A Genealogy between Ip Man and Bruce Lee -the Post-1997 Hong Kong Kung Fu Films and Chinese Nationalism-
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The main purpose of this work is to tackle a question of ‘How Hong Kong kung fu films in the new millennium have reworked ideas about Chineseness?’ by exemplifying a series of films, Ip Man and Ip Man 2: Legend of the Grandmaster. The series is in fact of great importance as it symbolises a contradictory turning point of the renaissance of Hong Kong kung fu films fostering Chinese nationalism based on a key characteristic of masculinity/musculinity. Through Ip Man and its sequel, the quasi-genealogical temporality and the socially produced spatiality are analysed respectively in the context of East Asian cultural politics. In this case, what it means by East Asian cultural politics is that it is a socio-historical construct interlocked with the process of discursive formation which is driven predominantly by both colonialist discourses like Orientalism and postcolonial ones like nationalism resting intrinsically upon self-Orientalism. Based on this, the work seeks to produce some useful insights into cultural-political implications of contemporary Chinese nationalism represented by the two films.
Abstract
The main purpose of this work is to tackle a question of ‘How Hong Kong kung fu films in the new millennium have reworked ideas about Chineseness?’ by exemplifying a series of films, Ip Man and Ip Man 2: Legend of the Grandmaster. The series is in fact of great importance as it symbolises a contradictory turning point of the renaissance of Hong Kong kung fu films fostering Chinese nationalism based on a key characteristic of masculinity/musculinity. Through Ip Man and its sequel, the quasi-genealogical temporality and the socially produced spatiality are analysed respectively in the context of East Asian cultural politics. In this case, what it means by East Asian cultural politics is that it is a socio-historical construct interlocked with the process of discursive formation which is driven predominantly by both colonialist discourses like Orientalism and postcolonial ones like nationalism resting intrinsically upon self-Orientalism. Based on this, the work seeks to produce some useful insights into cultural-political implications of contemporary Chinese nationalism represented by the two films.
참고문헌 (21)
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