Historical Reappearance And National Identity:A Study Of Ann Hui's Films (1990-2017)

This paper mainly studies the construction and presentation of national identity in Hong Kong director Ann Hui's films after the 1990 s,and attempts to reveal the political unconscious and historical interpretation path contained in the films.As an important stage of contemporary Chinese history,the 1990 s can be regarded as an investigation and shaping of Socialist Modernity under the condition of globalization,and also as a historical stage of dividing the revolutionary century and the post revolutionary century.This paper will reveal and explain the complex historical identity contained in the relevant films of this period by means of historical analysis.The working method of this paper focuses on three main problems in Jameson's "historical interpretation" path: one is the representation of history,which is essentially a narrative problem and can be used to represent the adequacy of any narrative framework of history;the other is the related calendar The problem of "characters" in the historical narrative--more accurately,is the problem of social class status,and its feasibility as "historical subject" in the collective historical narrative;thirdly,the specific allegory problem of the third world history and class text based on the first two--that is,the political metaphor and national allegory in the third world text.In this way,the author makes a comparison of the following works: Song of the Exile(1990),Summer Snow(1995),July Rhapsody(2001),The Postmodern Life of My Aunt(2006),The Way We Are(2008),The Simple Life(2012),The Golden Era(2014),Our Time Will Come(2017)and other eight films were interpreted to achieve the excavation and presentation of "the political unconscious" in the film.The first chapter of the main part of this paper expounds the dual functions of unconscious ideology and utopian impulse in Song of the Exile(1990),and reveals July Rhapsody(2001)and Summer Snow(1995)with landscape and personal memory as "intermediary".The second chapter expounds the concept of "plasticity" in Summer Snow(1995),The Postmodern Life of My Aunt(2006),The Way We Are(2008)and The Simple Life(2012)are four plastic class expressions,and reveal the political resonance and class consciousness of "Marginalization" as "ideologeme" in mainland China and Hong Kong;Chapter Three discusses "the fable of the third world" in the context of globalization and colonial history by reading The Golden Era(2014)and Our Time Will Come(2017),the films have the historical dimension and transcendental identity experience.Through the demonstration of three chapters,this paper attempts to explain that the political identity reflected in Ann Hui's films after 1990 s is the identity narration and national identity completed in the sense and emotion of the same complete China under certain tension and sliding experience difference for the center.