The development of film through pooling resources from different industries and applying the different genres that were previously not being utilized has aided them cross the coterminous boundary of global film.
Chinese films are more defined in geographic, ethnic and auteurist terms and only bound to address the issues of identity, nationhood, gender and immigration. Chow’s film, Kung Fu Hustle answers the Joroen De Kloet’s call to ‘move away from the textual to the contextual’ and still address the same issues that previous directors were trying to address. Scholars need appreciate that the evolving Chinese film industry is incorporating aspects that are more western and involving western studios to make their art. The two industry have ceased being apart and have merged to make a comprehensive picture that addresses the “derivative- a slavish, lesser, imitator” tag. The main aspect of merging the two different cultures is to appeal the popular audience and intertwine globalization, localization, regionalization and nationalization in films.
Chow’s film Kung Fu Hustle is an important sign in the evolving Asian market to adapt and interact with the western industry. Chow, through production, funding and the acting incorporates western aspects that are ‘acceptable’ to the Chinese people. He avoids themes that will limit his film to the Asian market, which has a liberal thought in terms of culture and religious freedom. Through his previous films, he knows that he cannot appeal to the audience through voice humor and hence develops bodily and character humor that will auger with any audience globally. An auteur skill of film making that makes him a director to reckon with in the Chinese film industry, while incorporating those aspects that attract popular audience and make money.
Popular culture among actors is definitive in formation of identity,
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