A young black woman dressed to signal a 1920s time frame walks along an empty country road, holding an umbrella. She stops in front of a white man sitting beneath a large tree, slowly kneels in front of him, and removes her hat. We see a close-up of his hand before shifting to hers. She begins ripping his white robe, a garment unambiguously suggestive of a Ku Klux Klan costume.
The 2019 Hong Kong protests witnessed not only sustained physical demonstrations by locals, but also a swell of online digital media that recorded and remixed conflicts between protestors and police. By documenting key moving images that circulated throughout social media and the film festival circuit, White’s essay reorients Hong Kong film studies’ relationship with the digital.