Mediating the Left from the Periphery: Hong Kong Adaptations of Tolstoy’s Resurrection

Abstract

This article examines ways in which Leo Tolstoy’s Resurrection resonated within Hong Kong cinema during the 1940s and 50s, highlighting a distinctive aspect of the global leftist movement that took shape far from the Soviet epicenter. The article suggests that in this context, film production transcended mere aesthetic pursuit, evolving into a political act, however ambiguous it may be. By exploring the intricate political landscape of Hong Kong, where competing ideological currents influenced the film industry, the study reveals the complex connections between leftist filmmaking traditions in Shanghai and Hong Kong, with a focus on the unique methodologies employed in Mandarin and Cantonese adaptations of Tolstoy’s novel. These collaborative efforts ultimately created a Chinese meta-narrative that diverged from Tolstoy’s original while resisting complete alignment with Soviet doctrine. The gaps and disconnections present in these adaptations offer valuable insights into the complexities of cultural exchange and adaptation, as well as the enduring yet nuanced influence of leftism in a rapidly changing society.