Cannibal culture
Serving the people in Fruit Chan’s Dumplings
in Globalgothic
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Many Hong Kong horror films focused on the reworking of traditional Chinese stories and beliefs in order to revisit identity politics in the context of a post-Handover Hong Kong. Fruit Chan's Dumplings has been one of the most commercially successful of these films. By the time it was produced in 2004, the situation Ackbar Abbas described was no longer quite so clear. Administrative borders, as the opening scene of Dumplings makes clear with Mei moving her raw materials from Shenzhen to Hong Kong with such ease, were no longer a sign of division. This film challenges the familiar categories of East and West, tradition and modernity, around which Hong Kong identity politics centred, terms which the conditions of globalisation render meaningless. Simultaneously, through the trope of cannibalism, Dumplings critiques globalisation, showing Hong Kong and China merging together, equally driven by the prevailing imperative of the global economy: consumption.

Editor: Glennis Byron

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