An analysis of the Hong Kong film, "Kung Fu Hustle" (2005) directed by Stephen Chow.
Written in 2009; 2,162 words; 2 sources; MLA; $ 67.95
Paper Summary:
The paper focuses on the film "Kung Fu Hustle" that is an example of contemporary national identity in film. The paper relates that the film, because of its distinctly Chinese-Asian make-up, has been well received in the global community. The paper posits that this is partly because the film incorporates those elements of comedy, martial arts and theme that make it an international film product. The paper also shows how the film has bridged the cultural gaps and dispelled many stereotypes about the Chinese-Asian community.
Outline:
Introduction
Nationalism in Kung Fu Hustle
Conclusion
From the Paper:
"During the 1960s Cinema Novo emerged in Brazil as the offshoot of Italian neo-realism. Inspired more by the national Italian filmmakers than Hollywood, some of Brazil's most celebrated filmmakers began producing independent film projects that were a product distinctly Brazilian in theme, character, and nature. The Brazilian film industry was embraced by Brazilians as their own expression and interpretation of Brazilian life and culture. It was manifest of a national cinema, depicting the Brazilian culture in all of its diversity, including the indigenous Indian population and the black Brazilian whose heritage evolved from the Brazilian slave trade (D'lugo 2003 25). Brazilian politics, even as it wavered by socialism and democracy, was subject to the discretion of the filmmaker. That expression seemed unhindered by the state, and was very pure in representing the filmmaker's impression of all facets of Brazilian life (D'lugo 2003 40). Brazilian film really exploded as the quintessential definition of "national" filmmaking."
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