Globalization and Culture in Infernal Affairs Movie - Essay Example

?One of the realities that currently constrains and directs the world in which we live is with regards to the impact that globalization has had in achieving something of a uniformity and/or singularity with regards to the way in which diverse regions and peoples interact with many of the same realities. Evidence of this is not particularly constrained to film; rather, it is expressed with regards to the overall level of ethnic mixture, economic interdependencies, and transnational influences that groups have upon one another. This is not to state that culture in and of itself is no longer relevant. Rather, culture has merely been redefined and influenced by the recent levels of globalization and trans-nationalism that have pervaded nearly every aspect of current society. As a means of drawing a level of inference to film, this particular analysis will seek to consider the 2002 film entitled “Infernal Affairs”. Rather than merely paying attention to the films storyline or plot, more formal elements such as imagery and scene construction will also be analyzed. In short, it is the understanding and belief of this author, after having screened the film, that what is related to the viewer is far beyond merely a “good cop – bad cop” dynamic. Moreover, the plot is far more nuanced and intends to give additional levels of meaning than mere action that is represented within it could otherwise seek to portray. As such, it is the belief and understanding of this particular author that the film actively seeks to provide the viewer a tangential understanding of how the national and transnational, local and global, impacts upon the choices and decisions that the main characters make as a means of further defining the plot and their roles. The analyst does not need to look very hard in order to discern how this is first represented. A careful fabric of images, tacit understanding, music, and scene construction all put forward an understanding and notion that a conflict exists between the domestic and the “other”. Although this could easily been represented in many different jurisdictions or locations around the globe, the setting of Hong Kong is unique due to the fact that it has only recently experienced a change in governmental/protectorate status. Understanding this reality is part and parcel of seeking to understand the means by which the transnational and national are juxtapose with one another in the film. A perfect example of this is with regards to the scene construction, costume design, and representation of tradition that is denoted with regards to the police academy. What is represented is a police academy, norms and traditions that are indicative of the British colonial and postcolonial governments that ruled over the region of Hong Kong for well over a century. Within these scenes, British uniforms, traditions, salutes, and other social constructs are clearly evidenced. This is of course represented to be a traditional understanding of Hong Kong culture and nationalism. Although the pure and true definition of this harkens back to a prior colonial influence, the viewer is nonetheless engaged with an appreciation for the fact that these traditions and norms have a common relationship to the cultures, norms, and traditions of Hong Kong and the modern interpretation of how it views itself. Alongside this traditional and somewhat stiff interpretation of morality, culture, and tradition, there exists an underworld of fast-paced, luxurious, sexy, well-dressed villains that seek to exploit individuals from Hong Kong and around the world by various acts of illegality. Although it is not a new construct to cast and symbolize the criminal elements as having large amounts of wealth, influence, and power, the particular film in question draws a very strong level of parallel between the fact that a very local, domestic, and national police force finds itself in a position of engaging with a national crime syndicate that operates on a global level and can easily leverage influence far beyond that which the under developed police department that is typified could hope to leverage. Although many individuals within the police force denoted that they ultimately believed the issue was a domestic and local one, infiltration of the gang/crime syndicate fully revealed the nature and extent to which this entity operate. It should not be understood by the viewer that such a level of analysis precludes the fact that the police force was represented as inept or resistant to change. Another interesting element relayed within several of the scenes of the film is with regards to the tools of the trade that both the police force and the crime syndicate use. Whereas tradition and localism is promoted within the scenes that have previously been referenced, and level of international and transnational effect and business relationships is of course denoted with regards to the scenes of giant heaps of hundred dollar bills being counted by mechanical counters. Whereas such a representation of international crime in and of itself is not stark with regards to what has been denoted within the past, the realization that both of the component entities operate with a basic level of strategy helps to bring the contrast which has previously been discussed to a more realistic level of interpretation. Likewise, the trans-nationalism of police work and the tools that they utilize, even the form of handgun preferred by the officers, indicates that the police force itself is not immune to a level of international and global influence that has so oftentimes been illustrated with regards to the crime syndicate. Such an understanding is useful due to the fact that it allows the viewer to come to a new monster appreciation for the means by which the filmmakers represents key and important aspects plot and character development. Another nuanced way in which this juxtaposition of national and trans-nationalism is affected is with regards to the music that is related in the score of the film. Within such a way, the viewer is able to analyze the way in which the filmmakers ensure that the majority of the musical references to the police force necessarily include something of a traditional musical score. This should not be meant to relate that musical score reflected with regards to scenes specifically involving the police force are necessarily classical in nature; rather, they employ nonindustrial, non-techno, and non-rock elements. Although it could also be said that elements of classical music are also utilized with regards to the gangsters/crimes syndicate, this music is far more international in use and application. Due to the fact that a very traditional Chinese/Cantonese melody could not appropriately be applied in either case, the filmmakers are left with the distinction of seeking to differentiate the characters in the film based upon whether or not the music used to define them can be considered as “domestic” or “international”. In such a way, the filmmakers are able to create a situation in which the “good guys” are able to integrate with the viewer at and even further level. Conversely, this necessarily means that these “good guys” reflect a level of domestic appreciation and traditional Cantonese culture. Conversely, this necessarily means that the crime syndicates are represented as a foreign entity. This is something unique due to the fact that other films in both Western cinema and throughout the world, have sought to portray crime syndicates as uniquely foreign based upon the ethnic makeup of their respective groups alone. However, within this particular film, the filmmakers are able to leverage a level of differentiation between national and transnational, not based upon ethnic interpretations, but based upon unique and nuanced levels of interpretation such as musical score and an interpretation of tradition and values that castes one group as traditional/national and the other as international and ultimately non-local. However, the greatest level of contrast in comparison that is given within the film with regards to national/transnational issues and the means by which they relate almost each and every individual within the current world is with regards to the beginning realization of the police force that the only means of seeking to tackle the realities that exist within their current environment is by infiltrating the organization in question. This early admission clearly enunciates the fact that even though the traditional and local is most perfectly reflected within the police department, they are nonetheless aware of the fact that national/transnational issues are no respecter of borders. Within such a context, the plot line itself unfolds with a similar means by which a spy thriller or even espionage-based intrigue might take place. Much the same can be said with regards to the way in which the crime syndicate behaves (Law 385). Cognizant of the fact that a globalized world replete with transnational opportunities harbors a degree of local danger with regards to the police force, the crime syndicates engage in espionage and infiltration in very much the same way in which the police department seeks to infiltrate the crime syndicate. Within such a manner, the viewer is made uniquely aware of the tacit understanding that both of these groups represented within the film were cognizant and fully aware of the fact that a trans-national level of danger existed for them. Through the means that have already been discussed within this brief analysis, the reader can come to an appreciation for how national and transnational issues are related to the viewer within the film in question. Although many of the mechanisms which are utilized by the filmmakers have been utilized in many other films previously, they are nonetheless effective in engaging the viewer with an understanding of the fact that a litany of different factors impact upon the plot in question. Rather than simply understanding such a film as a well put together action flick, the viewer can come to the appreciation that the action, drama, and suspense is ultimately and inseparably aided by the driving pulse of conflict that exists between tradition and internationalism. Rather than being a movie aimed at leaving a moral understanding which approach is right or wrong, film instead is able to engage the viewer with an appreciation by which both entities question leverage an understanding and application of a national and transnational approach. Moreover, rather than being something of a opinion piece with regards to whether globalization is necessarily good or bad for the world, this particular film denotes that globalization invariably affects all parties involved; regardless of whether they may wish to portray a culturally and nationally salient interpretation or whether they are solely and entirely interested in maximizing profit through engaging in as many criminal or unethical business dealings and actions as possible or not. Work Cited Law, Wing?Sang. "The Violence Of Time And Memory Undercover: Hong Kong’S Infernal Affairs." Inter-Asia Cultural Studies 7.3 (2006): 383-402. Academic Search Complete. Web. 9 June 2013. Read More