Comparing Two Films
There were many stylistics and thematic elements in both films the Killer and Internal Affairs. The theme of honor and friendship is present throughout both films. The structure of both films follows two men on opposite sides of the law who find a relation to each other in their opposition to a greater evil being a triad boss, who playing both sides. Both films have the elements of trust and betrayal, extreme moments of violence, and dark humor. The plot in both films were also somewhat similar because you have two people, Ah Jong and Chan Wing Yan attempting to do this final job to finally live normal lives. Ah Jong was attempting to do a final hit as an assassin, to pay for the surgery expensive of a woman he wounded during a shootout. Ching
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According to Kesser John Woo’s the killer “synthesizes generic conventions from Hollywood thrillers with over the top flourishes from martial arts movies and Far Eastern musical.” A lot of Hollywood films tended to draw upon films that already existed in the global marketplace. Throughout the article Global Noir: Genre film in the Age of Transnationalism, David Kesser talks about the American film Reservoir Dogs in contrast to Hong Kongs film the City on Fire. The director of Reservoir Dogs, Quentin Tarantino “ripped off” the plot of an undercover cop infiltrates a gang of jewel thieves and becomes friends with one of the gang members from the Hong Kong film City on Fire. Tarantino even borrows a scene from City on Fire, where there is a three-way stand off with raised guns. According to David Kesser “the neo-noir, heist gone bad film, is perhaps the most globally oriented of global noir.” Without globalization the genre of transnational noir couldn’t be achieved, because directors wouldn’t have these films to draw upon. Also, many directors wouldn’t even have the individual commercial success they have if it wasn’t from drawing upon films from
According to Kesser John Woo’s the killer “synthesizes generic conventions from Hollywood thrillers with over the top flourishes from martial arts movies and Far Eastern musical.” A lot of Hollywood films tended to draw upon films that already existed in the global marketplace. Throughout the article Global Noir: Genre film in the Age of Transnationalism, David Kesser talks about the American film Reservoir Dogs in contrast to Hong Kongs film the City on Fire. The director of Reservoir Dogs, Quentin Tarantino “ripped off” the plot of an undercover cop infiltrates a gang of jewel thieves and becomes friends with one of the gang members from the Hong Kong film City on Fire. Tarantino even borrows a scene from City on Fire, where there is a three-way stand off with raised guns. According to David Kesser “the neo-noir, heist gone bad film, is perhaps the most globally oriented of global noir.” Without globalization the genre of transnational noir couldn’t be achieved, because directors wouldn’t have these films to draw upon. Also, many directors wouldn’t even have the individual commercial success they have if it wasn’t from drawing upon films from