Double Negations: Hong Kong Cultural Identity in Hollywood's Transnational Representations

Abstract

This article attempts to develop a critical understanding of the reconstitution of Hong Kong identity in Hollywood productions involving Hong Kong lm talents. It argues that the 'local' in the city's historical context of the nineties no longer refers to any entity pertaining to a particular locality and culture but is always already determined by the framework of the transnational, which structures the perception of its local social reality. In particular, the paper suggests that the remaking of Hong Kong cultural identity in Hollywood lms could be grasped in terms of the notion of a double negation. While the formation of such an identity is based on a negation of Chineseness, Hong Kong's transnational crossing to Hollywood initiates another negation that negates the very symbolic realm common to Chineseness. Jackie Chan's Hollywood blockbuster, Rush Hour, is used to illuminate the ways in which Hong Kong lm stars and directors working for the global entertainment syndicate re-appropriate their agency in the production of a transnational narrative of their identity.

Naturalizing Racial Differences Through Comedy: Asian, Black, and White Views on Racial Stereotypes in Rush Hour 2

“…First, Jackie Chan and Chris Tucker both portray likeable characters that do not problematize or transgress mainstream racial images and boundaries. Their characters are buffoons or “symbolically castrated men” that do not challenge White masculinity (Lo, 2001, p. 474). In contrast to Chan's Hong Kong–made action movies, where his characters are not only affable but also masculine and tough (Teo, 1997), Chan's Hollywood films, such as Shanghai Noon (2000) and Shanghai Knights (2003), cast him in the role of the funny, desexualized, and unthreatening Oriental male.…”

Transnational collaborations, local competitiveness: mapping the geographies of filmmaking in/through hong kong

“…Lo, 2001b). In fact, this Hollywood influence notwithstanding, it does appear that engendering transnational collaboration networks has become more of a rule than an exception.…”

“…Warner Brothers also began film production in (Curtin, 2003, p. 243), it appears that their continued success has to come with the development of Chinese filmmakers (cf. Lo, 2001b). In fact, this Hollywood influence notwithstanding, it does appear that engendering transnational collaboration networks has become more of a rule than an exception.…”