Rebuild Chinese Identity

Due to historical reasons of the last century, "Chinese Cinemas" is mainly categorized by location instead of time periods. Chinese cinemas can be divided into three main categories: Chinese mainland cinema, Hong Kong cinema and Taiwanese cinema. Films from these three regions have developed into distinctly different styles and themes. However because of the large number of Chinese migrants since the last century, Chinese living in Diaspora (such as those living in Southeast Asia, North America and other regions) have also created many notable Chinese films presenting the life stories and struggles of Chinese living overseas. Examples of these films include: /Not Stupid series by Singaporean director Jack Neo in 2002 and 2006, Chan is Missing (1982) and Joyluck Club (1993) by Chinese-American director Wayne Wang, critically acclaimed Better Luck Tomorrow (2002) and the Fast and Furious franchise by Taiwan-born American director Justin Lin and more recently Ilo Ilo (2013) by Singaporean director Anthony Chen which has won many awards all over the world. All these films focus on the different conditions of Chinese living overseas.Four main Chinese stereotypes emerged during the early Hollywood films has been strongly resisted by Chinese American filmmakers in the United States. The resistance later developed into "triangular cinema strategy" to counter the negative images. The strategies are mainly:Chinese American community construction, political mobilization and create an Asian American film aesthetic that accurately depicts Asian American images. Chan is Missing created by Wayne Wang in 1982 is one of the most critically acclaimed Chinese American films of the triangular cinema strategy. The film is about two Chinese Americans searching for the disappeared cab driver Chan. Chan was never found just as Chinese American identity can never be found as well because it is forever a negotiation of Chinese and American identity. In other words migrant identity is always an undetermined negotiation. Thirty years have passed since Chan is Missing was premiered. One of the most widely discussed topic recently is the rise of China, almost all recent films other than historical films have included some kind of Chinese element. In this "trend" or wave of Chinese element, overseas Chinese directors have also received new funding for different Chinese living in Diaspora films. During a multinational time period, Chinese identity of those living in Diaspora becomes increasingly mixed and undetermined.This study is focused on two films created in 2011 by two Chinese American directors: Shanghai Calling by Daniel Hsia and Snow Flower and the Secret Fan by Wayne Wang. Neither films were successful at the box office and are not connected but both films shared many similarities such as the strong consciousness of Chinese American Identity, multinational production, Shanghai as background and searching for Chinese American identity through return of the Chinese American to China. Both films feature a return of the Chinese American which goes beyond the traditional triangular cinema strategy. In both films Chinese identity is created through a kind of postmodern mimicry, pastiche and alienation. Both directors are highly self aware of Hollywood stereotypes, Chinese American identity and minority status. Through their self-awareness they were able to transcend Foucault’s panopticon and create a sort of postmodern third space that Jameson describes. In it, both directors have recreated or reiterated a Chinese living in Diaspora identity.