‘Urban Cinema and the Cultural Identity of Hong Kong’ explores the influences of films on the cultural identity of Hong Kong people, especially focused on the period from the 1960s to the 1970s.
The difference between Hong Kong and mainland China is shown in the language of films. For instance, the film A Hymn to Mother implies that mainland China lacks the rule of law, just like the village mentioned in the film, yet Hong Kong provides a more modern and just condition for the main characters to stay in Hong Kong, helping them to avoid the hunt-down of the villain. This symbolizes the cultural identity of Hong Kong, of being a city filled with chances and opportunities, where lawfulness could be found. This further implies that Hong Kong is different from mainland China during that period. With the colonial background of Hong Kong, Hong Kong is capable of having all sorts of cultural exchange.
The essay also highlighted the magic of films is not only limited to reflecting the urban situation at that period of time. Apart from having the purpose of documenting the city’s condition, it also helps to shape the society, by initiating reflections on audiences, for instance, the reflection on staying in Hong Kong or leaving Hong Kong to get back to mainland China during the 1960s to the 1970s.
The comparison and analysis of several films in the essay, help readers to reflect the differences in cultural identities between Hong Kong and mainland China.
Law Ting Bong Titus 3036231863
Your response addresses the comparative discussion between the cinema of Hong Kong and mainland China and focuses on the 1960s and 1970s. However, this text covers a wide range of periods starting from as early as the 1930s. It discusses cultural identity through multiple perspectives other than the binary opposite of good and bad. Referring to this point, could you discuss further the other aspects of the film narratives that symbolize the cultural identity of Hong Kong?