https:\/\/brill.com\/display\/book\/9789004728608\/BP000018.xml<\/a><\/p>\n\nAbstract<\/p>\n\n
Vampires are living dead creatures, but the Western version is very different from the Eastern version. Hopping vampires move around with their arms outstretched, wearing black robes with a mandarin-like square on the chest, indicating their status as civil servants of the Qing Dynasty. The birth of hopping vampire films coincided with a political period characterized by fear and uncertainty in Hong Kong, highlighting possible misalignments between Confucian and contemporary outlooks, multiculturalism and xenophobia, and mainstream religion and occultism.<\/p>\n\n
In The Mr. Vampire Series, Hong Kong vampire hunters must tread a fine line to maintain the right kind of apolitical correctness and mutual coexistence. As they neutralize threats from within and without, they also care for various human-friendly ghosts and vampires, emphasizing tolerance and vigilance in a world of \u201clive and let live.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"
Author: Magdalen Ki Source: Hong Kong Studies: The Culture and Politics of Realignment Link: https:\/\/brill.com\/display\/book\/9789004728608\/BP000018.xml<\/a> Abstract Vampires are living dead creatures, but the Western version is very different from the Eastern version. Hopping vampires move around with their arms outstretched, wearing black robes with a mandarin-like square on the chest, indicating their status as civil […]<\/p>\n","protected":false},"author":145170531,"featured_media":6534,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_coblocks_attr":"","_coblocks_dimensions":"","_coblocks_responsive_height":"","_coblocks_accordion_ie_support":"","advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_seo_schema_type":"","_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_wpcom_ai_launchpad_first_post":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[776957933],"tags":[776958338,776958324,776958076],"class_list":["post-8129","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category--en","tag-goeng-si","tag-hong-kong-cinema","tag-newsroom"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/pai6UY-277","jetpack-related-posts":[{"id":8120,"url":"https:\/\/typesetter.hk\/en\/2026\/06\/15\/spooky-encounters-with-stiff-corpses-hong-kongs-cinema-of-the-undead\/","url_meta":{"origin":8129,"position":0},"title":"[Article] Spooky Encounters with Stiff Corpses: Hong Kong\u2019s Cinema of the Undead","author":"\u624b\u6c11\u51fa\u7248\u793e","date":"15\/06\/2026","format":false,"excerpt":"Author: Paul A. J. Lewis & Peter True Source: The Palgrave Handbook of the Zombie Link: https:\/\/link.springer.com\/rwe\/10.1007\/978-3-032-05696-2_24 Abstract The paradigms of the Hong Kong zombie film were established in pictures about goeng-si, beginning with Sammo Hung\u2019s 1980 film Spooky Encounters and Ricky Lau\u2019s 1985 picture Mr. Vampire. 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The theoretical contribution in this article is that their success depends on political autonomy\u2026","rel":"","context":"In "Hong Kong Studies Newsroom"","block_context":{"text":"Hong Kong Studies Newsroom","link":"https:\/\/typesetter.hk\/en\/category\/%e9%a6%99%e6%b8%af%e5%ad%b8%e8%a1%93%e6%83%85%e5%a0%b1%e5%ae%a4-en\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/typesetter.hk\/wp-content\/uploads\/2025\/03\/article.png?fit=1200%2C675&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/typesetter.hk\/wp-content\/uploads\/2025\/03\/article.png?fit=1200%2C675&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/typesetter.hk\/wp-content\/uploads\/2025\/03\/article.png?fit=1200%2C675&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/typesetter.hk\/wp-content\/uploads\/2025\/03\/article.png?fit=1200%2C675&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/typesetter.hk\/wp-content\/uploads\/2025\/03\/article.png?fit=1200%2C675&ssl=1&resize=1050%2C600 3x"},"classes":[]}],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/typesetter.hk\/wp-content\/uploads\/2025\/03\/article.png?fit=1280%2C720&ssl=1","_links":{"self":[{"href":"https:\/\/typesetter.hk\/en\/wp-json\/wp\/v2\/posts\/8129","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/typesetter.hk\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/typesetter.hk\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/typesetter.hk\/en\/wp-json\/wp\/v2\/users\/145170531"}],"replies":[{"embeddable":true,"href":"https:\/\/typesetter.hk\/en\/wp-json\/wp\/v2\/comments?post=8129"}],"version-history":[{"count":1,"href":"https:\/\/typesetter.hk\/en\/wp-json\/wp\/v2\/posts\/8129\/revisions"}],"predecessor-version":[{"id":8130,"href":"https:\/\/typesetter.hk\/en\/wp-json\/wp\/v2\/posts\/8129\/revisions\/8130"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/typesetter.hk\/en\/wp-json\/wp\/v2\/media\/6534"}],"wp:attachment":[{"href":"https:\/\/typesetter.hk\/en\/wp-json\/wp\/v2\/media?parent=8129"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/typesetter.hk\/en\/wp-json\/wp\/v2\/categories?post=8129"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/typesetter.hk\/en\/wp-json\/wp\/v2\/tags?post=8129"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}