| In the field of study of Hong Kong movie, focusing on the text, the director and the historical context are major angles. Hong Kong movie in the end of last century profoundly affected the mainland Chinese audience and the analysis of text and movie director is overabundance. The Historical Context Study departure depends on cultural studies that makes the movie as the subordinate objects of interpretation.As the most attracting section of Hong Kong movie,performance has been ignored for a long time,while a large number of studies of Hong Kong movie style analysis and authority being produced.As an important thread of Chinese movie,Hong Kong movies in the 1970 s faced a transition of performance culture.Melodrama Performance Mode,based on the theater / drama presentation, began to change after the appearance of Micheal Hui’s movies.Revolution made by new TV directors in 1970 s spread to the field of TV performance and later converted to a comprehensive transformation of movie performance culture, marked by the 1978 movie "The Extras". In the 1980 s, Hong Kong movie completed its own aesthetic update, different genres of movies developed, while the movie industry also tends to prosperity.A large number of actors from different backgrounds entered the field of movie performance.Practicing in a high-volume, high strength state shapes several major performances forms. Showing the body on the movie screen itself becomes part of popular culture and entertainment.It also constitutes an active participation and construction process of Hong Kong urban space.During 1980 s to 1990 s, Hong Kong movies substantially presents five mainstream performance forms in the practice of this period, which modernize movie performance and complete a strong sense of self subjectivity highlights.The actors during this period can be regarded as representative of the highest achievement of Hong Kong movie performance to date, which become a unique phenomenon with humanistic charm.It also becomes one of the city’s business card of Hong Kong.This article will define the time range from 1978 when Hong Kong movie started its aesthetic transformation to 1997 when a great significance had been built for the overall ecological of Hong Kong movie and even Hong Kong itself,focusing on movie performance itself. This thesis tries to discuss the topics of the origin, the main forms, Body, cross-media(or crossover) practice and the relationship between movie performance and Hong Kong urban space and grasp the style and aesthetics of Hong Kong movie performance during this period while using interdisciplinary methods like performance noumenon, Audio-Visual Language, communication, space theory to examine the relationship between performance culture and some different kinds of contexts. The idea is to make an extension from the specific historical context to horizontal cultural analysis, and strive to explore the performance itself and its relationship with the development of the body to show for its specific relationship with the humanities and social context. It strives to render a comprehensive prospect of performance culture,analyzing the gains and losses of Hong Kong movie in the period and also hope to get a lesson from this to give some revelations for the similar Language of movie industry of today’s Mainland Chinese movie.
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