None

This thesis aims at capturing a continuity of a star persona which reinvents himself to live within the constantly changing context. Using Jackie Chan as an object of study, this paper attempts to structure the development of Hong Kong kung fu action cinema. Such a perspective provides readers with the introductory survey of Hong Kong kung fu action cinema converged at the notion of Hong Kong identity. Covering the period between the 1960s and the 1990s, this history accounts for Hong Kong cinema’s becoming transnational. When Hong Kong filmmakers migrated to Hollywood in the mid-1990s, one of the significant issues raised by many respectable scholars is the notion of authentic Hong Kong cultural identity in these transnational representations. On this condition, Jackie Chan’s changing star persona puts it into question the meaning of ‘authenticity’ itself. Even if the circumstance it based has constantly changed, Chan’s shifting screen image still bears witness to his self-reinvention. What it will become through the self-revolution has been constantly remodeled to the needs of the society’s imagination and identity forms. And, it is also a heart of this thesis which intends to continuously revisit and re-envision a film star persona. While the thesis focuses on Jackie Chan, its research framework intends to be extended to see how his fellow Hong Kong filmmakers who have found their roles in Hollywood and never ceased searching for self-expressions as they have always been doing in Hong Kong cinema. Finally, in tracing Jackie Chan’s star persona in different stages of his film career, the thesis attempts to reflect the Hong Kong cinema, which continuously change, adapt and reinvent itself.

Bibliography
English sources:
Bordwell, David. Planet Hong Kong: Popular Cinema and the Art of Entertainment. Cambridge, Mass.: Harvard University Press, 2000.
-----, “Aesthetics in Action: Kung fu, Gunplay, and Cinematic Expressivity.” At Full Speed: Hong Kong Cinema In a Borderless World. Ed. Yau, C.M. Esther. London: University of Minnesota Press, 2001: 73-93.
Chan, Jackie, with Jeff Yang. I Am Jackie Chan: My Life in Action. London: Pan, 1997; U.S. edition, New York: Ballantine, 1999.
Chan, Kenneth. “Mimicry as Failure: Jackie Chan in Hollywood.” Asian Cinema. Fall-Winter 2004: 84-97.
Ciecko, Anne T. “Transnational Action: John Woo, Hong Kong, Hollywood.” Transnational Chinese Cinemas: Identity, Nationhood, Gender. Ed. Lu, Hsiao-peng Sheldon. Honolulu: University of Hawaii Press, 1997: 224-237.
Chu, Yiu-wai. Introduction. “Globalization and Hong Kong Film Industry.” Between Home and World: A Reader in Hong Kong Cinema. Ed. Cheung, Esther M.K. and Yiu-wai, Chu. Hong Kong: Oxford University Press, 2004: 3-15.
Dyer, Richard. Heavenly Bodies: Film Stars and Society. London: Macmillan Press, 1986.
Fore, Steve. “Jackie Chan and the Cultural Dynamics of Global Entertainment.” Transnational Chinese Cinemas: Identity, Nationhood, Gender. Ed. Lu, Hsiao-peng Sheldon. Honolulu: University of Hawaii Press, 1997:239-262.
-----, “Home, Migration, Identity: Hong Kong Film Workers Join the Chinese Diaspora.” Between Home and World: A Reader in Hong Kong Cinema. Ed. Cheung, Esther M.K. and Yiu-wai, Chu. Hong Kong: Oxford University Press, 2004: 85-99.
-----, “Life Imitates Entertainment: Home and Dislocation in the Films of Jackie Chan.” At Full Speed: Hong Kong Cinema In a Borderless World. Ed. Yau, C.M. Esther. London: University of Minnesota Press, 2001: 115-137.
Gentry, Clyde. Jackie Chan: Inside the Dragon. Dallas, Tex.: Taylor, 1997.
Laleen, Jayamanne. “Above and Beyond One’s Cultural Heritage: Jackie Chan and His Drunken Master.” Above and Beyond: Australia /Asian Interactions. Ed. Suelling, Michael. Brisbane, Australia: Institute of Modern Art, 1996: 12-16.
Lo, Kwai-cheung. “Muscles and Subjectivity: A Short History of the Masculine Body in Hong Kong Popular Culture. ” Camera Obsura, 1996: 105-25.
-----, “Double Negations: Hong Kong Cultural Identity In Hollywood’s Transnational Representations.” Between Home and World: A Reader in Hong Kong Cinema. Ed. Cheung, Esther M.K. and Yiu-wai, Chu. Hong Kong: Oxford, 2004: 59-84.
Logan, Bey. Hong Kong Action Cinema. New York: Overlook Press, 1996
Li, Siu Leung. “Kung Fu: Negotiating Nationalism and Modernity.” Cultural Studies, 15, 2001: 515-542.
Lu, Sheldon Hsiao-peng, ed. Transnational Chinese Cinemas: Identity, Nationhood, Gender. Honolulu: University of Hawaii Press, 1997.
Rovin, Jeff, and Kathy Tracy. The Essential Jackie Chan Sourcebook. New York: Pocket Books, 1997.
Teo, Stephen. Hong Kong Cinema: The Extra Dimensions. London: British Film Institute, 1997.
-----, “Local and Global Identity: Wither Hong Kong Cinema?” Between Home and World: A Reader in Hong Kong Cinema. Ed. Cheung, Esther M.K. and Yiu-wai, Chu. Hong Kong: Oxford University Press, 2004: 100-110.
Tasker, Yvonne. Spectacular Bodies: Gender, Genre and the Action Cinema. New York: Routledge, 1993.
-----, ed. “Jackie Chan”, Fifty Key Contemporary Filmmakers. New York: Routledge, 2002.
-----, ed. “The Hong Kong/Hollywood Connections: Stars and Spectacle in Transnational Action Cinema.” Action Cinema Reader. NY. : Routledge, 2002.
Tateishi, Ramie. “Jackie Chan and the Re-invention of Tradition.” Asian Cinema. Fall-Winter 1998: 78-84.
Wolf, Jaime. “Jackie Chan, American Action Hero?” New York Times Magazine. 21 Jan. 1996: 22.
Witterstaetter, Renee. Dying For Action: The Life and Films of Jackie Chan. New York: Warner Books, 1997.
Yiu-wai Chu. “Who Am I? Postcolonial Hong Kong Cinema In the Age of Global Capitalism.” Between Home and World: A Reader in Hong Kong Cinema. Ed. Cheung, Esther M.K. and Yiu-wai, Chu. Hong Kong: Oxford University Press, 2004: 39-58.
Chinese Sources:
王宏志，李小良，陳清僑。《否想香港︰ 歷史‧文化‧未來》。台北市：麥田人文出版，城邦文化發行，1997。
洛楓。《世紀末城市：香港的流行文化》。香港：牛津大學出版社，1995。
-----。《盛世邊緣：香港電影的性別特技、與九七政治》香港：牛津大學出版社，2002。
Giannetti, Louis。《認識電影》。焦雄屏等譯。台北：遠流，1998。
張徹。《回顧香港電影三十年》。香港：三聯書店，1989。
朗天。《後九七與香港電影》。香港：香港電影評論學會，2003。
葉蔭聰。〈邊緣與雜混的幽靈：談文化評論中的「香港身分」〉。《文化想像與意識形態：當代香港文化政治評論》。陳清僑編。香港：牛津大學出版社，1997。頁31-52。
羅卡，吳昊，卓伯棠。《香港電影類型論》。香港中文大學香港文化研究計畫叢書：牛津大學出版社，1997。
Internet Sources:
Ansen, David, and Esaki-Smith, Anna. “Chinese Takeout.” Newsweek. 19 February, 1996. Online. Ian Abrams: Biography, Office Hours, Etc. Internet. 22 January, 2004. Available http://httpsrv.irt.drexe1.edu
Shu, Yuan. “Reading the Kung Fu Film In an American Context: From Bruce Lee to Jackie Chan.” Journal of Popular Film and Television. Heldref Publications in association with The Gale Group and LookSmart, 2003. Online. LookSmarkt Findarticles. Internet. 20 January, 2004. Available http://findarticles.com
Tracey, Grant. “Rumble in the Bronx Comes to Video.” Peking Evening News. 6 December, 2002. Online. Images Reviews. Internet. 30 January, 2004. Available
http://www.image.com
Wolf, Jaime. “Jackie Chan, American Action Hero?” New York Times. Sunday, 21 January, 1996. Online. Premium Archive. Internet. 22 January. 2004. Available http://:query.nytimes.com/search/restricted/article
陳濱。〈永遠是 “港產”：從《燕尾服》回頭看銀幕英雄成龍〉。《北京晚報》，2002年12月6日。線上資料。新浪網影音娛樂資料庫。Internet。2004。http://ent.sina.com.cn
鄭葉。〈從《燕尾服》看成龍的變與不變〉。《北京晚報》，2002年12月8日。線上資料。新浪網影音娛樂資料庫。Internet。2004。http://ent.sina.com.cn