A Study Of Clara Law'S Cross-Cultural Films

This paper explores the issues of identity,cultural environment,space-time in Clara Law Cheuk-yiu' s films by examing the correlation between her immigration choice,migration and employment experience at each stage of her life and her films created at the corresponding stage,trying to give a deep analysis of the immigration theme that repeatedly expressed and elaborated in her works from a broad transcultural perspective,.In addition,this paper introduces the feminist viewpoint and analyzes the gender construction characteristics in Clara Law Cheuk-yiu' s films.At the same time,it also discusses and analyzes the narrative technique and audio-visual language features that Clara Law Cheuk-yiu is good at,and summarizes her artistic characteristics of all her works.At the same time,this paper will also talk about the influence of production environment in different periods(including fund source,team composition,film industry environment,etc.)on her creation.Looking at the development of Hong Kong film after the new wave period,and the film cooperation between mainland China,Taiwan and Hong Kong since the reform and opening up,this paper reflects on the interweaving of film,culture and society in the world,and discusses the living space of Chinese art film and feminist film.Following is the main content of each chapter.The first three chapters of this paper go through Clara Law Cheuk-yiu' s migration path and workplace in the world from the late 1970 s to the present,and make a detailed analysis of the works corresponding to her experience in Hong Kong,Australian and the mainland China and HK.In the first chapter,Clara Law's works in Hong Kong are divided into four categories: her early career TV unit dramas,urban romantic comedies,immigration-themed films and literary adapted films.The second chapter discusses the three works that Clara Law Cheuk-yiu created in Australia after emigrating,and analyzes the change of her film style and identity under the new background.The third chapter focuses on Law's returning to the Chinese film market,and explains her three co-production films: Like a Dream(a tripartite cooperation of the Chinese mainland,Hong Kong china and Taiwan China),Red Earth(a sino-foreign corporation short film supported by the Quattro Hong Kong project),and The Unbearable Lightness of Inspector Fan(a co-production work of The Chinese mainland and Hong Kong China).The last two chapters of this paper discuss two major issues: cross-cultural and gender construction,attempting to give a comprehensive discussion about Clara Law Cheuk-yiu' s film works.The fourth chapter summarizes the cross-cultural phenomenon in her films from three aspects: the identity lost and struggles of the protagonist,the common cultural mixing phenomenon,and different urban and regional landscapes.The fifth chapter analyzes the gender construction of Clara Law Cheuk-yiu's films in a feminist perspective.The first section analyses Law's unique symmetrical gender structure in the film.The second section explains the international co-production of the feminist erotic film Erotique in which Clara Law participated,and focuses on the part of Wonton Soup which she directed.The third section discusses the traditional female images in Law's films,namely "blindness" of women,which extends to the female director of feminism films discussed.