香港贼王的消失与再现：从犯罪电影 《树大招风》与《追龙II：贼王》看香港身份认同 = The disappearance and re-presentation of Hong Kong's king of thieves: an analysis of Hong Konger's identity in crime films “Trivisa” and “Chasing the Dragon II: Wild Wild Bunch”

• Main Author: 黎惠欣 Loi, Sonia Hwee Sin
• Other Authors: Chu Kiu-wai
• Format: Final Year Project
• Language: Chinese
• Published: Nanyang Technological University 2024
• Subjects: Arts and Humanities
• Online Access: https://hdl.handle.net/10356/174121
• Institution: Nanyang Technological University

自1997年，香港的政权重新回到中国手里后，香港身份认同便一直是香港持续了20年的社会问题。作为香港文化的重要一环，香港影视作品拥有反映社会问题的特征，港人对于身份认同的问题也一直非常关注。《树大招风》(2016)及《追龙II：贼王》（2019）都是产于同一时期的香港犯罪片，并且题材相似——都是关于90年代轰动一时的香港贼王。因电影时间处于90年代这敏感时期，两部港片皆影射关于港人身份认同的立场，而《树大招风》更是含有明显关于港人身份认同问题的内容。 因此，本文将会以《树大招风》及《追龙II：贼王》作为研究对象，探讨港人身份认同的问题，从电影情节分析2010年代的港人对于身份认同的复杂心理及焦虑的产生，以及港人对于身份认同的站位。本文最主要会以阿巴斯“消失的文化”理论作为基础，论述香港身份焦虑的产生，再对中港边界被模糊的现象及贼王“义气”被改写的电影议题进行分析。 Since Hong Kong’s political power returned to China in 1997, the problem of Hong Konger’s identity has remained a problem for the past 20 years. As Hong Kong films play an important role in Hong Kong’s culture, Hong Kong films possess the characteristic of reflecting social issues, and Hong Kong people have always been concerned about identity issues. “Trivisa” (2016) and “Chasing the Dragon II: Wild Wild Bunch” (2019) are Hong Kong crime films produced in the same period, and they also have similar themes. Both are about the Hong Kong infamous thieves which created a sensation back in the 1990s, and due to the film’s setting in the sensitive period of 1990s, both reflects Hong Konger’s identity issues in the movie plot. Therefore, this text serves to analyse crime films “Trivisa” and “Chasing the Dragon II: Wild Wild Bunch”, dicussing the topic of Hong Konger’s identity in the 2010s. The examination of the two movies will aid in the exploration of Hong Konger’s identity, including the complex psychology, anxiety and standpoints brought about by the handover of Hong Kong from the Britain to China. Using Ackbar Abbas’ theory of “a culture of disappearance”, this essay will analyse the emergence of Hong Kong’s identity anxiety, then the phenomenon of blurring borders between China and Hong Kong and “morals” of the King of thieves being rewritten.