Starting in May, news began circulating in the streets of Hong Kong that Beijing would bypass the Hong Kong Legislative Council and modify a national security law for Hong Kong. For a time, there was chaos throughout the Hong Kong Special Administrative Region (SAR). A large number of Facebook users deleted posts and their accounts. Newspaper columnists announced they were quitting. Shops in adult entertainment circles tore down promotional materials. Political groups announced their dissolution, and well-known social activists fled overseas. On Jun. 30, 2020, the Law of the People's Republic of China on Safeguarding National Security in the Hong Kong Special Administrative Region (SAR) was passed and immediately enacted, entering Hong Kong into a new model of governance. As of writing, violations of the National Security Law that have incited arrests include displaying and shouting slogans. A writer or artist’s work is a creation, and freedom is the soil of that creation. Given the unknown red line of the National Security Law, Hong Kong writers and artists are speculating about the future of their creations. We interviewed several of these creators to discuss their feelings about the National Security Law. "The essence of victory is not how many times you punch, but how many punches you can take and still move forward."-Linden (pen name) film worker "Sun Yat-sen's Ambition" went viral on YouTube and on the LIHKG discussion forum [a Hong Kong-based internet discussion forum], surprising Linden, the film’s director. This series of films of the same name, adapted from the cartoonist “Living Human Boxing,” tells a story of the revolutionary Sun Yat-sen who travels to Hong Kong in 2019 to "point out the right path" for the demonstrators participating in the anti-amendment movement. This series was completed during the epidemic, and each episode brought about much Internet discussion. “From April to June, it was just before the National Security Law was released!" Linden said with a smile. Linden, who just won an award in the new wave of Hong Kong films, was born in the ‘90s and has paid attention to politics since middle school. He said that the film "Sun Yat-sen's Ambition" is a very "local" creation. "Last year, some ‘yellow ribbons’ [people for the campaign for universal suffrage] made a music video for the song ‘Glory to Hong Kong’ [the iconic song of the movement]. To me, it’s a leftist approach. I really want to do something that is truly local." The film received much attention on the Internet. By then Linden had already begun to deploy his next creation, and continue to adapt “Iron Fist and Invincible Sun Yat-sen” from the same cartoonist. In the comics, Sun Yat-sen kills the Empress Dowager Cixi in a fight. The cartoon places the story in Hong Kong in 2047. Unexpectedly, the National Security Law was issued, and while the copyright to begin filming was under discussion, there was no choice but to shelve it. "I didn't expect it to be implemented so quickly! You would have thought the other side would consider the international pressure they would be up against. They really didn't care at all about it, and suddenly it was dropped on us." When the provisions of the bill came down, Linden read it carefully, and was totally confused. "The provisions are very vague and very different from the Hong Kong laws that I have always understood. I feel that it’s just for the convenience of law enforcement. It's just a tool to move the goalposts further and nothing more." With the implementation of the National Security Law, it may be much more difficult to create artistically. He imagined that even the word “local” might become forbidden in the future. As a filmmaker, he also discussed with his more senior colleagues that the National Security Law has the most direct influence on Hong Kong film and television production. They believe that they have lost the freedom to choose the background of their era. "We really need the context of this era in order to create, but now some years will be ‘missing,’ 2014, 2016, 2019, 2020… There are many important historical moments that cannot be included in the story. Investors will take notice and step back." On forbidden soil, can you still create classics? But when asked if he had given up hope about his prospects, Linden emphatically said no. He quoted the experience of his idol, Japanese director Akira Kurosawa: "During World War II, he had to undergo close scrutiny making his movies. At that time, he was facing the Japanese military and could still film excellent classic works. So I think the framework is not the thing that affects the greatness of a person’s work; the framework is always present. Money is also a framework. I feel that I have been a person who grew up always under a framework, learning to break through limitations. Now it’s just another framework.” The key to maintaining the ability to create, he believes, is to hold onto the identity of the Hong Kong people. "As a person who wants to be a film director, I think nothing is more important than people. As long as the identity of Hongkongers still exists, it is the most precious asset. As long as Hongkongers do not disappear, then the concept of Hong Kong can still exist forever in this world." Linden referred to Wei Xiaobao [the anti-hero protagonist of a series of Hong Kong novels from the ‘60s and ‘70s] as an example to describe the characteristics of Hong Kong people. "Flexibility is the spirit of Wei Xiaobao, and Hongkongers are born with it. We have to make good use of it. Looking back at Hong Kong's history, during the Cold War between the United States and the Soviet Union, Hong Kong still had its own role. It’s like Wei Xiaobao, whether he is in the imperial court or wandering across the open and wild places, he is able to live a good life. I think the biggest challenge for Hongkongers right now is how to make use of and retain this identity to survive the struggle between China and the United States." The original intention of "Sun Yat-sen's Ambition" was to present a version of Sun Yat-sen that is different from textbooks and his pragmatic revolutionary concept. Linden believes that Hongkongers have always presented a utilitarian and pragmatic image, but they are also romantic, irrational, and impulsive. But, Sun Yat-sen is different. "Sun Yat-sen has always been the epitome of ‘great, glorious, and correct,’ but his revolutionary history is not romantic at all under the current spectrum of internationalism, with a foundation of discourse, and compared with many recent facets of brave resistance. He held no ideal of great love and every step was very utilitarian, sometimes even acting unscrupulously in order to achieve a goal." Linden created this work as a suggestion to those involved in the movement: "The message I want to bring forth is that no matter what we are going to do in political trials or struggles, lessen the romance and use more strategy. Don’t make it so easy to sacrifice yourself. Don’t forget your original intention and make sacrifices for the sake of ‘good scenes’.” But under the new law, it’s unknown whether creative works can be used to convey recommendations. Linden is optimistic. He believes that on totalitarian soil, classics can still be achieved. In addition to Akira Kurosawa, he also talked about "The Elephant Sitting on the Floor" by the mainland director Hu Bo. "You have to learn to film beautiful things in the cracks," Linden said. "Stories are about people, and politics is about people. You tell people's stories, to some extent, you are talking about politics. As long as you have ideas and thoughts, you can express your thoughts without mentioning any politics." Although he may face creative restrictions, Linden said that he has no plans to emigrate. He has repeatedly emphasized that his roots are in Hong Kong and his dream is to film his own works according to his own satisfaction on this land. "Every day, create with a countdown frame of mind." -political cartoonist Huang Zhaoda At the beginning, there was a rumor on the streets that the PRC People’s National Congress was directly bypassing the Hong Kong Legislative Council. When the National Security Law was established, political cartoonist Huang Zhaoda could not believe it. "My thought at the time was: How could it be possible? Impossible! If so, it would be too ridiculous." However, in this era, nothing is impossible. Huang Zhaoda, a middle-aged man who grew up in Hong Kong in the ‘70s, witnessed all this with his own eyes. Traditional political cartoons depend on the media and newspapers for their existence, and with the changes in the political environment, the media industry has also begun to quietly change. Political cartoonist A Tu's special column in Ming Pao Weekly was suspended for reasons of revisions. The writer Wang Dishi [Daisy Wong] ended more than 10 years of collaboration with the Hong Kong Economic Journal when they refused to express her dissatisfaction in the column "Open the Skylight.” Li Zhiying, the founder of Next Media, was arrested on suspicion of violating the National Security Law. Everyone in the industry is at risk. Huang Zhaoda, who has drawn political cartoons for over 10 years, has two columns in Ming Pao. Two weeks before the National Security Law came into effect, Huang Zhaoda ran to the editor and asked, "Is it okay to continue to draw comics like this?" The editor answered that they didn't know. The provisions are vaguely written, and even the Chief Executive did not know the specifics in the content - You only know that there is a red line, but you don't know where it is. Suddenly two steps forward, and then one sudden step back, this is the source of our fear. Huang Zhaoda said frankly that he is pessimistic about the future of the media industry. Even if he can still draw, he also has accepted a countdown frame of mind. That said, he will keep drawing until the last moment. On Jul. 1, the first day the National Security Law was implemented, he changed "This City" to "That City" in the full-page column of Ming Pao. This city became that city, a sorrowful expression of "this city is not my place anymore." In terms of creation, always think about when picking up the pen, "To be honest, not having self-censorship in the beginning was lying to yourself." He smiled bitterly. But gradually he wasn’t as scared. "Because I draw every day, I have to be afraid every day. That gets so exhausting, so now I don’t care quite so much." Hong Kong political cartoons: a barameter of the political atmosphere The environment of political cartoons in Hong Kong can be said to be a barometer of the political atmosphere. Political cartoons often appear in Hong Kong history textbooks, and they are also used in the data questions in college entrance examinations, illustrating the importance of political cartoons. Huang Zhaoda, who teaches at Hong Kong Baptist University’s Academy of Visual Arts, is conducting a related study. He found that Hong Kong’s political cartoons have undergone two eras of blossoming free expression--the Umbrella Movement in 2014 and the Anti-Amendment Movement in 2019. However, in 2016, during Beijing’s large-scale cancelation of democratic party members elected to the Legislative Council, the creation of political cartoons ebbed to a low--it was the weakest time for the industry, and even friends started to emigrate. It wasn't until last year with the anti-amendment movement and an endless stream of related comics that he knew that everyone had not left. To draw current affairs cartoons, he has to read the news every day and pay attention to it anytime and anywhere. He has been doing this for more than ten years. The first time he felt the atmosphere change was in 2012 when the former Hong Kong Chief Executive Leung Chun-ying came to power. He mentioned the "Hong Kong Independence" label put forward by the Liang Zhenying era, which made him discover that not all content can be drawn. Some social issues were not illegal at the time, but they had not been mentioned, even if they were merely academic discussions in papers. He began to feel that there was a problem with freedom of speech. "Drawing political cartoons actually carries a certain sense of mission, because the creative process is very painful. You have to face terrible news and images every day. In fact, it can be very arduous. But I always hope to rely on my own ability and to express what I want and to say what I want." Huang Zhaoda is pessimistic about the current situation in Hong Kong. "Before, you could say that we had a judicial system in Hong Kong, and you could rely on this system to maintain justice and righteousness. Now are you going to rely on the government to show you the truth? It might be even more pessimistic to think about it this way." But he believes that the activism young people displayed in the movement restored his confidence: "Even though the political powers continue to discredit this group of young people, they have awakened (‘slapped’ in Cantonese) Hongkongers across generations. Those born in the ‘70s, the generation that was originally a harvest era [the generation that worked to build Hong Kong’s wealth], couldn’t have imagined what this era would be like or what the world would become. But this group of kids will tell you that our city still has value to cherish and protect. These young people have awakened many Hongkongers. The unity they showed was more than selfless, they gave up their own future prospects. Looking back at the old Hong Kong, the Hong Kong that has always emphasized interest, efficiency, and stability, and the spirit of this group of kids who would rather sacrifice everything for Hong Kong, for these two Hong Kong values, I would rather choose the latter. And this group of people is slowly establishing a new identity." Despite the unknown restrictions, he doesn’t think about changing careers. "I have been drawing for so many years, it wouldn’t be me if I didn't draw." “If we only need Tiktok videos, why does humanity still need art?” -Zhao Yuan (pseudonym), stage actor and “Hong Kong drifter” [those in Hong Kong on a temporary visa] In August 2010, she first heard of Jun. 4 [the Tiananmen incident]. During the 2014 Umbrella Movement, at the graduation ceremony, she suggested that the students sing "Do You Hear the People Sing" in front of then Chief Secretary for Administration and current Hong Kong Chief Executive Carrie Lam. After studying and working in Hong Kong for 10 years, a Hong Kong classmate of Zhao Yuan told her, "I think you love Hong Kong more than I do." In 2019, she took to the streets countless times and participated in demonstrations and protests in districts all over Hong Kong. She said that her menstrual blood was black once because of so much tear gas. "Hong Kong has given me a lot of things, it has given me academic qualifications, it has given me culture, and it has given me creative inspiration. So I always feel that I have to do something for this city. This is a responsibility and paying back a debt of gratitude.” After the National Security Law was enacted, people held three rallies in the streets, and Zhao Yuan participated in all of them. "Maybe there is nothing I could do, but I felt that I had to go, I had to be there and experience it." Imagination in the theater: the Cultural Affairs Bureau and censors In order to know what effect the law will have on her industry, Zhao Yuan specifically checked the latest guidelines issued by the Mainland Administration of Radio, Film and Television, and referenced each item specifically to her profession. “‘Young love, crime, and violence are not allowed.’ Why are these themes found in creative works? It comes from a hope to bring people together to reflect on social issues and to reform society together. This is also one of the functions of theater. ‘You can't film the dark side of society, only reflect on a good life.’ That is to say that we should become cheaters, our society has no problems, and there is no room for improvement. Then will others find it attractive? Can our creative work still move people's hearts? Then there will probably be no motivation in the creation." But what worries Zhao Yuan even more is the emergence of a reporting culture in Hong Kong. "Will someone in the industry report that a certain image on the stage violates the National Security Law? That would be terrible." The reporting system will split people's hearts and undermine trust, making it difficult to unite. This is also a frequently used method used by the mainland. Theatrical creations may also be restricted. "Can we still tease senior officials? Can the names of the characters be called ‘Yue’e’, ‘Junyao’, or ‘Bingqiang’[historical literary figures]? If you are indirect and avoid talking about current affairs, can you talk about Lu Xun? Can you bring up 1984?" Zhao Yuan asked. She imagined that in the future, Hong Kong will set up an institution called the Cultural Affairs Bureau. Every script will be filtered to make sure that there are no sensitive words. There will be a censor who will sit and watch the rehearsal and performance to see if you change your lines. Although she has very specific ideas about such creative restrictions, she is the most optimistic among the interviewees. "Because totalitarianism must exert its power to the extreme before it perishes." Zhao Yuan said, "During this period, I refer to the history of Taiwan's ‘white terror period’. It took 38 years of others experiencing it before Taiwan made a comeback." Zhao Yuan believes that during this period, she must remember the truth that her grandfather taught her to preserve her safety: “A wise man submits to circumstances.” Create with a gentle attitude and at the same time don’t ignore one’s conscience and live wisely. In fact, Zhao Yuan had a chance to leave. "Actually, I am very qualified to emigrate. Because I can speak Mandarin, there are schools in Taiwan that would accept me. Even to the extent that I have a senior colleague in the industry who has completed the immigration formalities for Taiwan and asked me if I wanted to go and needed help. But I still come back to the original problem. This city has given me so much, do I really want to use it as a springboard to leave? I still want to be here and do something I can do." She said thoughtfully. "I’ve lived in the mainland for 18 years, and I’ve lived in Hong Kong for 10 years. If I leave out my time in elementary school, it’s pretty much the same, but I am very cautious and insist that I must be 36 years old before I can say that I absolutely know this city. I want to stay a while longer, and I want to see this scene." I asked her, what scene do you want to see? “Restore Hong Kong!” And this answer, based on existing cases, may not be vocalized due to the National Security Law.
