| This thesis examines the transnational nature of martial arts films by focusing on the exchange of narrative and visual aesthetics between films from Hong Kong and Hollywood martial arts genres. The thesis takes the position that films produced in the Hong Kong film industry have influenced aesthetic and narrative structures of films in the Hollywood industry and that this industry, in turn, has influenced Hong Kong martial arts films.; Divided into five chapters, the thesis first explores the history of the Hong Kong martial arts genre, examining how and why this genre is transnational in scope. Bruce Lee and Jackie Chan are then identified as crucial influences in the development of martial arts dramas and comedies. In addition, the relevance of visual and narrative aesthetics as evidence of this transnational exchange is also considered. Finally, these discussions are expanded through an exploration of films, including early seminal works such as Enter the Dragon (USA and Hong Kong, 1973), The Drunken Master (Hong Kong, 1978), Snake in the Eagle's Shadow (Hong Kong, 1978) and examples of the Hollywood martial arts genre such as Rush Hour 2 (USA, 2003) and Kill Bill Volume 1 (USA, 2003). Finally, the thesis investigates the film, Crouching Tiger, Hidden Dragon (China, Hong Kong, Taiwan and USA, 2000) as a contemporary expression of transnational confluences. By identifying key narrative and aesthetic devices that have been adopted by, and transformed, to suit local needs by both film industries, the thesis demonstrates the interrelationship between the Hong Kong and Hollywood martial arts genres. |
