development of Hong Kong's popular culture.

"Foreigners are not only Anita Mui's choice, but Hong Kong's choice: Since the 1970s, Hong Kong has been exposed to a lot of Western culture. Scholars call it an era of "miscellaneous marks" or "half Tang Fan." By the 1980s, Hong Kong The economy is booming, and it is also following Western culture; the different cultures and lifestyles of Hong Kong and Mainland China are calling for a new way of cultural self-expression." Li Zhanpeng analyzed that Hong Kong did not have traditional Chinese culture and pure Western culture at that time. From the song road to the image, although Anita Mui has the shadow of the West and Japan, she did not lose herself in the blind "external seeking", but was able to combine with her self-worth, so that "internalization" became different from others. Personal style, "Her misappropriation of foreign culture is not a lazy "use doctrine", but a "hands-to-hand" swiftness. What she created is the indifferent "Anita Mui style"-a Hong Kong trademark. "

"The kind of self-establishment through borrowing is a sign of Hong Kong culture at that time. Hong Kong people like Anita Mui. Apart from being fascinated by her sensuality, the public is actually participating in the establishment of a Hong Kong identity, in "why why tell me why In the westernized lyrics and stage action of "Night Party Order Taboo Breakdown", the audience finds an urban identity, a Hong Kong culture that is different from the Chinese mother. This kind of culture has sprouted in the 1970s: Xu Guanjie's light singing is like an ancient poem. "Flick and Fly to the Light Boat", I sang English songs again for a while. This mixed quality was carried forward by Anita Mui through her various phenomena.” Li Zhanpeng emphasized from Anita Mui’s successful experience that Hong Kong’s local culture is by no means exclusive. It is absolutely different from the binary opposition of today's "non-my race", which brings out the reason for the decline of Hong Kong's popular culture in recent years-there is no tolerance and creativity that embraces all rivers.

It can be said that the city's mourning for her death that year was not only the memory of that good time, but also the ratification of Hong Kong's establishment of subjective consciousness and local culture, and even a summary of a historical stage.

Unfortunately, society usually has a negative perception of pop culture. This is especially true of political elites who think they are superior. Therefore, they have never studied in depth the Hong Kong-style pop culture boom that has risen since the 1980s and has swept across the Taiwan Strait, Japan, South Korea, and Southeast Asia. The development of the cultural and creative industry and the shaping of the spiritual outlook will naturally ignore the economic foundation, quality of life, and social atmosphere of a region.

In that era when popular culture prevailed, the martial arts dramas adapted from Jin Yong's novels integrated the glory of "Hong Kong production". The police films supported by Chow Yun-fat and Jackie Chan became popular in Asia, and the "nonsense" Stephen Chow films were irreplaceable classics. The trend of Cantonese songs created and inherited by Alan Tam, Anita Mui, and the "Four Heavenly Kings" have repeatedly dominated the entire Chinese music scene. Looking back on those years, some people wrote chivalrous feelings of worrying about the country and the people, some performed the heroic qualities of daring, and some Expressing the absurd and exaggerated Hong Kong-style humor, some people have developed the spirit of fighting together, and some people have sang the Hong Kong style that combines China and foreign countries-and that is undoubtedly a "golden age" of economic growth, with prosperous industrial development, active upward mobility, and public services Sufficient and lighter burden of living, Hong Kong people will not run around just for three meals, without too much anxiety and resentment, they can have some leisure time to "chasing stars" and achieve spiritual satisfaction at the cultural level.

At that time, Hong Kong's manufacturing industry was booming, and it was well-known both at home and abroad for its "Made in Hong Kong" with "low price and good quality" and "reliable quality." Labor costs have risen sharply, but it "coincidentally" coincides with the reform and opening up implemented by the Mainland since 1978, which has been able to drastically reduce operating costs, allowing Hong Kong to continue to prosper, and also driving the real estate speculation and stock exchange markets to thrive.

Therefore, among the "Four Little Dragons in Asia", Hong Kong has the most amazing consumption power, which in turn provides a good economic foundation for the development of popular culture to a certain extent.

For example, many people are willing to spend hundreds of yuan to watch a concert. In the 6 years from 1985 to 1991, Anita Mui held 103 concerts in the Red Hall, breaking the record for the number of female singers. Record sales are in the hundreds of thousands. For example, the controversial "Bad Girl" sold 720,000 copies and hit a record high in Hong Kong.

During the "1989 Democracy Movement", Anita Mui actively mobilized the entertainment industry to support the students in Beijing, and she also contributed money and efforts in the subsequent floods in East China.

(Profile picture/Stake picture)

However, the "golden age" is no longer here. The economic development is stagnant, the industrial structure is single, the upward flow is slow, and the distribution of resources is uneven. People are facing "explosive pressure" in their lives. "Stars" can "chase", and people have turned to the pursuit of "democratic freedom" under the highly politicized society, thinking that this is a panacea for Hong Kong to "go back in time."

For example, the popularity of Mirror today is not a spiritual pursuit based on "food, clothing, and warmth". It is more like a helpless choice. When Cantonese pop music is facing a low ebb, it happens that a group of young people are working hard to pursue their dreams. Saying to revitalize the glory of Guangdong songs can indeed bring a kind of hope to dare to "challenge impossible tasks"; coupled with the "generational contradictions" derived from political issues, many young people are labeled as "waste youth". However, the young people in the class are able to face the difficulties down-to-earth, and it is inevitable that the audience will have emotional projections and even spiritual sustenance, thinking that they can temporarily escape the high-pressure atmosphere, find a bit of happiness, and fill in the lack of spirit.

However, nothingness will always pass and people will always wake up, but it seems that the leaders of Hong Kong governance have never used this to reflect on how to help the citizens from anxiety and grievances by consolidating the economic foundation, practicing fairness and justice, and improving the quality of life. Is liberated to live and work in peace, enjoy mass entertainment, and seek spiritual satisfaction?

How should we examine the shortcomings of the development of the cultural and creative industry, and what industrial policies are being implemented, so that the Hong Kong pop culture, which is gathered at home and abroad, can continue to occupy a place in the three places, so that everyone can re-establish a positive mental outlook?

Not to mention, what should be learned from the story of the "Hong Kong Daughter".

"Society and her have been watching and imagining each other: she is imagining the outside world, and the outside world is also imagining her. She longs for the life of a mundane man and feels that happiness is what the public looks to her, because she pays for it. What the public lacks is extraordinary." Li Zhanpeng used Hong Kong's "self" and "other" thinking framework to view the connection between Anita Mui and the Hong Kong story in "Dream With This City-Anita Mui and Hong Kong Popular Culture": "Before she was alive, The public observes the other from a certain distance-a complicated woman and inexplicable star text, and then constructs social gender awareness from this other; after her death, Hong Kong people see themselves in her-the same The inexplicable and complicated Hong Kong story, and then from her and Hong Kong people's common selves to review history and think about the situation in Hong Kong."

"If you use Anita Mui to think about the past, on the one hand criticizing current artists, and on the other hand lamenting the current situation in Hong Kong, this may not have a positive effect. In fact, Anita Mui can represent a kind of break (yesterday’s glorious and today’s dim), but also a kind of Continuation. After all, how can the valuable diversity of Hong Kong culture be passed on? How does Anita Mui’s obsession with social justice link the civic awakening of today’s Hong Kong? How does Anita Mui’s hybridity help us reflect on today’s rather narrow local views? Only in this way can we continue. Therefore, Anita Mui’s Hong Kong-style cultural heritage will not be "museized" and continue to exert its power.” This is Li Zhanpeng’s reflection on the significance of the “Anita Mui spirit” in Hong Kong today.

He emphasized that it was a spirit of 100% dedication to the stage she loves and Hong Kong, even to the end of her life. "This "Anita Mui spirit" is not a static exhibit in the museum, but should be still present today. The precarious Hong Kong, as a resource of thinking and action, continues to live alive."

"Hong Kong used to be my home, now it is, and always will be. Since it is my home, whenever I need me, I will stand up and do my part, just like my good friends, when I have a need We will also stand up and help me when we are in Hong Kong. We have only one purpose, to make the Hong Kong home more radiant and the Pearl of the Orient more splendid!"-In 1990, Hong Kong had a large-scale immigration due to the return of the issue and the trauma of June 4th. In the wake of the tide, Radio Hong Kong hereby launched the "Hong Kong Heart to Heart Action", calling on the people of Hong Kong to regain their confidence and unity, and Anita Mui’s moving heart is still useful today.

Note: The original article was published in the 293th "Hong Kong 01" weekly electronic newspaper "The

spirit of Anita Mui is the spirit of Hong Kong: The show must go on!"

"This is a paid content, which coincides with the 18th anniversary of Anita Mui’s death, and is hereby released.

Source: hk1

All news articles on 2021-12-30

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