Transnational Chinese Cinemas: Identity, Nationhood, Gender

By Sheldon Hsiao-Peng Lu | Go to book overview
Save to active project

Chapter 9
Jackie Chan and the Cultural Dynamics of Global

Steve Fore

In early 1996, as Hong Kong's 1997 reversion to the control of Mainland China loomed ever closer, the precise mechanism and meaning of this transition remained maddeningly indistinct. Hong Kong citizens, political interests, and business entities still didn't know exactly how reversion to China would be manifested. Of course, the city had been living in this state of suspended animation since the signing of the Joint Declaration in 1984, but as the deadline approached, individuals, families, and corporations alike were furiously concocting contingency plans that ranged from maintaining the status quo to overnight evacuation.

For the Hong Kong movie industry, which boomed throughout the 1980s and early 1990s, this uncertainty had stabilizing effects both on the infrastructure of the business itself and on the tastes and interests of the local moviegoing audience. Movie attendance fell 30 percent between 1992 and late 1995;1 the number of films produced annually dropped from a steady 135-150 a few years ago to well under 100 in 1995 (and the critical consensus was that proportionately fewer "good" movies were being made); the local exhibition market, dominated since the late 1970s by homegrown product, increasingly was swamped by Hollywood films; and a number of prominent producers, directors, and performers acquired overseas passports, work permits, and even citizenship. Some of these people have remained in Hong Kong and are continuing to work for the time being, while others have either "retired" from the movie business, relocated regionally (to Singapore or Malaysia, for example), or, in a few instances, left Hong Kong to pursue success in that Holy Grail of global commercial media production, Hollywood.

The first highly publicized defection to the United States was that of the director John Woo (and his producer, Terence Chang), whose second U.S.produced film, Broken Arrow, was released in February 1996 and proved a moderate hit in the U.S. market, grossing in the vicinity of $70 million in first-run release. As of early 1996, two other well-known Hong Kong direc


Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
Loading One moment ...
Project items
Cite this page

Cited page

Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

Cited page

Bookmark this page
Transnational Chinese Cinemas: Identity, Nationhood, Gender
Table of contents

Table of contents



Text size Smaller Larger
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

While we understand printed pages are helpful to our users, this limitation is necessary to help protect our publishers' copyrighted material and prevent its unlawful distribution. We are sorry for any inconvenience.
Full screen
/ 418

matching results for page

Cited passage

Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.

Are you sure you want to delete this highlight?