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Professor Géraldine Fiss
LTEA 120C
2024 May 06
Clash of Cultures: Tradition vs. Westernization in Once Upon a Time in China (1991)
Word Count: 798
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The 1990s Hong Kong culture is one that “[moves] too fast,” where the culture space
disappears quickly after it appears, rendering it to “always [be] on the verge of disappearing”
(Abbas 67). The disappearing culture of Hong Kong was primarily caused by increasing
westernization, which rendered the political and cultural settings uncertain and impermanent.
The disappearance of culture consequently leads to profound identity struggles for individuals
residing in regions affected by colonialism, as the cultural landscape continually shifts around
them. Tsui Hark masterfully explores and expands upon this concept in his film Once Upon a
Time in China (1991). In the movie, Hark continuously employs the motif of cultural conflict to
illuminate the struggle of Chinese locals to maintain their traditional identity in the face of
Westernization–an idea that is evident in the consistent way of responding to Western influence
of characters in the movie, ranging from the protagonist to supporting side characters.
From the beginning, the clash between traditional Chinese culture and pervasive Western
influence already occurs, as a vivid dragon dance performance is interrupted by gunfire from
Westerners. Protagonist Wong Fei Hung leaps into action, catching the falling dragon. With his
martial arts skills, he intensifies the dance, making it even more captivating and dynamic (Once
Upon a Time in China 2:20-4:00). The movie introduces the cultural conflict motif right from the
start with a powerful image: a traditional Chinese dragon shot down by Westerners’ firearms.
Wong’s response symbolizes the deep pride and respect he has for his culture and identity, as
signaled by the camera’s close-up footage capturing his fierce emotion as he passionately
continues the dance. Despite the threat of Western colonialism in his hometown, Wong
understands the need to avoid provoking them in any physical way. Instead, he chooses to defy
through the act of catching the falling dragon and continuing the dance. The fierce emotion
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reflected on Wong’s face together with the drums playing intensely in the background signify
Wong’s unwavering pride and refusal to let his culture succumb to Western influence.
Building upon the motif of cultural conflict established in the opening scene, Hark shifts
the narrative spotlight from the protagonist to the local residents, seeking to underscore the
similarity in the characters’ responses to Western influence. As the music from traditional
Chinese instruments fills the air, it is interrupted by the “Hallelujah” chants of Jesuit
missionaries. Amidst the clash, a player announces “Here they come,” prompting the Chinese
musicians to play even more passionately (Once Upon a Time in China 8:50-9:50). The conflict
between the Jesuits and the instrument players is also reflective of the Chinese locals’
determination to not succumb to pervasive western domination. Despite acknowledging and
respecting the mission of the Jesuits, the instrument players assert themselves by coming
together and playing even better than before. Hark’s utilization of sound as a symbol of cultural
conflict highlights how the locals’ defiance comes in different forms, be it physical actions,
verbal articulation, or even the resonance of music.
The recurring motif of traditional Chinese culture clashing with Western influence
reflects the profound struggle experienced by individuals in colonized regions, as they “cope
with change and possible loss of identity” (Williams 128). The depicted era in the movie
epitomizes a period of profound uncertainty. For instance, the people of Hong Kong had their
city “colonized by the British […] occupied by the Japanese […] and swelled by […] refugees
from communist China” (Abbas 67). Similar to Hong Kong residents, people from areas that are
subject to colonialism, are naturally overwhelmed with the constant changes that are occurring
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around them. Through the recurring motif of cultural conflict in the movie, Hark urges people to
continue to uphold their pride in their culture and identity. More specifically, in the face of the
ever-changing culture space around them, individuals should assert their cultural pride and
identity confidently. Nevertheless, to protect themselves from colonizers’ aggression, people also
need to be wise in how they react and respond. These ideas are exemplified in the consistent way
everyone–from the protagonist to side characters–responds to Western influences in the movie.
In Once Upon a Time in China, Hark explores the struggle to preserve traditional Chinese
identity amidst pervasive Western influence. Through the repeating motif of cultural conflicts,
the film urges residents of regions under colonialism to remain proud of their culture and to not
lose their identities to Westernization. Moreover, as seen through the scene of the dragon dance
performance and the instrument players being interrupted by missionaries, Hark also advises the
people to be sensible in their responses to Western influence in order to not put themselves at any
risk. Therefore, the movie stands not only as a captivating cinematic experience but also as a
counsel on preserving cultural identity in the face of colonization.
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Works Cited
Abbas, Ackbar. “The New Hong Kong Cinema and the ‘Déjà Disparu.’” Discourse, vol. 16, no.
3, 1994, pp. 65–77. JSTOR, Accessed 6 May 2024.
Hark, Tsui, director. Once Upon a Time in China. Orange Sky Golden Harvest, 1991,
Williams, Tony. “Under ‘Western eyes’: The Personal Odyssey of Huang Fei-Hong in once upon
a time in China.” Cinema Journal, vol. 40, no. 1, Sept. 2000, pp. 3–24,
