Hong Kong Films Midterm Paper: Comparative Analysis

Student Tutor Course Date Hong Kong Films: Comparative Analysis Hong Kong cinema has largely been credited for the vital roles it played in steering the change agenda at the height of socio-political upheaval in the nation. Part of the agendas that set the tone in Hong Kong cinema in the mid to late 20th century were cultural identity, resistance, and transformation. To the effect of such cinematic inputs in the socio-political construct, two films are notable. Bruce Lee’s Fist of Fury (1972) and Tsui Hark’s Once Upon a Time in China (1991) are iconic films considering their unique infusion of martial arts to demonstrate the challenges of the nation during the post-colonial era. While both films pursue different paths in reaching the thematic intents, their final manifestations are a reflection of the Hong Kong cinema at the time. In this analysis, emphasis is put on exploring both films through the lenses of culture, identity, and resistance in various historical contexts. Drawing on the academic approaches of Ackbar Abbas in his assessment of the concept of Hong Kong cinema as a space of “déjà disparu” as well as M.T. Kato’s analysis of Bruce Lee’s kinetic narrative, one is persuaded into understanding the heavy influence of cultural and political dimensions defining Hong Kong cinema in the 20th century. Bruce Lee’s Fist of Fury (1972) is one of the renowned Hong Kong films that draws its legendary status from its active pursuit of kinetic defiance against oppression at the time. The film showcases the plight of Chen Zhen who is a martial artist. Zhen is attempting to avenge the death of his master in a Japanese-dominated area of Shanghai. To achieve its objective of kinetic defiance against an oppressor, the film is engulfed in an outburst of emotion. Part of the intense emotional core of the film is showcased in the duality of the protagonist’s battles that bear elements of physical confrontation as well as symbolic acts of cultural defiance. Martial arts in The Fist of Fury is deployed as an important tool in conveying the message of the film. Explanatively, the choreography is a mark of the intended decolonizing kinetic narrative. That is, the choreography extends into transforming the protagonist’s movements into metaphors for liberation. The second exposable element of the film relative to its martial arts manifestations is the fight sequences. Lee deployed the fights to showcase spontaneity and chaos. This was a direct manifestation of the volatility of the oppressor and the resistance that it attracted from the oppressed. One example of such spontaneity is demonstrated in the combat scene between Lee and the Japanese dojo leader. In that scene, there is a culmination of an electrifying physical mastery and duel as a show of the Chinese’s demand for dignity in their community. Such a scene elevates Fist of Fury as a core platform for negotiating historical trauma. Tsui Hark’s Once Upon a Time in China deploys a similar structural path to deliver a unique balance of tradition and modernity in a society depleted by social and political challenges. The film is a re-imagination of Hang Fei Hung’s narrative. Hung was a renowned martial artist who grew to fame due to his application of mart...