Ann Hui And Eileen Chan

As the standard bearer of Hong Kong’s new wave,Ann Hui enjoys an important position in the Hong Kong even in the Chinese film circle.During her more than 40-year film career,she has wandered between art and commerce,and has achieved remarkable results with constant balance and coordination.In today’s world of commercial films,Ann Hui,like a refreshing stream in the Chinese film industry,has made three film adaptations of Eileen Chang’s novels ten years apart.This paper analyzes the three film adaptations of Eileen Chang’s literature by Ann Hui from the perspective of film adaptation,taking "Love in a Fallen City","Eighteen Springs" and "Love After Love" as the main objects.Through the analysis of the connection between Ann Hui and Eileen Chang,and the comprehensive analysis of Ann Hui’s film works and Eileen Chang’s literary works,we explore the close connection between Ann Hui and Eileen Chang in terms of creation.The first chapter of this paper looks at the similar upbringing of Ann Hui and Eileen Chang,the urban connection between Hong Kong and Shanghai,and the different writing styles of women.By restoring the personal experiences of Ann Hui and Eileen Chang,we build a connection between them and analyze the influence of many factors on their creative works,so as to explore the resonance between Hui and Eileen Chang’s literature and the Eileen Chang complex that it spawned.The second chapter uses the theory of intertextuality to bridge the gap between film and literature,to link the commonalities between Ann Hui’s films and Eileen Chang’s literature,and to analyze the film style of Ann Hui and the cinematic features of Eileen Chang’s novels,such as the use of film language montage,the handling of details,traditional Chinese culture,and the use of color,in order to explore the similarities and differences in their respective creative styles.The third chapter analyzes from three aspects: daily narratives,women’s fate,and the differences between the experiences of Ann Hui and Eileen Chang.While Hong Kong and Shanghai are both cosmopolitan cities,Ann Hui and Eileen Chang have removed the prosperity and extravagance of the metropolis and focus on the daily life and ordinary people in the city,revealing the tragic fate of women together,as well as exploring the common expressions of Ann Hui and Eileen Chang in terms of creation and the difficulties of Zhang Ailing’s novels in film remakes.The fourth chapter,from the perspective of film ontology,analyzes the three films adapted from Eileen Chang’s literature by Ann Hui,and synthesizes them with other directors’ film adaptations of Eileen Chang’s literature,discussing the deepening degree of adaptation in the three works;the innovative integration of audiovisual language into literature,such as the non-linear narrative of temporal and spatial interlacing and the clever use of extra-visual voices,and discusses Hui’s continuous exploration of film adaptations and her personalized expression in the three works.