Abstract
Hong Kong filmmakers Ann Hui, Mabel Cheung, and Mak Yan-Yan represent three different “generations” within the local industry. This analysis of romantic melodramas by Hui, Cheung, and Mak highlights the post-Handover “generation gap” in relation to gender, specifically femininity. I argue that the use of the intergenerational melodrama of infidelity allows the filmmakers to interrogate the differences among generations of Hong Kong women that have been exacerbated by the rapidly changing circumstances of their lives since the change of sovereignty in 1997.
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