According to Stuart Hall, there are two kinds of identity: identity as being (a sense of unity and commonality) and identity as becoming (a process of identification, which shows the discontinuity in our identity formation). The first one is necessary, but the second one is truer to our postcolonial conditions. (Hall) Hong Kong identity is not fixed; it changes from time to time and is determined by the social-political changes. (Jonathan) Mass media (films) can somehow construct some kinds of ideologies or identities and indicate the attitude and value behind identity in a society. (Ping-Kwan) In this paper, we will investigate how 1970s’ films, New Wave Movie in 1980s and 1990s’ films reflect the social changes and construct HK identity.
After the 1967’s Riots, Hong Kong people had to face keen competition and social conflict and instability. Most of them had to face great pressure and discontent was widespread in the society. (李以莊) Watching movies such as “One-Armed Swordsman” (獨臂刀) [1967] and “The Big Boss” (唐山大兄) [1971] become one of the tools or ways for them to vent their pressure and emotions.
Moreover, in the early 70s, the society was rife with corruption. The corruption of the Hong Kong police and the government officers became a climate of Hong Kong. This phenomenon was corrosive to both the foundations of society and relationship between the police/government officers and the public. (Pak Tong) The Hong Kong government was therefore urged to found ICAC to deal with problem of corruption in 1974. At that time, “The House of 72 Tenants” (七十二家房客) [1973] revolved around 72 people who live in an old department, rebelling against both the landlady and the police. This film gave voice to the people’s dissatisfaction with oppression and the abuse of power in 1970s. (Pak Tong) In addition, due to the fast growing of Hong Kong’s economy and rapid