Abstract
Filmic texts embody the discussion of issues like identity and self-determination. Many films of Jackie Chan who is a well-known international film star, set the story in Hong Kong, thus inevitably presenting various cultural aspects of the city. Being an especially important historical event, the return of Hong Kong to China affects every aspect of people’s lives, which are consciously or unconsciously recorded in filmic texts. Seeking recourse to Stuart Hall’s concept of cultural identity and Wang Yuechuan’s theory of identity recognition, this paper analyzes Jackie Chan’s three filmic texts from the <i>Police Story</i> series, hoping to probe into the conflicts and changes of Hong Kong’s transforming cultural identity at three time periods before and after the establishment of the Hong Kong Special Administrative Region upon the reunification with China, so as to prove both the complexity and importance of the identity issues. The paper will approach the three filmic texts from the following aspects: changed names of the main characters and their symbolic meanings, differences in plot and dialogue designs, and cultural meaning of urban space and architecture. Finally, the paper also invites the readers to reflect on the issues of representation on differences and identity recognition in general.
Highlights
Cultural identity is quite an important issue in postcolonial studies [1]
According to International Herald Leader, a newspaper, over 200,000 Hong Kong people had applied for British National Overseas passport (BNO) before the reunification of Hong Kong with China in 1997, whereas up till 2007, about 60% of the Hong Kong people had applied for HKSAR passport (Hong Kong Special Administrative Region passport) [3]
To release their dissatisfaction towards the society and hatred towards the Zhuang Qing and Li Yueming: The Transforming Cultural Identity of Hong Kong as Reflected in Jackie Chan’s Police Story Series police, they rob for excitement but not for money
Summary
Cultural identity is quite an important issue in postcolonial studies [1]. It is a sense of belonging to a group that reaffirms itself, consisting of values, customs, meanings and beliefs. Being an actor from Hong Kong, he can be regarded as a cultural symbol of the city Lots of his filmic products can be employed to analyze and decode the cultural identity of Hong Kong, especially the five films of the Police Stories series. They span from the year 1985 to 2004, molding a heroic image of the protagonist and providing a base for analyzing the conflicts and anxieties out of the changing cultural identity. Based on the second position, the thesis intends to better interpret Jackie Chan’s films and better understand the conflicting and transforming cultural identity of Hong Kong from the following aspects: changed names of the characters, the plot of the films and conversations between the characters, urban space and architecture, and reflection on representation on differences and identity recognition
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