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In 2003, a new series of feature length films appeared in Hong Kong depicting the Severe Acute Respiratory Syndrome (SARS) epidemic. These films presented the public health crisis through a perspective of optimism, solidarity, and overcoming. Several of the films borrowed elements from popular genre cinema, employed major Hong Kong celebrities, and adopted a group cinema format. But how did films like  City of SARS, Golden Chicken 2, and 1:99  differ from earlier films about disease in Hong Kong? By presenting a juxtaposition between a series of mainstream SARS films and Herman Yau’s 1996 film  The Ebola Syndrome,  this article explores how cultural discourse about disease retracts and takes a markedly conservative turn during moments of public health crisis.

SARS @ Hong Kong A Brief Pathology of a Cinema of Disease