On The Vicissitudes Of Image Of The Mainlander In The Hong Kong Cinema After1997

The Hong Kong cinema is one of the most important part of Chinese cinema. Itshapes many different characters successfully. It is multiform and phantasmagoric,sometimes positive, and sometimes negative. Many changes have taken place on theimage of mainlander in Hong Kong cinemas after1997. Aconventional changed the past"alienated" description, and cleverly fuzzy inlanders’identity.The thesis falls into four chapters. The first chapter defines imago logy, to HongKong culture and the Hong Kong cinema as the starting point discussed, and discussesthe Hong Kong cinema image among the three stages. The second chapter focuses on thedevelopment of the Hong Kong cinema culture, especially after1997and analyzes thepresent situation of Hong Kong film downturn, and the strategy of out of recession. Thethird chapter introduces the dissimilation of the mainland image in Hong Kong cinemas.At the same time, I introduce the mainland images of the cinemas. It compares thevariations of the mainland image around1997, also contrasts with foreigners in the HongKong cinemas. The fourth chapter basically analyzes the reasons why the mainlandchanges from three aspects: the transformation of identity and economic mode, creativespace transfer. And these transitions will take some reflection to us.Throughout the changes of the mainland image in Hong Kong cinemas, we can seethat it has experienced four types generally: established alienated imagination, sympathyfor low life, angel of the beautiful codes, disappearances of the alienated identity. Eachmainland image expresses the relationship between Hong Kong and China, which canreflect their own desires of the citizens in Hong Kong.