Abstract
The gambling film in Hong Kong cinema is usually perceived as a highly commercialized genre and receives scant attention in film studies. This article analyses two of the most popular gambling films at the Hong Kong box office, namely Du Xia Zhi Shanghai Tan Du Sheng/God of Gamblers III – Back to Shanghai (Jing Wong, 1991) and Du Shen 2/God of Gambler's Return (Jing Wong, 1994). It explores the political allegories in both films, which were produced at a time when there was collective anxiety over the return of Hong Kong to the People's Republic of China in 1997 and the search for identity became all the more acute. God of Gamblers III articulates the difficulties faced by Hong Kong people in imagining a national past, prior to the territory's return to its 'motherland'. God of Gambler's Return articulates the liminality and fluidity of Hong Kong identity through its highlighting of the cross-strait tension between mainland China and Taiwan.
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