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DESCRIPTION:“Brahms in Hong Kong Film: Nostalgia\, Politics\, and the Post-
Colonial Identity in 'Infernal Affairs II'”The East Asia Program’s “Bringi
ng East Asia to the SU Classroom Series” featuring \;Joanna Chang\, vi
siting assistant professor\, Department of Music\, College of New Jersey.F
ollowing the success of "Infernal Affairs" (2002)\, directors Alan Mak and
Andrew Lau set the narrative of their prequel\, "Infernal Affairs II" (20
03)\, in Hong Kong of the 1990s\, a decade fraught with apprehension as th
e island’s fate of 156 years under British colonial rule swept into the ha
nds of Chinese sovereignty on July 1\, 1997. The historical backdrop was a
bold and significant addition to the police thriller\, as over a third of
a million city-dwellers had migrated abroad.This talk examines the soundt
rack of "Infernal Affairs II" with its rare inclusion and interplay of Bra
hms’s Third Symphony\, Chinese Opera and Indian classical instruments. The
selection of Western and global musical traditions sensitively reflects a
nd narrates conflicting tensions of identity and loss in pre-1997 Hong Kon
g. Filmmakers paired Brahms with protagonists\, such that the symphonic sc
oring suggests nostalgia for a former era of prosperity\, security\, and s
tability. Contrastingly\, diegetic and nondiegetic strains of Chinese Oper
a and Indian music coincide with the antagonists\, calling forth questions
in their audiovisual associations. The unprecedented role Brahms plays at
the crossroads of an East-meets-West culture invites reflection of nostal
gia in Hong Kong’s postcolonial identity. \;
DTEND:20231212T202000Z
DTSTAMP:20260317T010551Z
DTSTART:20231212T190000Z
LOCATION:
SEQUENCE:0
SUMMARY:East Asia Program’s “Bringing East Asia to the SU Classroom Series”
UID:RFCALITEM639092919519439390
X-ALT-DESC;FMTTYPE=text/html:“Brahms in Hong Kong Film: Nostalgia\, Poli
tics\, and the Post-Colonial Identity in 'Infernal Affairs II'”
The
East Asia Program’s “Bringing East Asia to the SU Classroom Series” featur
ing \;Joanna Chang\, visiting assistant professor\, Department of Musi
c\, College of New Jersey.
Following the success of "Infernal Affa
irs" (2002)\, directors Alan Mak and Andrew Lau set the narrative of their
prequel\, "Infernal Affairs II" (2003)\, in Hong Kong of the 1990s\, a de
cade fraught with apprehension as the island’s fate of 156 years under Bri
tish colonial rule swept into the hands of Chinese sovereignty on July 1\,
1997. The historical backdrop was a bold and significant addition to the
police thriller\, as over a third of a million city-dwellers had migrated
abroad.
This talk examines the soundtrack of "
Infernal Affairs II" with its rare inclusion and interplay of Brahms’s Thi
rd Symphony\, Chinese Opera and Indian classical instruments. The selectio
n of Western and global musical traditions sensitively reflects and narrat
es conflicting tensions of identity and loss in pre-1997 Hong Kong.
Filmmakers paired Brahms with protagonists\, such that the symphonic scor
ing suggests nostalgia for a former era of prosperity\, security\, and sta
bility. Contrastingly\, diegetic and nondiegetic strains of Chinese Opera
and Indian music coincide with the antagonists\, calling forth questions i
n their audiovisual associations. The unprecedented role Brahms plays at t
he crossroads of an East-meets-West culture invites reflection of nostalgi
a in Hong Kong’s postcolonial identity. \;