literature in dialect


literature in dialect
Together with local opera and radio, the film industry adopted both Mandarin and local (subnational) languages, but by the early 1970s in Taiwan and Hong Kong investment in these productions had all but vanished, while in the People’s Republic the state put an end to the use of local languages in all but local radio and stage performances. In Hong Kong, however, investment in commercial broadcast television also fostered local language in print media as well as in broadcasting and film, distinguishing them from the press, which was dominated by editors from northern regions committed to standard Chinese. Although standard Chinese has remained the style of much of the print media in Hong Kong, the broadcast media writers did foster a distinctive youth culture writing in Cantonese. On Taiwan the New Cinema of the early 1980s revived the use of Taiwanese Southern-Min dialect film and fostered its use in poetry and fiction.
In particular, Taiwan promoted the use of multiple dialects and multiple languages in film and later in television, an aesthetic that was also adopted in many Hong Kong films, suitable for texts devoted to a de-centred vision of cultural displacement among its characters. In the People’s Republic, the use of local languages was adopted largely in stories of the historic past and in officially promoted themes that lent themselves to productions in local languages, such as accounts of entrepreneurs of the past or of urban renewal and relocation. The wave of Cantonese-language popular culture entering from Hong Kong also decentred Mandarin writing styles, prompting both fiction and television productions in a variety of local languages. Film and television directors were also drawn to the use of local and multiple languages promoted in Taiwan and Hong Kong productions.
See also: dialects
EDWARD GUNN

Encyclopedia of contemporary Chinese culture. . 2011.

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