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| Hong Kong http://upload.wikimedia.org/wikipedia/commons/a/aa/%E9%A6%99%E6%B8%AF%E7%BB%B4%E6%B8%AF%E5%A4%9C%E8%89%B2.jpg |
Firstly, identity
has always been an important issue to every Hong Konger since the British
resumed control in 1997. During 1990s, Hong Kong residents were afraid of being
part of communistic society, or felt incredulous of 1 Nation 2 Systems, led to
a massive number of people leave Hong Kong and immigrant to overseas. In which,
it brought a great influence to Hong Kong political cinema.
Hong Kong
films such as Bodyguards of the Last Governor 港督最後一個保鏢 (Alfred Cheung, 1996), Gigolo ofChinese Hollywood 電影鴨 (Chung Shu Kai, 1999), Lan Yu 藍宇 (Stanley Kwan, 2001), trilogy
of Infernal Affairs 無間道 (Andrew Lau & Alan Mak Siu-Fai, 2002, 2003) etc., these
films known as political films are all expressed such identity concern and
culture variation between Hong Kong and China, similarly and metaphorically.
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| http://www.wjl.cn/torrentimg/c378e171c7bba7e4e7bca2de69021fd117b9b946.jpeg |
In 2004, in
order to have Hong Kong and Mainland get closer together economically, Chinese
state had the Closer Economic Partnership Arrangemet (CEPA) implemented with
Hong Kong. In which, it also provided a door of Mainland-Hong Kong cultural
exchange, apart from economic development.
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| "We're destined to fall for a scam or two." - Love in the Buff 2012 http://i.ytimg.com/vi/tZFbqG2PuAk/0.jpg |
For example, a Hong Kong domestic style films – Love in a Puff 志明與春嬌 (Pang
Ho-Cheung, 2010) greatly reflected the modern culture of Hong Kong – smoking
and Hong Konger’s value of love and sex; and due to the Chinese micro-blog users’
promotion, the box office of Love in a Puff was even more impressive than
expected.
In 2012, the continuation of Love in a Puff, Love in the Buff 春嬌與志明 (Pang
Ho-Cheung, 2012) has expanded the issue of Mainland-Hong Kong culture variation,
giving different value views of love and sex from Mainlander and Hong Konger by
applying few Mainland actors/actresses. Such Mainland-Hong Kong co-production indicated
the usual restrictions on style and content to domestic film because of CEPA
(Zhu & Nakajima, 2010).
Reference:
Rosen, S & Zhu, Y., 2010, ‘The Evolution of
Chinese Film as an Industry’, Art,
Politics, and Commerce in Chinese Cinema, pp.15-33, Hong Kong University
Press, Hong Kong
It is really interesting you use film to analysis “one nation two system”. It is perfectly show the relationship between Mainland cultural and Hong Kong cultural. But I still got confuse about identity part, the article just list lots of name of films but not really explain why this movie represent the Hong Kong identity issue. Maybe you can choose one of them and explain it just like the example Love in a Puff.
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