Gangster Movies And Urban Rivers And Lakes

In 2002 and 2003, the new gangster film (1/2/3) appeared and came to the top. That brought Hongkong gangster films to a new tide, and indicated that Hongkong gangster films, and the whole Hongkong filmdom had began to revive.In 1986, the movie directed by John Woo commenced the history of heroic films. It has been a historic signal in Hongkong gangster films. From 1986 to 2003, Hongkong gangster films came through the following 3 period: the heroic films in the middle and upper 1980's; the blackguard films in the middle and upper 1990's; and the new gangster films represented by in 2002. In the upper of 1990's, there were a series of noir films in Hongkong gangster films, and they are valuable for learning. In this paper, I chose the heroic films, the blackguard films, the noir films and the new gangster films to be the researchful object in each chapter. In this paper, the researchful object is from < A better tomorrow> in 1986 to in 2003. Firstly, I will clear up the history of Hongkong gangster films. Secondly, I will do a text research. The point is the succession of brotherliness in Hongkong gangster films. In my opinion, the intension and extension of brotherliness always keeps changing according to the society of Hong Kong . Times are advancing from everlasting to everlasting, and Hongkong gangster films are altering themselves on genre. In different genre of gangster films, the brotherliness has different meaning, and transmits different time spirits. So it is a valuable work to study the succession of brotherliness in Hongkong gangster films. Thirdly, I want to review the enantiomorphous interspace of City JiangHu in Hongkong Gangster Films. That will be the emphases of this paper. As far as I am concerned, City JiangHu is the most remarkable character of Hongkong gangster films. It is created by Hongkong filmdom, and has amused the audience in Hong Kong for a long time, so I call it an enantiomorphous interspace. There exits some subtle relation among the advance of Hong Kong City, the succession of brotherliness, and the enantiomorphous interspace of City JiangHu in Hongkong Gangster Films. That will be the most important investigation in this paper.