Reading Response 1 Urban Cinema and the Cultural Identity of Hong Kong
Zhao Meijing
3036126991
The article unfolds the history of the Hong Kong film industry from the 1950s to the 1980s, analyzing the balance between the Chinese and the Western elements during the transition of colonization and decolonization.
The essence of this issue is the sense of belonging. The limited population and complex context forced the public to align themselves with Chinese or English backgrounds, which led to reinterpretations through different ideologies in the filmmaking sphere. Many directors opted for compromise with uncertainty.
However, the answer can be further optimized in the current circumstances. Globalization makes many regions reemphasize their cultural identities. Audiences are more interested in exotic films, leaving space for limited productions like Hong Kong films to live independently, providing Hong Kong with a fresh perspective on discovering its symbol without hesitation.
In the future, cultural contrast will not be a diploma but a unique angle for observing global issues. On the one hand, the similarities among films in diverse cultures raise concerns on the human level; on the other hand, the differences in the description raise new awareness and solutions to the world.
In conclusion, Eastern and Western cultures will transfer from enemies to friends in Hong Kong’s filmmaking development. Hong Kong filmmakers and global spectators should treat them as tools to gain knowledge from history and comprehend the world.
I appreciate your response about the sense of belonging and the impact of globalization as a key theme for cultural identity in Hong Kong cinema. You address the “balance between Chinese and Western elements” as the analysis component. Could you please elaborate on these “elements”? Also, could you please explain your understanding of how Hong Kong directors deal with the forced alignment of the public with Chinese or English backgrounds in their films? What uncertainties did they face?