| Abstract: | The success of Kung Fu Hustle within and beyond Hong Kong provides a convenient starting point for a discussion of actor‐director Stephen Chow's films and the manner in which they present themselves as belonging to a particular ‘local’ context. The production of the local is a critical issue in south Indian cinemas, where the local has been named as the linguistic‐cultural identity and became available for political mobilization. Chow's work has significant implications for the study of south Indian cinemas because the dissimilarities between the two facilitate the identification of similar cinematic techniques used by both. |
