Abstract For the West, the question of Hong Kong identity is inextricably bound to images that have been largely constructed by directors, stars, and fans of Hong Kong cinema throughout the region's filmic history. Hong Kong's oldest genre, the martial arts film, is of particular significance, as it constitutes not only the earliest genre particular to Hong Kong, but also the most frequently revived. This essay explores the history and politics of kung fu cinema and its local and international fan base from wuxia to present day, ultimately examining Stephen Chow's recent award-winning film Kung Fu Hustle in order to explore the impacts of globalization on both local film production and international perceptions of Chineseness.
Robert D. Dumas (2009) studied this question.