Mythic frontiers and nationalism: imagining Old Wests in American Westerns and wuxia films

Abstract This article examines how, since the late 1980s, Hong Kong directors have reimagined China’s western frontiers in the wuxia genre through collaborations with the mainland amid a process of deepening cross-border integration. To contextualize these representations for English-language readers, this study employs a comparative lens. It first examines the cultural and historical significance of the American Old West and China’s premodern western borderlands and then analyzes how Hong Kong wuxia filmmakers construct particular forms of nationalism through mythic depictions of geopolitical peripheries in dialogue with Hollywood Westerns’ frontier portrayals. The analysis reveals that, as Hong Kong directors’ mainland coproduction has increasingly integrated into China’s film industry and cultural discourse, their depiction of frontier space has gradually shifted from an extralegal, anti-authoritarian martial world of cultural ambivalence and abstract nationalism – echoing the anti-establishment ethos characteristic of revisionist Hollywood Westerns – toward a symbol of state-centered nationalism and global cultural outreach, paralleling the golden-age Hollywood Western’s construction of the American frontier as a unified national myth reinforcing U.S. exceptionalism.