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Hong Kong cinema is undergoing a particular process of transformation influenced by historical political and geographic factors that question its very identity This is apparent in the works of directors like John Woo and Wong Kah Wai The article Ive chosen is written by Tony Williams Space Place and Spectacle The Crisis Cinema of John Woo It depicts some of the ideas that John Woo was reflecting in his films In John Woos work he has always wanted to reach out to more than an oriental audience In the following argument Ill be touching on how he uses the combination of western and eastern technics and motif to reach out to the extended audience the non-oriental audience The space and identity of Hong Kong the hybridity and how his religious background affects some of his film and also how his idea of having traditional values that John Woo always emphasize on like loyalty honour honesty justice and commitment to family contradicts to his negative perspective on the 1997 handing over of Hong Kong from the British colony the mainland China In John Woos film he always tries to reach out further than the eastern audience He does that by combining western technic with eastern motif easily understandable to non-oriental audience In a better tomorrow the figure of Mark played by Chow Yun-Fat was not exactly the typical masculine body we would see in a western film Within the Hollywood sexual politics of representation the action star is traditionally larger than life an iconic pin-up with superior physical capabilities He is also depicts as one with sexual representation More like the Arnold Schwarzenegger or Sylvester Stallone character Instead of the typical male body that was the clich to most films both in Hollywood and Hong Kong the character of mark in a better tomorrow was nothing like that His playfulness character was shown at the start of the film where he help
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