ABSTRACT
Discussions and imaginations of Hong Kong, a small piece of densely populated land, are often centered upon the various dimensions and multiple meanings of territory and land. From Xi Xi’s 西西 “Marvels of a Floating City” (1986) and Wu Xubin’s 吳煦斌 nature writing to independent filmmaker Jessey Tsang’s 曾翠珊 Ho Chung Tetralogy (2010–14), land and nature recur as a motif invested by writers and filmmakers to construct alternative narratives of coming of age. The attention paid to nature, the conscious use of the fantastic to defamiliarize the everyday, and the critical use of memories all serve to undermine the developmental discourse.
