Interpreting Identity and Cultural Reflections in Hong Kong’s Transition Cinema: The Phantom Lover (1995) and Fly Me to Polaris (1999)

Abstract

This thesis offers an analysis of two Hong Kong films, The Phantom Lover (1995), directed by Ronny Yu, and Fly Me to Polaris (1999), directed by Jingle Ma, and their source texts, examining how they depict the nuances of culture and identity within the context of historical transitions. Hong Kong came under British colonial control in the 19th century and returned to Chinese rule in 1997. Released during Hong Kong’s significant period of transition from British colonial rule to Chinese rule, The Phantom Lover and Fly Me to Polaris offer insights into the societal concerns and cultural changes of that era. Chapter one looks at The Phantom Lover, which explores the tragic romance between Yunyan and Danping, portraying the struggles of powerless individuals in a feudal society, while also symbolizing Hong Kong’s fear of losing their identity as the handover to China approaches. Chapter two focuses on Fly Me to Polaris, which presents a modern and fairytale-like love story in the backdrop of Hong Kong in 1999, investigating themes of harmony rooted in traditional Chinese values, mirroring Hong Kong’s struggles with identity after its return to Chinese rule. Through a detailed examination of characters, plot development, and narrative elements, this research uncovers the nuanced ways in which these films reflect Hong Kong’s identity shift. This analysis sheds light on the evolving cultural landscape of Hong Kong, providing perspectives on navigating transformations during the period of transition.