Ann Hui's Identity Is Activated

The dissertation considers the adaptation of Love in a Fallen City between two types of media, from the novel to film. Different from the novel, the film belongs to another kind of art, adopting an unique method of rhetoric to enliven some value; Also, the film is also seen as cultural product, with images condensating the cultural and historical factors as well as alleging itself. The dissertation is to discover that how the Shanhai feature culture behind film images enters into Hong Kong, in order to reveal the interactive and pluralistic nature of the urban culture.The prolegomenon introduces the reason and significance of the paper, reviews the study history to make clear theoretical meaning of the paper, and on this basis I try to put forward some viewpoints of my own. In addition, the contents, issues and ideas of the thesis is demonstrated.In the first chapter, by studying the adaptation of "Love in a Fallen City", on one hand, we can see the Shanghai story described by Zhang Ailing through Hong Kong legendary; on the other hand, we can also see that Ann Hui is recalling the history and culture of Hong Kong through the same story written by Zhang Ailing. And what links the two talented women is the similar artistic purport, concerning the individual and common people. After all, their works give out the secular sense, but the keen sense of art helps them capture desolation out of day-to-day life, which makes their works meaningful, no excessive exaggeration.The second chapter selcets three images changed in the process of film re-creation, in the perspective of conversion of narrative strategy. Cheongsam is highlighted by the close-up of camera, and put on the party of foreigners; Shanghai-style dance is shown, from the descriptive to imitative language of the movie; Shanghai restaurant has lost the name, but the atmosphere of images reveals the power of Shanghai dishes on the Hong Kong Island.All these three cultural elements are contribution of Shanghai to culture of Hong Kong. After explaining these signs by cultural interpretation methods, the cultural remembrane of director Ann Hui is presented, and the cultural problems and social symptoms the film refers to has reappeared.The final chapter starts with the character of "Love in a Fallen City", analysing the reasons of it being acceptable in Hong Kong in the 1980's, summing up"smart" feature from Liusu's personality. While the feature is forced by traditional depression, a spontaneous "singular wisdom" in order to survive, but it just meets the spiritual and psychological demands of "modern women" in Hong Kong. At last, I argue that the cultural interaction between two cities has never been disconnected. What is more, with the changing times, Hong Kong and Shanghai have always been assisting each other, such as that a large number of Hong Kong people come to participate actively in urban development of Shanghai in the 1980's, arousing unlimited reverie.