Abstract
Owing to the conflicting waves of nationalism in mainland China and localism in Hong Kong, the long-standing dispute over Hong Kong's identity has intensified over the past decade or so. The historical discourses presented in the films about the kung fu master Ip Man reflect this trend. Focusing on the Ip Man series, Ip Man: The Final Fight, and The Grandmaster, this article examines how they dramatise the life story of Ip Man and articulate identities from various historical perspectives. These films exemplify how the kung fu genre actively responds to the ideological landscape and socio-political climate of the prevailing society.
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