A Probe in the Language Features of Fruit Chan's Films from the Perspective of Audio-visual Characteristics: Taking the Trilogy on Hong Kong's Return to China as an Example

Abstract

After the territory of Hong Kong formally returned in 1997 to its rightful owner of China, Fruit Chan (Chen Guo), a director, rose to fame with his trilogy on HK's return (namely Little Cheung, Made in Hong Kong, and The Longest Summer). Since then, he has successively made many films reflecting humans' real living status. Most of Hong Kong-made films in the past were standardized and industrialized, such as comedies and action films which are familiar to us, while there were few realistic films that could indeed depict and present the social changes to the public. Therefore, films like Fruit Chan's, which demonstrates tragic and profound ideas, are extremely rare and valuable in Hong Kong's film industry. Although Chan has not produced many works, all of them are endowed with realistic hue, aesthetic characteristics, and profound humanistic thoughts, which makes his films monuments of Hong Kong's realistic ones. It is easy to find sense of mission and sentimental feelings in his films, enabling us to better see how Hong Kong films move forward in the direction of visual transmission after Hong Kong’s return to China from multiplex angles of view.